Chinese artists in New York

Away from the unprecedented hectic schedule of exhibitions, biennials, and triennials on the Chinese mainland, the first Contemporary Asian Art week took place in the global art metropolis New York. Coinciding with a two-week marathon of modern art auctions in the Big Apple, this series of events and exhibitions staked the city's place within the ranks of the contemporary art world - a bold step for a genre that is usually dismissed as Asian art that just happens to be contemporary.  

The number of Chinese artists that are invited to show their work around the world increased dramatically in recent years, and the Sino-centric nature of the Asian Contemporary Art Week reflected that general trend. Although the participating galleries represented a wide range of artists from India, Japan, and Thailand, the overwhelming majority of artists were of Chinese origin, be they from the Chinese mainland or the Chinese diaspora. 

The week kicked off with a one-man show by artist Wei Dong. Although not Wei's New York debut, he described his participation in the event as important: "It is quite difficult for me to show my work in China," he explained. "Exhibiting my work here allows me to have exposure amongst a variety of people that are crucial in the field." Wei's paintings - exhibited at Hong Kong's influential Plum Blossoms Gallery - innovatively combine Western and traditional Chinese painting styles and cultural tropes. Wei says he sees the clash of traditions and values in his compositions as "a reflection of contemporary society where sex, violence, and popular culture dominate traditional mores."  

For the Guo Brothers (Guo Wei and Guo Jin), whose work was shown at Goedhuis Contemporary, the week was of equal importance despite already having wide international acclaim and a sizable exhibition history. Being able to exhibit during the first Contemporary Asian Art week was particularly important, said the brothers, "As it clearly situates us - and of course contemporary Chinese art in general - within the ranks of contemporary art." This, they feel, is crucial at a point in time where the contemporary Chinese art movement is gathering momentum and recognition.  

While most of the gallery spaces focusing on Chinese art presented works of the so-called avant-garde, the serene Upper East Side gallery Kaikodo focused on art that was more traditional in style but not less contemporary. The exhibition comprised over twenty works by fifteen artists, most of whom live outside of China. The aim of the exhibition, entitled Past/Present/Future, according to press releases, was to "challenge audiences and artists to investigate and examine their own subjective notions about originality, tradition, history, creativity and taste."  

The difference of artistic approach was also reflected in different kinds of visitors - particularly amongst the huaqiao community - the respective galleries attracted. At the exhibitions featuring the more experimental avant-garde art the majority of visitors were young Chinese artists and intellectuals who were recent arrivals in the States; Kaikodo's exhibition, on the other hand, was a large concentration of members from the more traditional overseas Chinese community, many of whose families left China some time ago. To Guo Wei, this was no surprise: "They simply have a closer affinity to the more traditional values and aesthetics."  

Painting was, however, not the only genre represented at the various exhibitions. Two of the galleries, Ethan Cohen Fine Art and Chambers Fine Art, exclusively focused on video, installation, and performance art. Amongst the various interesting works, there were two that stood out in particular, namely Qin Ga's Miniature Long March and Jiang Jie's Seeing off the Red Army: In Commemoration of Mothers. Both pieces come out of the Long March Project, curated by Lu Jie and Qiu Zhijie. The project is unique in its conception, scope and approach. Along the historic route of Chairman Mao's legendary Long March, various artists participated in a series of events showing their works. The aim, according to the two curators, is to "bring art to those people who live in communities along the route of Mao Zedong's historic Long March," as well as its symbolic delivery of revolutionary ideals to the Chinese people.  

It is this fresh approach to curatorial practice that reflects the comments made by the two highly acclaimed curators Okwui Enwezor and Apinan Poshynanda in the keynote session of the accompanying symposium Looking Ahead: Dialogues in Asian Contemporary Art. "All discourses are located," Mr. Enwezor stressed. This makes it imperative for the curator to have an historical awareness of the exhibition space he works in. This does, however, in no way preclude the subversion of the historical line. The notion of continuous subversion, be it cultural, historical, political or otherwise, is equally important to artistic practice itself, as well-known curator Hou Hanru emphasized in his presentation. "Contemporary art should always be a voice of difference - if what is different becomes the accepted, there is a problem." 

Contact the author on: editor@cityweekend.com.cn