Karen Smith (4)

In the early 1990s, the idea of contemporary art in China simply did not compute to a foreign audience. But in 1993, ten contemporary Chinese artists debuted at the 48th Venice Biennale. They were immediately hailed as progenitors of a Chinese „avant-garde." Their brightly colored, Pop Art-inspired paintings played with socialist motifs, parodied Mao, and gave a visual expression to the feelings of disaffected Chinese youth. They were everything western audiences expected of contemporary art from the People‘s Republic of China. But a number of critics were rather guarded in their opinions. Was this another flash-in-the-pan phenomenon just as Soviet art had been in the 1980s? Could a Chinese avant-garde maintain a distinct identity of its own and shake off its penchant for imitation? The answer is clearly „yes." The emergence of a market for their art transformed the lives of these avant-garde pioneers from rags to riches, from outcast to hero, from social pariah to cutting-edge cool in a Chinese society adapting to a new era. They did not change but China has changed. The ideology they once had to fight now propagates a cultural climate of laissez-faire that is tantamount to encouragement. Set against China’s official program of modernization, Nine Lives paints a compelling picture of artists working beyond the pale of official culture, who started a new cultural revolution that is sweeping China today.
Nine Lives introduces nine artists (Wang Guangyi, Geng Jianyi, Fang Lijun, Gu Dexin, Li Shan, Zhang Xiaogang, Xu Bing, Zhang Peili, and Wang Jianwei), their personal histories and views on China today. Karen Smith‘s highly accessible introduction to an emerging art scene in a society unknown to most of us makes good reading not only for art-world insiders, but for anyone curious about recent history and its effect on the booming Chinese society. The book opens with a glossary for readers unfamiliar with Chinese history and culture, and a time line placing each of the nine artists within the context of the Chinese art world and political history.Karen Smith was born in Hertfordshire in the United Kingdom. She graduated from Wimbledon Art School in 1987 with a BA in fine art. A year later, she moved to Asia, settling in China in 1993, curious to explore its practically unchartered art scene. She calls Beijing her home, and is one of the foremost authorities on China’s contemporary art scene, both in China and abroad.… (mais)

Born in 1957, Beijing-based Ai Weiwei is perhaps the most internationally visible contemporary Chinese artist. Philip Tinari has described his practice as a, "multitasking sprawl--encompassing artmaking, curating, publishing and architectural design--[that] threatens to answer the vaguely unsettling question, What would Andy Warhol's career have looked like if it had played out in turn-of-the-millennium China? (For one thing, architecture might have stood in for film; where Warhol created an alter-Hollywood, Ai is a self-invented starchitect)." After spending the early 1980s in New York, Ai moved back to Beijing in 1994. Already an important member of the Stars group, a socially critical movement that borrowed heavily from western art and culture, he established the famed China Art Archives and Warehouse in 1997. In 2000, on the occasion of the Shanghai Biennale, he organized the attention-grabbing group exhibition Fuck Off in collaboration with curator Feng Boyi. More recently, he was involved in the design of the Olympic Stadium in Beijing by Herzog & de Meuron. This publication takes an in-depth look at Ai's under-explored engagement with ceramics, and is published on the occasion of a solo exhibition of his recent ceramic work at Holland's Groningen Museum.… (mais)