ART SCENE CHINA

EYE CONTACT - CHEN YUN LASHES OUT

Corporate sponsorship (Epson) and a fashionable location (next to Benneton) have led many an art patron to dismiss the epSITE gallery as nothing more than a space for dilettantes. True, their track record has not been perfect, several past exhibits might be charitably called duds. But epSITE has compensated for the occasional failing by offering much that is excellent, especially works from relative unknowns, such as Shao Daliang (…€¥Û¡º). Without straying too far into the sentimental territory of postcard photography, his West Lake Photos exhibit captures Xihu’s exquisite beauty, sans touts and tourists. With its moody lighting, stark lines and hazy liminal spaces, Shao’s work echoes that of Lang Jinshan (¿…æ≤…Ω).

For those who prefer art with an edge (or who thrive on paranoia), Bizart’s 1/9th exhibit caters to both sensations. Chen Yun’s (≥¬) Razor Sharp Eyes features penetrating seen through a dense tangle of lashes – a tribute to both Maybelline and Orwell’s 1984.

In the opposite corner, Fan Mingzhu’s (∑∂√˜÷È) black whale offers a double dose of intimidation: a menacing glare and a set of pointy teeth, oh, and there’s the odd pitchfork dangling from its maw (presumably, for cleaning those pointy teeth). Wang Han’s (Õı∫≠) Boiling Point – four pairs of men’s briefs rotating inside microwave ovens – portrays a different sort of menace – that of China’s skewed sex ratio and the resulting abundance of male libido. Kudos to the artists for proving that they are more than the sum of their ninths.

On the other hand, Art Scene China’s most recent exhibit was short a few figures. Aesthetically speaking, that is.

Which is not to say there were no 100 percenters: Zhang Jianhua’s (’≈Ω®ª™) grimy, waxy sculptures of wounded and prostrated peasants represent an impressive degree of talent, while Han Liu’s (∫Ø¡Ù) figures, with fleshy brushstrokes and warm rich tones, are equally artful.

Han’s mythological painting, Eye Doctor, offers some of the most interesting brushwork on exhibit this month, with the possible exception of the German Neo-expressionists show, Silent Power. The title may suggest a Neo-Nazi cult, but the only violence on display here is in the brushstokes.

from ART DIGEST

May, 2006