A Conceptual [De]Generation
OCAT Shanghai’s current exhibition brings together ten of China’s finest young artists and examines, not just who they are and the work they are producing now, but how they got here – as individual artists and (an often-maligned) generational group.
Entitled “Degeneration”, the multimedia show offers a twist on the popular theme of up-and-coming Chinese contemporary artists. Ma Qiusha, Ye Linghan, Li Ran, Chen Wei, Chen Zhou, Lu Yang, Cheng Ran, Guan Xiao, Hu Yun and Li Ming are all post-80s Chinese artists, mostly the product of famous national art academies and, on the whole, much more international in experience and outlook than their forebears were at this stage of their careers.
Given all this, it would be easy to categorise them as some of the best and brightest of a new generation of Chinese contemporary artists.
Depending on your point of view, it also wouldn’t be a stretch for the bodily fluid focused work of Ma Qiusha and Chen Zhou, or the scientific laboratory and disease fixation of Lu Yang’s works, to be labelled degenerate.
But, according to OCAT Shanghai art director, Mariagrazia Costantino, whether or not they are the creative leaders of their generation or a group of degenerates bringing down the firmament of Chinese contemporary art, is beside the point.
“I think this type of labelling is forced,” she told Talk. “What these artists share is basically a strong sense of critique and sarcasm – it’s disillusioned, but not really bitter. They’re actually quite playful.”
The ten artists have been allowed to set up a mini solo show in the larger exhibition space, with each showing three to six pieces from the course of their still developing careers.
Despite the hesitance of a few artists, who would prefer some of their earlier works to be left forever behind, Costantino was insistent that they show their earlier pieces, believing that showing the progress of each artist would be a more instructive exhibit.
“Many artists don’t actually show this. They may have started with a certain visión or focus and then they have developed it - not necessarily abandoned it,” she said.
“They might start as painters, then move on to doing video, photography or installation. None of these artists care so much about the language or the médium they used. They are more focused on the idea or the concept.”
With OCAT Shanghai being multi-media art bent, it’s no surprise the dominant medium on show at “Degeneration” is video, though there are also plenty of photographs, diagrams and the odd installation to go along with the avant-garde video works.
“We have a focus on multi-media art but we are not looking at multi-media art at all costs. We are looking for pieces that are interesting. The main thing behind this is to tell a story or to show a process,” Costantino said.
“To me it makes sense they use video. It’s a very flexible technology; it’s quick, they can add things in postproduction and in many ways have more control and is more useful for what they want to say. It allows them to show layers and complex ideas within a single work.”
“Degeneration” runs until 23 March (except Mondays) at OCAT Shanghai, 1,016 Suzhou Bei Lu, near Wen'an Lu. Web: www.ocat.com.cn
