| Curator and art critic Li Xianting
viewed the development of visual art in China within the 90s
period as showing two major tendencies, termed as cynical realism
and political pop. This analysis aroused various discussions
and debates, since not all artists of the 90s appeared to show
the two tendencies vividly. There were a number of artists who
refused their works to be called as presenting cynical realism.
Reading art is indeed always hypothetical. This
way of reading does not need empirical justifications since
it is not about setting up a parameter to measure a certain
reality in an absolute way. The reading of Li Xianting shows
an attempt to define a general tendency which was related
to the development of the situation in China. His notes specifically
focused on the art development after 1989, which was a period
of transitions in China, both in the social political scene
and in the art world.
Among the artists observed by Li Xianting as presenting
cynical realism, Yue Minjun has to be noted in particular
to affirm Li Xianting’s analysis. His works are the most obvious
in showing cynical realism. Yue Minjun’s works which present
figures of people laughing together, strongly reflect cynicism.
He seems to illustrate akind of pathetic hypocrisy in which
there is a uniformity of progressive behavior. There are force
and power that are capable to construct this terrible pathetic
hypocrisy.
Yue Minjun’s works – which are mostly paintings
– reflect a social manipulation that involves intimidation.
The reality offered by Yue Minjun does not need to be read
as a reality which only happens in China under the communist
regime. The social manipulation displayed by Yue Minjun is
happening everywhere in the world. Such manipulations show
a red line that is speaking on behalf of the society, such
as “to achieve the society’s goals,” or “to defend the identity
of the people.” This act of representing the society becomes
a justification to do an intimidation.
Through his paintings, Yue Minjun shows that violence
does not only take from in authoritarianism which represses
freedom and democracy. He wants to emphasize that violence
also exists behind social manipulation which he views as bringing
out a uniformity of behaviour that indicates pathetic hypocrisy.
This violence is concealed and even invisible, done coldheartedly
(in laughter) and discreetly.
Researches on social psychology give evidence
that the main source of mass violence is often the act of
behavior uniformity. This uniformity is based on chauvinistic
nationalism, religious fanaticism, and ethnic identity which
are responsible in raising out racism. The cause of this violence
is a defense shield of ideology and social order. This justification
is found to be started from family education , precisely when
hatred behind chauvinistic nationalism, religious fanaticism,
and ethnic identity are indoctrinated into children.
On the surface, Yue Minjun’s paintings show a
more humorous sense of cynicism. He appears to describe the
comical outcome that happens in the behavior uniformity. Yet,
behind this cynicism there is a bitter restlessness. The uniformity
of behavior can lead to create war and terrorism, which are
more cruel than repressive politics.
摘自Jim Supangkat（艺术评论家及理论家）的介绍文字——《CPOB2003开放双年展》，CP基金会，雅加达，印尼，2003，展会画册
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