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    about all UN members


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  • A Millennium Reincarnation: The Possibility of Asian Contemporary Visual Art
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    Chen Wenling and His Sculptures

      Art is a common language shared with no geographical limit. I love sculpture and would like to share with everybody in the world who love sculpture too. ---Chen Wenling

    Chen Wenling and his "Red Boys

    Chen Wenling with his model of the red boy

     
      Mr. Chen Wenling is a famous young sculptor working in Xiamen, Fujian Province of China. His works the Red Boys are a series of boys portrayed in scarlet. Red is the color in fashion in the year 2002. From the Red Devil Cheer Team in South Korea to the unusual red uniforms of the European football teams, and to the various red symbols in China, it seems that red is everywhere. The red color in vogue makes the Red Boys natural in their use of color. Throughout Chinese history, Red has been the symbolic and auspicious color in Southern China. In real world, the bodies in red change the works realistic tendency, and stress their unrealistic aspects, which express the sculptor’s negation of the pursuit of money and power, tension, anxiety, fear and cruelty in the adult world. They also convey people common wishes, the nostalgia of their innocent childhood and a questioning of Chinese culture.

     

      The Red Boys are innocent and not evil, healthy and not sick. It is well known that the visual arts of late twentieth century, whether in art, movie and three-dimension cartoon pictures of computer games, are full of violence and self-doubt and pity. Chen’s Red Boys look like a lotus growing out of mud, satisfying viewers’ craving for a new trend of avant-garde art, i.e. to make art a vehicle of the construction of human nature rather than the weapon of criticism of human nature. His works attracted outsiders, insiders, academics and avant-garde critics alike to appreciate them from their own perspectives.

     
      Chen’s series work of the Red Boys, entitled the Red Memory, which have various meanings for different modern art viewers. They may be reminded of a newly-born baby (red boy) which symbolizes the innocence of human heart in classical culture, without a feeling of ordinariness. They may relate the works to the Red Boy of one of the four Chinese great novels the Money King, without a feeling of an evil spirit. They may be reminded of the Red Guards during the Cultural Revolution, without a feeling of cruelty. They may be reminded of the war fires in the past in this strategically important city of Xiamen, without any feeling of fear. Those who know Chen may link the Red Boys with one of his unusual experience. In 1996, there was an astonishing report on newspaper of the Xiamen Daily, entitled Rare and Courageous Self-Defense. It was reported that a couple of a young man and a young woman were robbed at the beach. The man courageously defended himself and the woman, and was stabbed dozen of times. Two main arteries of his both wrists were cut open. His body was soaked with blood. It was the bloodiest case in the local criminal history. The article described the heroic actions of the young man in detail and the hero was no other than Mr. Chen Wenling, who luckily survived the attack. Despite of this, Chen shows no trace of hatred in his Red Memory.
     
    Pig Vs. Horse

     

      Chen Wenling is an artist of secularism, and at the same time he used a humorous and exaggerative way to show the themes of his works.
      Pig is a signature of Chen Wenling, and at the same time pig is a special animal for Chinese people. No people in any other countries are so close to pigs, pig, in fact, is China herself. Especially in Fujian, Guangdong and Guangxi, “pig culture” are very popular. As a man born and live in Fujian, Chen Wenling use pig as the first signature of himself is an interesting thing.
      Horse, in Chinese cultural dictionary is a western word. From the recent works of Chen Wenling, we could see some traces that he learn form western world.

     

               

     

                             

     

          

     
                          
     

         

     

       

     

                   

     
      Modern art emphasizes the concepts in a piece of work. It often creates a style of too many concepts, making viewers tired. In contrast, Chen’s works are simple and true. He does not deliberately create concepts. The naked bodies have nothing to disguise themselves. What left is a direct communication with the nature and a direct conversation between the society and the people. The facial and body expressions of the Red Boys are properly exaggerated to enhance the communicative effects. This series of works is a relief of too many concepts. It can also be viewed that there is a concept in the works to curtail the burden of concepts.
     

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