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Collision-Experimental Cases of Contemporary Chinese Art

Dates: October 10- 20, 2009

Venue: Art Museum, China Central Academy of Fine Arts

Academic committee members (arranged in alphabetic order): Feng Boyi, Gao Qianhui, Peng De, Pi Daojian, Yin Shuangxi, Yang Xiaoyan, Zhao Li, Zhu Qingsheng, and Zheng Shengtian

Participating artists (arranged in alphabetic order): Cui Xiuwen, Ding Yi, Fang Lijun, Feng Mengbo, Gu Wenda, Huang Yongping, Li Shan, Liu Xiaodong, Lu Shengzhong, Luo Zhongli, Miao Xiaochun, Qiu Zhijie, Shang Yang, Sui Jianguo, Wang Jianwei, Wang Guangyi, Wang Huaiqing, Wang Qingsong, Wang Yigang, Xu Bing, Xiang Jing, Yan Peiming, Yang Fudong, Ye Yongqing, Zhan Wang, Zhang Dali, and Zhou Tiehai

Collision-Experimental Cases of Contemporary Chinese Art was held simultaneously with the private session as a special exhibition of the Global Collecting Forum. It was expected to disclose the present situations in which the Chinese contemporary art thrives against the backdrop. Meanwhile, it chose representative artistic cases to present to the western and global renowned professionals the real states of contemporary Chinese artists and their artistic creation. It was a good opportunity to ravel cultural difference and artistic misunderstanding between the East and West. It also furnished a feasibility for the Chinese contemporary art to further enter the vision of the world mainstream collection circle and the academic circle in an integral image. The “Collision” is not only oriented towards this Global Collecting Forum, but also works on the art itself and promotes the future development of the Chinese art.

Preface to the exhibition (by Yu Ke)

The Chinese contemporary art is going through an unprecedented special period. The capital introduction, strong national consciousness, remnant ideologies, joys and wounds from surging urban development have changed from various perspectives the inherent concepts on artistic creation. Although it has not yet stimulated fundamental transformation in the sector, Chinese contemporary art has more or less burst forth some agitations and vitalities under the new social background. It has obscured the ranks of elite cultures and mass cultures on a broader basis, and to a great extent absorbed people’s attention, changed people’s recognition of the art, and affected people in judging and choosing their daily lives.

In 2009, the art field meets great uncertainties in China and the world at large. Transformation has taken place regarding the function and value of art, and people’s interpretation and experience of art.