As China continues to expose its culture to the world, artists such as Ling Jian undertake a pivotal role in providing commentary regarding contemporary Chinese culture through their own intimate journey of self-expression.
by Kevin Chan
Traces of cultural identity are often embedded in commonly used objects. The ergonomics, materials, fabrication techniques or simply the imagery of an object alludes to certain cultural idiosyncrasies. Although familiar objects such as vehicles, technology or buildings embody significant societal values, there does not exist a more powerful representation of a culture’s identity than art. As China continues to expose its culture to the world, artists such as Ling Jian undertake a pivotal role in providing commentary regarding contemporary Chinese culture through their own intimate journey of self-expression.
Shortly after the conclusion of Mao Zedong’s cultural revolution, Ling Jian graduated in 1982 from Tsinghua University, Academy of Arts & Design, and moved to Europe to allay the stringent pedagogy of traditional Chinese art. While living in Austria and Germany, he studied the works of storied European artists and pursued different perspectives on creative expression. These experiences enabled him to develop artwork inspired by introspection — commonly regarded as taboo in traditional Chinese art. Through developing paintings with a more personal motive, Ling Jian’s work has adhered to intimate revelations that have provided insightful commentary on contemporary Chinese culture.
Ling Jian’s current work reflects the conflicts between traditional and contemporary cultural values by depicting figures — often women — with politically charged undertones. During his formative years in the cultural revolution, the portrayal of people — especially women — as sensual, vulnerable figures was prohibited in an attempt to fortify the image of a strong and capable Chinese society. However, throughout Ling Jian’s stay in Europe and upon his return to Beijing, China’s willingness to import and export cultural media has muddled the self-perception of the Chinese people. With the influence of international media and its penchant for promoting glamour, the amalgamation of traditional conservative values and contemporary ideals of beauty have provoked a crisis of identity.
The introduction of international media has elicited a contradiction between what is reality and what is fantasy. Ling Jian’s work illustrates this notion through the realistic portrayal of idealized figures on painted canvases, which have subtle hints of culturally provocative elements. Although his artwork touches upon contemporary Chinese affairs, the manner from which these topics are unraveled and designed are intimate insights into his personal thoughts. In an interview with HOME, Ling Jian described his relationship with art akin to “cleaning a mirror” — the more labor put forth ensures a clearer vision of one’s self. Moreover, he believes the creation of artwork is a liberating activity, where the most important notion is not only moving the audience, but also stimulating one’s own spirit by listening to his or her inner voice.
Ling Jian’s impression of contemporary art in China is that the discipline is relatively young because its development was forged alongside recent shifts in cultural values. Regardless of this notion, however, he emphasizes that contemporary Chinese art is a revolutionary aperture from which China’s cultural concerns can be acknowledged. With a bevy of work in process and some already completed, the future of Ling Jian’s career is much anticipated. As for 2012, there are no major exhibitions planned, but if you are in Beijing before Nov. 18, Ling Jian’s watercolor exhibition will be on view at the Hadrien de Montferrand Gallery.
What is your relationship with your work? How would you explain your relationship with art?
The relationship between me and my work is my means of living. To me, my work is a mirror of life: I constantly clean it. During these cleanings, I can see myself more clearly. Art to me is the same as a hunter to his pray. You cannot own it every day, but once you do, you may be cruel, but at the same time elongating your life.
The majority of your work focuses on young female figures that evoke a certain sense of vanity, fragility and sexuality. Why do you choose to portray your subjects in this light?
Young women are a very ancient and eternal art topic. During my return to the Chinese culture in recent years, great changes have taken place there. I grew up during the cultural revolution period. Sexy, vane, vulnerable women do not exist, or [they are] not allowed to exist. But the reality of today in a commercial society, all of which shows in front of you, the ideal values and the practical values have conflicted greatly, causing the vanity, vulnerability and sexuality.
The creative process is often laborious and turbulent. Have you ever experienced failure while painting? If so, how have you coped with it?
Creation is an independent behavior. In fact, it is a self-moving process. You have to learn to listen to your heart, slowly cause its sublimation. Therefore, online pokies for you failure is a part of creation. Only going beyond it will one be able to produce more exciting work.
With greater international acclaim, many artists embody a critical perspective that is indicative of their culture. How do you represent Chinese culture through your work?
In fact, criticism and praise are like devil and angel: They have things in common, consistent with cultures that have grown in the presence of criticism and praise. How will I express Chinese culture through my work is a great question. I am searching for the answer, and I will continue to paint to find out.
The work of creative individuals often represents themselves. How did moving to Austria and Germany influence or change the way you view art and painting?
Living in Europe for many years enabled me to have the chance to appreciate the works of great masters, and I had a comprehensive understanding of the relationship of an artist with his culture and time. The artist must withstand the limitless challenges time gives to art.
Do you find that the majority of Chinese artists operate as singular entities? With whom do you speak about art? Are you in contact with other Chinese artists?
Art is the best media. Chinese contemporary art is very young. In a specific environment and time, they must coexist with each other, support each other and mutually influence each other. Nature in aesthetic and representation is similar. In such a social environment, individual ideology finds it very difficult to exist independently. I and some of my contemporary friends, whom I have known for more than 20 years, don’t talk about art when we are together, and we do not give each other strong criticism. This is perhaps because of the Confucian Harmony.
What is your fascination with portraiture? The expressions on your subjects’ faces are noticeably subtle. Why do you choose to portray them this way?The selection of portrait painting is because it is the most direct manifestation of the human nature. In his face, you can see all of the emotions and the background stories. During the course of my creation, I will slowly enter people’s deep ends, comprehend them, inspire them, understand them and then communicate with them. Every time this makes me question the human nature. The face that inspires many thoughts takes me to an indescribable world.
Where do you seek inspiration? What drives you to continue working on your paintings?
As far as I am concerned, inspiration mostly appears in a private environment, for example, in a driving compartment or the corner of a bar. Life and love are the biggest factors that drive my creation.
How do you feel contemporary Chinese art fits into the development of China’s art history?
Chinese art history is a revolutionary art history. It is chaotic and unstable. I hope that we pay more attention to China’s past and present as an ancient Chinese saying called “the mirage.”
How many new works have you completed in 2012?
A few. Some are still in the process of creation.
Do you have a muse that inspires you?
Yes, but it changes with time and mood, which are constantly changing. What inspires me is not only my muse, but also my life. In other words, my heart is my true muse.
Ling Jian’s answers in Mandarin below:
我与我的作品的关系是我生存的手段。对我来说是我生活中的一面
镜子，我在清洗它，面对这种清洗也使我更清楚的看清自己。艺术
与我是一种猎取与猎物的关系。你不可能每天拥有它，一旦你拥有
它，你可能是残酷的，同时延续了你的生命。年轻女性是一个非常
古老，永恒的艺术话题。在我回到中国文化的近几年，这里发生了
巨大的变化，在我生长的文化革命时期。性感，虚荣，脆弱的女性
是不存在的，或者说是不允许存在的。而现实的今天，在一个商业
社会里，所有这些都袒露在你眼前，这种理想的价值观与现实的价
值观有强烈的冲突，从而造成了虚荣，脆弱和性感。创作是一个自
由的行为，事实上是一个自我感动的过程，你要学会聆听自己心灵
上的声音，将这一种声音慢慢升华。所以失败是创作中的一部分。
越过它，才会产生让你更激动的作品。实际上，批判和赞扬就像魔
鬼和天使，有着共同性，跟文化发展中存在的批评和赞扬是一致
的。我如何通过作品来表达中国文化。这是一个非常大的课题，我
在寻找中，所以我继续创作下去。在欧洲生活多年，让我有机会欣
赏艺术大师的作品，全面了解到艺术家与自己文化，时代信仰之间
的关系。艺术家必须肩负住时代对艺术无限度的挑战。艺术是时代
最好的媒体。中国当代艺术的形成非常年轻。在一个特定的环境和
时代，他们必须要共存，相互支持，相互影响，自然在审美和表现
方面有相同之处。在这样一个社会环境里，个体的意识形态很难独
立存在的。我与一些当代艺术家是二十多年的朋友，在一起时，我
们并不多谈自身的艺术，也不会给对方强烈的批判。这可能跟中国
儒家所说的“以和为贵”有关。选择肖像绘画是因为这是最直接表
现人性的手段。在他的脸部，你可以看到所有的喜怒哀乐或背后的
故事。在我创作的过程中，我会慢慢进去他们的深层，感悟他，启
发他，理解他，跟他沟通。每一次都会让我思考人性的问题。这种
让人遐想的脸，带领我进入一个不可言喻的世界。对我而言，灵感
大多出现在一个私密的环境里，比方说驾驶中的车厢或者酒吧的一
个拐角。生活和爱情是驱使我继续作画的最大因素。中国艺术史是
一个革命性的艺术史。是杂乱和不稳定的。希望大家多关注中国的
过去和今天。就像中国一个古老的成语叫做“海市蜃楼”。几张。
有些作品还在创作中。有的，但这是与时间和情绪在移动，启发我
的不只是缪斯，还有生活。换句话说就是我的心才是我真正的繆斯
This post is also available in: French
