Definition: Origin means source… the beginning of its course or existence.
As the so-called “contemporary art” has gradually dwindled into mediocre commercial symbols and cynical pretentiousness, its once poignant concern with reality and social criticism is waning. The scenario development has tended to be harmonized by its opposite value, that is, its anti-establishment position has been gradually assimilated by dominant principles. It is becoming a vassal of the commercial, cultural and ideological systems.
In particular, it is characterized by the following features:
First, avant-garde becomes the vanguard of artistic commercialization. To raise this issue is not to express the absolute opposition to the commercialization of art. On the contrary, the circulation of artworks in the marketplace provides an outlet for art to demonstrate its social value. The issue is its background. In recent years, because of the formation of a globalization capitalist infrastructure and the rise of conceptual economy, the use of capital has been gradually sidetracked from its original value system. Under these circumstances, the art market has become another profitable industry following the stock market and real estate market. As a result, wealth is being accumulated in a fierce speed, and it rapidly changes our standard value judgment. In this so-called conceptual economic era, the expression of capital usage begins with the search for a “medium”, and eventually reveals the independent value of capital by leaving the “medium” behind. Contemporary art becomes an appropriate material medium for the capital market for its trendy expression and “subjective” value judgment system. Yet the issue also reveals itself through this process.
Contemporary art subverts the traditional value judgment and establishes its own standard of value judgment. This standard is based on the ambiguity of its conceptual expression. Thus one cannot apply traditional techniques or style as the only standard to evaluate contemporary art. Rather, elements of subjectivity and individuality are increasingly emphasized. At the same time, in the process of “interpreting” the artwork, “decoding” becomes more and more important. It can basically satisfy the requirement of “rapid elaboration and timely effect” for the medium in the process of capital operation. However, the marriage of contemporary art and the capital market has led to its instant alienation. The artistic standard is being gradually marginalized and replaced by the pattern in commercial commodities. Business standards dominate the system of value judgment in art and further influence the behavioral standards in the art circle.
Secondly, it is about the value judgment in consumerism. Consumerism is an inevitable norm of social behavior and the fundamental value in the contemporary commercial society. Admittedly, consumption also dispersed the ultimate concerns in classicalism. The primary concern now is the immediate and current existence. Trendy commercial culture subverts mainstream culture and becomes itself mainstream culture. With the help of contemporary mass media, it delivers and amplifies the collective unconscious of the public. The individual seems to be recognized by the “collective” value, and gain the satisfaction of “committing regicide”. Therefore, the value of consumerism is based on popularity without any standard or goal; even the “process” is disappearing. The popularity lies in a widely accepted interest and timely consumption of the general population. In an entirely commercialized contemporary art circle, the value of consumerism has become the mainstream standard of judgment. Art is losing the depth of meaning and becomes a commodity mainly for visual pleasure. Any historicist view and intellectual contemplation are turning into a laughable quixotic awkwardness.
Third, contemporary art fawns on the mainstream system. Commercialization is one of the major developments in contemporary art in recent years. Parallel to this process is mainstreamization. This demonstrates that contemporary art, once considered as an alternative, is now accepted, if not always embraced, by the mainstream and commercial culture. It also demonstrates that the nation’s constant attempts to allocate official resources in utilizing and reinventing contemporary art. One of its goals is to establish image of an open and diverse culture for the international audience; the other is to dissolve people’s independent value judgment and social critique through the mainstreamization of contemporary art. In the latter situation, through the intervention forces of national ideology and government resources, the officially approved contemporary art forms gradually become the main channels for international cultural exchange. For artists, this approach is the most convenient path into the mainstream. To adapt to this situation, the basic models of “harmless” and “officially approved” contemporary art are formulated. They are loaded with swanky high-tech, “artistic language” or pretentious concepts. Simultaneously, in the formulation process, the artists give in their independent conscience, integrity and value judgment.
Prompted by Xu’s artworks, the above is my contemplation on the essence of contemporary art,
In the series of “Chinese Historical Figures”, Xu demonstrates a sense of historical responsibility and social conscience of an intellectual, as well as his respect to the individual’s independent conscience, integrity and value judgment.
Xu’s works also inspire us:
Firstly, does contemporary art possess a certain “style” or rules? For some, the artistic language and expression in Xu’s works might seem outmoded. In fact, viewers are subconsciously applying the standards of “mainstreamized” contemporary art to judge his work. In my opinion, this is a sign of the so-called “contemporary art” marching against itself – “people are applying “classicalized” standards to solidify their explorations of art and contemplations towards society and life, allowing contemporary art to meet the requirements of commercialization and mainstreamization. This is what we need to reflect on and be aware of! To my knowledge, Xu’s works are a reasoning result of abandoning the preconceived mainstream expressions in his continuous contemplation process. He chose to present his works with the most basic and direct methods instead. To depict these historical miseries, any flaring “techniques” and language would only seem pale and impotent! Therefore, Xu’s works have invoked my thinking on the so-called techniques and language: if we lack profound contemplation on history and cultural judgment, then what is the value of the “contemporaneity” of the flaring language?
Secondly, does the so-called “contemporary art” imply the cheap peddling of a nation’s suffering? In recent years, as the process of commercializing contemporary art is expanding and cultural consumerism is becoming more popular, the “Cultural Revolution” becomes inexpensive and marketable visual resource flourishing in the so-called “contemporary art” circle. As we deconstruct the Cultural Revolution with a popular commercial approach, or a nihilistic attitude, history will in turn ridicule and punish us. With Xu’s work we sense a respect for humanity and an awe to history. What does the “Cultural Revolution” mean to us? It implies the need of in-depth reflection on the ugliest aspect of humanity and on traditional culture. In dealing with how each individual subject himself to the collective unconsciousness, Xu shows a genuine compassion for humanity. This is, in fact, what I appreciate the most about his work. If we take the above-all birds’ eye perspective, and ridicule or mock this period of history, I think it is only ourselves who are being mocked and ridiculed! When I look into the eyes of those portrayed in Xu’s works, these eyes are in fact analyzing what is internal to us, you hear a voice from the past probing you, “What will you choose?!”
Thirdly, is the so-called “contemporary art” a kind of mind games requiring overt dissection? Since contemporary art in the last half century has not managed to emerge out of the logical forms of Duchamp, Warhol and Bueys, it is gradually losing its imagination and fighting spirit. Today, as commercialization sets in, it is becoming a plaything for the “public”. The intellectual poverty causes it to over explain itself, and turns itself in a competition of intelligence like a guessing game. Nonsensical logic like “glass and wooden barrels are both containers; since the wooden barrel is made out of wood, therefore the glass must be also made out of wood” is dominating the mainstream of “contemporary art”. It has become an IQ test: As long as “logical process” is accurate, the “carrier” of its conduit is unimportant. But Xu’s works allow us to re-experience an inner satisfaction that comes directly through the simple act of vision.
Finally, is the so-called “contemporary art” an exponential enlargement of one’s internal “misery”? In the process of contemporary art’s emphasis on individual characteristics, it has indulged the artists in overly magnifying their own illusion, making art as an outlet for self-venting and temper tantrums. In today’s fashion, the so-called “contemporary art” is to exaggerate the little sadness of “my dolly won’t eat” into a misery of mankind. This “contemporary art” is nothing but the cute puppy being petted by a rich lady. Xu’s works, however, made us realize that, “only by positioning the individual in the course of history can he realize his own value.”
These are my reflections evolved directly or indirectly from Xu’s works. Instead of saying that it is a discussion of the origin of contemporary art, I prefer to take this opportunity to extend my respect to Xu. In today’s overly commercialized art circle, everyone is incessantly reproducing oneself, reproducing others, and seizing business opportunities with an assembling line approach. It is also in this kind of environment that Xu is able to take certain risks as an individual, spending a great deal of time and effort to visualize this era, the hardships of this nation and the humanity. This is the best manifestation of an intellectual’s integrity and spirit. This is also the true origin of contemporary art.
August 28, 2007
Tongzhou, Beijing
