‘Out of the Ordinary’ is the title of Guan Wei’s solo exhibition at Sydney’s Vermilion Art, a description that also fits the man himself. From his early years in Beijing’s post-Cultural Revolution contemporary art scene, to his arrival in Hobart in 1989 and emergence as the most prominent of the so-called ‘post-Tiananmen’ generation of Chinese artists in Australia, Guan Wei developed an art practice that merges two worlds…’
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She wrote: ‘Here is a display of the history of women…a deeper life language, it is the witness of their past youth. Each piece traces individual women and the traces are a text that tells of their experiences, emotions and misfortunes… This is a vision beyond literal language. It is the fate of women.’
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Li Jin responded to the Northern Qi scholars collating classic texts (Northern Song dynasty, 11th century) with his playful paintings Reminiscence to Antiquity I–VII, which included two long handscrolls and seven narrow hanging scrolls.
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Li Jin has chosen to respond to one of the Museum’s finest early figure paintings, the Northern Qi Scholars Collating Classic Texts. The work, which depicts a scene of scholars cavorting shares much with Li’s own work, which often depicts the artist engaging in similar activities in a contemporary context.
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In the mythology of Maoist China, no event is more important than the Long March. It is the foundation story of the People’s Republic even if there is no separating fact from fiction. Shen Jiawei has taken up the story at the end of the Long March, in the years 1936-37.
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Born in China in 1948 and began to gain recognition as a painter during the Cultural Revolution, the largely self-taught experience eventually made Shen to study at the Central Academy of Fine Arts in Beijing, where he became strongly influenced by his teacher Shangyi, China’s most famous portraitist.
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