In February 1989, a group of Chinese artists, "Stars" conducted an exhibition entitled "China/Avant-Garde". The exhibition was shut down by the authoritarian communist government. The artists defended their attitude through a demonstration that protested against coercion of individual freedom. This event attracted global attention for it was the first act of protest defending individuality in China.

Entering the 90s decade, the event- which was exposed in a large scale marked by the student massacre known as the Tiananmen Tragedy- brought a number of Chinese artists up to the global scene. They are recognized as the 'China Avant-garde' artists.

Fang Lijun was the artist who got most of the attention. His works indeed reflect the sense of avant-gardism at the most. In a general definition, avant-garde is based on the belief in individual credo- as the opposite to collective credo- that has potentials to be pioneers. This credo is what has been shown by Fang Lijun in resisting the collective credo that predictably is communism which dominates every sector of life in China.

This attitude of resistance against power which grounds the works of Fang Lijun had emerged in the early 80s. The most important impetus of the art development was stated by acclaimed critic Li Xianting. The movement which went along with Deng Xiaoping's principles of modernization had to deal with ultra-left power relations. Li Xianting and his movement had to struggle to face the power relations in adhering to the principles of individual freedom.

Fang Lijun is among the artists who have been strongly defending the freedom of individuality. He has a background as reasons for such defense. Fang Lijun was born in 1963 in an intellectual family- his grandfather was quite a prosperous figure in the pre-communism period- and for that he had to go through bitter childhood. His family, which was regarded as part of bourgeoisie, became the target of the Cultural Revolution conducted by the ultra-left parties. Fang Lijun saw with his own eyes how his family was tortured and brought to undergo a series of violence.

Fang Lijun's works are interesting for the fact that he does not articulate his experiences with violence through the means of violence as well. The sense of individuality in his works show a contemplation, which is indirectly related to social problems. He identifies individuality not as the 'motor of struggle', but as a sign of freedom which promises to bring happiness. Famous Japanese critic, Toshio Shimizu sees it as "visions of happiness" which reflect that modernism does promise bliss basically. Toshio Shimizu sees Fang Lijun like a Zen monk who does his contemplation by isolating himself in his studio. The result is the works- which are always in the form of paintings- that show greatly individual experiences. These paintings display a tension between the utopian vision of happiness and the threatening reality.

The themes of swimming and diving which are often carried by Fang Lijun in his paintings, show his attitude towards reality. The water which covers the body when swimming and diving is the reality. The drowning figure with only a part of the face comes out to the surface which is shown infinitely on the canvas reflects the uncertainty of reality.

Jim Supangkat

Born on December 4, 1963 in Handan, Hebei Province.
Studied at Central Institute of Fine Arts, Beijing (BFA; 1989).

SELECTED SOLO EXHIBITIONS
1998 Stedeljik Museum, Amsterdam, The Netherlands.
2000 Soobin Art Gallery, Singapore.
2001 "New Woodcuts & Paintings", Prüss & Ochs Gallery (former Asian Fine Arts), Berlin.
2002 Hanart T Z Gallery, Hong Kong; "Between Beijing & Dali", Woodcuts & Paintings 1989-2002, Ludwig Forum für Internationale Kunst Aachen.

SELECTED GROUP EXHIBITIONS
1998 "Inside Out: New Chinese Art", Asia Society, New York, U.S.A..
1999 "APERTO", The 48th Venice Bennial, Venice, Italy "The 5th Asian Art Show", Fukuoka Asian Art Museum, Fukuoka, Japan.
2000 "Shanghai Biennial", Shanghai Art Museum, Shanghai .
2001 "Towards a New Image: Twenty Years of Contemporary Chinese Painting", travelling exhibition : Beijing : National Art Museum, Shanghai: Shanghai Art Museum, Chengdu: Sichuan Art Museum, Guangdong: Art Museum Guangzhou; "Art Forum Berlin", Prüss & Ochs Gallery, Germany.
2002 Guangzhou Triennial 2002, Guangdong Museum of Art, Guangzhou.
2003 "Image is Power", He Xiangning Art Museum, Shenzhen, China.

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