Curator and art critic Li Xianting viewed the development of visual art in China within the 90s period as showing two major tendencies, termed as cynical realism and political pop. This analysis aroused various discussions and debates, since not all artists of the 90s appeared to show the two tendencies vividly. There were a number of artists who refused his works to be called as presenting cynical realism.

Reading art is indeed always hypothetical. This way of reading does not need empirical justifications since it is not about setting up a parameter to measure a certain reality in an absolute way. The reading of Li Xianting shows an attempt to define a general tendency which was related to the development of the situation in China. His notes specifically focused on the art development after 1989, which was a period of transitions in China, both in the social political scene and in the art world.

Among the artists observed by Li Xianting as presenting cynical realism, Yue Minjun has to be noted in particular to affirm Li Xianting's analysis. His works are the most obvious in showing cynical realism. Yue Minjun's works which present figures of people laughing altogether, strongly reflect cynicism. He seems to illustrate a kind of pathetic hypocrisy in which there is a uniformity of progressive behaviour happens. There are force and power that are capable to construct this terrible pathetic hypocrisy.

Yue Minjun's works - which are mostly paintings - reflect a social manipulation that involves intimidation. The reality offered by Yue Minjun does not need to be read as a reality which only happens in China under the communist regime. The social manipulation displayed by Yue Minjun is happening everywhere in the world. Such manipulations show a red line that is speaking on behalf of the society, such as "to achieve the society's goals', or "to defend the identity of the people". This act of representing the society becomes a justification to do an intimidation.

Through his paintings Yue Minjun shows that violence does not only take form in authoritarianism which represses freedom and democracy. He wants to emphasize that violence also exists behind social manipulation which he views as bringing out a uniformity of behaviour that indicates pathetic hypocrisy. This violence is concealed and even invisible, done coldheartedly (by laughing) and discreetly.

Researches on social psychology give evidence that the main source of mass violence is often the act of behaviour uniformity. This uniformity is based on chauvinistic nationalism, religious fanaticism and ethnic identity which are responsible in raising out racism. The cause of this violence is a defense shield of ideology and social order. This justification is found to be started from family education, precisely when hatred behind chauvinistic nationalism, religious fanaticism and ethnic identity are indoctrinated into children.

On the surface, Yue Minjun's paintings show a more humouristic sense of cynicism. He appears to describe the comical outcome which happens in the behaviour uniformity. Yet, behind this cynicism there is a bitter restlessness. The uniformity of behaviour can lead to create war, terrorism which are more cruel than repressive politics.

Jim Supangkat

Born on 1962 in Daqing, Hei Long Jiang, China.
Studied at Hebei Normal University, China (BFA; 1985).

SELECTED SOLO EXHIBITIONS
2000 "Red Ocean - YUEMINJUN", Chinese Contemporary, London, England.
2002 "YueMinJun-Soaking In Silly Laughter, Art Singapore 2002", Soobin Art Gallery, Singapore; "Handling", Sifang Arts Centre, Beijing.
2003 "YueMinJun", Meile Gallery, Switzerland.

SELECTED GROUP EXHIBITIONS
1998 "4696/1998 : Contemporary Art from China", Art Beatus Gallery, Vancouver, Canada; Lehmann Maupin Gallery, New York.
1999 "Open Boundary" d'APERTutto, the 48th Venice Biennial, Italy.
2000 "Portraits of Chinese Contemporaries", The Culture Centre of Francois Mitterand, France.
2001 "Towards a New Image - Twenty Years of Contemporary Chinese Painting", National Art Museum, Beijing; Shanghai Art Museum, Shanghai; Sichuan Art Museum, Chendu; Guangdong Art Museum, Guangzhou.
2002 Guangzhou Triennial, Guangdong Art Museum, China; "Chinese Contemporary Art", Rekjavik Art Museum, Icelands.

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