| Fang Lijun was born on 1963 Born in Handan, | | | | is overwhelming. |
| Hebei province, PR China. The bald headed youth | | | | The exhibition of their works at the China National |
| which first appeared in the artist’s paintings in | | | | Gallery was the culmination of that decade and |
| the early 1990s has become Fang Lijun’s | | | | signalled to the artists that they had been |
| characteristic figure and has been widely | | | | recognised. The dramatic closure of the exhibition |
| interpreted as the symbol of disillusion, mockery | | | | soon after its opening marked the destruction of |
| and rebellion in present Chinese society. Later | | | | those goals. |
| series include the water series, dreamlike works | | | | Selected Exhibitions- |
| of swimmers, and gigantic, multi-panel, woodblock | | | | 2006 |
| prints. | | | | • Kupferstichkabinett Staatliche Museen zu |
| Fang Lijun is the leading protagonist of Cynical | | | | Berlin, Germany |
| Realism, the major movement of the post-1989 | | | | 2005 |
| era in contemporary Chinese art. Cynical Realism, | | | | • National Galerie / China Art Museum,Beijing, |
| an urban based movement, developed in the | | | | China |
| aftermath of the events of 1989 which included | | | | Art Cologne, Germany |
| not only the demonstrations at Tiananmen Square | | | | 2004 |
| but the closure earlier that year of the “China | | | | • Fang Lijun, Leben Ist Jetzt, Alexander Ochs |
| Avant Garde” exhibition at the China National | | | | Galleries Berlin,Beijing,Berlin,Germany |
| Gallery in Beijing by the authorities. Fang’s | | | | 2002 |
| monumental sized prints revive the ancient Asian | | | | • Fang Lijun, Between Beijing & Dali,Woodcuts |
| practice of woodblock printing -- a complicated | | | | & Paintings 1989 - 2002,Ludwig Forum for |
| and exacting process of carving a | | | | InternationaleKunst Aachen |
| ‘negative’ image into a panel, coating the | | | | 2001 |
| surface in ink, and impressing the image onto | | | | • Fang lijun, Asian Fine Art, Berlin |
| paper; each different colour and tone requires a | | | | • Prüss + Ochs Gallery Germany |
| separate plate and order of printing. Due to their | | | | 1998 |
| immense scale, Fang’s images are composed | | | | • Fang Lijun, Max Protetch Gallery, New York |
| on several adjoined scrolls, Thematically, each of | | | | • From Beijing to Amsterdam and |
| these prints describe the plight of the individual | | | | Back,Stedelijk Museum/Galerie Serieuse |
| against the ‘mass’, creating a spiritual | | | | Zaken,Amsterdam |
| contemplation of solitude the quest for personal | | | | 1996 |
| probity in the face of adversity. | | | | • Fang Lijun: Human Images in an Uncertain |
| Fang’s painting 30th Mary evokes these same | | | | Age, The Japan Foundation Asia Center,Tokyo |
| sentiments with a humorous effect. Reminiscent | | | | • Fang Lijun, Galerie Bellefroid, Paris |
| of European church ceiling paintings, Fang portrays | | | | • Fang Lijun, Galerie Serieuse Zaken, |
| an order of ascendancy of same-same kewpie | | | | Amsterdam |
| figures, each based on his own image. one of the | | | | Conclusions: |
| most famous images of contemporary Chinese | | | | Fang Lijun is the leading protagonist of Cynical |
| art is the Fang Lijun painting owned by the Ludwig | | | | Realism, the major movement of the post-1989 |
| Museum, Cologne, Series 2 - Number 2, 1992. The | | | | era in contemporary Chinese art. Fang Lijun |
| main figure, a friend of the artist, could be | | | | exhibited his works at the China National Gallery |
| yawning or yelling while the mute, menacing | | | | which was the culmination of that decade and |
| figures in the background bring to mind mindless, | | | | signalled to the artists that they had been |
| manipulated masses. The contrast between the | | | | recognised at Chinese art circles. |
| strong individuality of the main figure and the | | | | What to Do Next... |
| dazed conformity of the four background figures | | | | |