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Thank You for Your Love 1994

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Thank You for Your Love 1994 PAINTERS WITI–IOUT BORDERS 112 113 academically trained artists, particularly those the controversial aspects of what the artists are academy of art. The Bauhaus was destroyed and In 1994, Mark Tansey, moved by the who work with fairly anodyne subject matter— doing to disturb or subvert it. They see the critique, instead National Socialists started to rebuild the artwork of young Chinese painters beautiful women, for example, or nostalgic scenes while Westerners disregard it or don’t understand tradition of “the hero.” of an old Shanghai. But Liu Xiaodong is differ- the context from which it emerges. I suspect that I understood the history of twentieth-century who had recently arrived to New ent; he often works with dystopic Beijing scenes— in the ’80s and ’90s, when these artists arrived in art as not just the history of Cubism, abstract art, York, organized an exhibition of gritty city streets and displaced people. His paint- New York, some of them might have felt somewhat and Abstract Expressionism but also of totalitarian their work titled Transformations. ing skills are so good, it would be hard for Western frustrated, as many had already been highly rec- art, which was occurring in Spain and Italy as well. and Chinese audiences not to take note, but even ognized in China. That may have been discourag- Chinese and Tibetan art were proto-abstract geom- Over twenty years later, Tansey so, in general I’d say he’s not as widely recognized ing, but in some ways it was good because many etry. Abstract Expressionism couldn’t be popular and Peter Drake have co-curated in the West as he is in China. went back to China and did great things there. For [in China] because Chinese hieroglyphs are by con- PD Even though he’s represented by a powerful example, Ai Weiwei was more or less working in cept, by origin, the same as Abstract Expression- Figurative Diaspora, which American gallery, his audience is still mostly Chi- obscurity when he lived in New York in the ’80s. ism. That’s why Chinese artists themselves were presents paintings by five Chinese nese based. It wasn’t until he went back to China in the ’90s attracted by the realistic depiction of nature, and artists, three of whom participated JDB Yes, that’s my feeling. The big change in visi- that his career as an artist and instigator began to to poetry, and sometimes combined the two. That’s bility around these artists—at least in the last ten to take off. one way to understand why the tradition of realism in Transformations, alongside work fifteen years, and particularly for those who retain a VK When I came to the United States, I tried to was so popular and is still popular in China. by five Russian artists, all of whom closer connection to the Socialist Realist tradition— understand the echoes of the past, the realistic In Russia, there was a different reason for the create “unofficial,” subversive, non- is that Chinese audiences have grown significantly. and academic art in the West. In Russia during explosion of academic art. The height of Russian And now these audiences not only have the means the first years of the revolution an academic sys- art was during the end of nineteenth-century sym- state-sanctioned art, thus tracing to collect, they also understand the grammar and tem of education was destroyed as a bourgeois tra- bolism. It was famous, even in Europe. The idea of the influences of art across borders. the tradition. They see where it’s coming from. dition. It was rebuilt in the beginning of the ’30s. depicting another, imaginary world was reflected They respect the academic training and recognize Simultaneously, Germany established a totalitarian in the communist idea of building another world, a new world, an ideal society on this earth. It was ETER DRAKE Figurative Diaspora, at the and Russia responded to this. Our studio became PD Mark, I remember going to that show in your Previous spread: a great illusion, which ended tragically in Russia. Mark Tansey, Landscape, 1 New York Academy of Art in early 2018, a kind of meeting place. apartment and needing you to guide me on under- 1994, oil on canvas, 71 ⁄2 × It was a tragic lesson to all humanity because was in some ways motivated by the PD When you saw work by the Chinese artists, standing why Yu Hong’s work was progressive 144 inches (181.6 × 365.8 sometimes it’s very dangerous to turn a fairy tale Transformations exhibition that Mark did you immediately recognize traces of the edu- because when I saw it, I thought it was just pic- cm) © Mark Tansey into reality. Tansey put together back in 1994. It was cation that you had received in Russia? tures of women. There was nothing about it that Opposite (top): Chen PD Part of what you’re known for, especially hosted in his apartment and consisted VK Yes. Moscow represented a traditional West- struck me as progressive until you put it in the con- Danqing, Tears Flooding the when you were collaborating with Alexander, was Autumnal Field, 1976, oil on 5 1 of four Chinese Socialist Realist art- ern academy for China in the same way that Rome text of Socialist Realist work, and then suddenly it canvas, 64 ⁄8 × 92 ⁄2 inches an ironic repurposing of the grammar of Soviet ists: Liu Xiaodong, Chen Danqing, Yu did for Russian artists in the nineteenth century, felt extremely unusual but also refreshing, even (164 × 235 cm) © Chen Socialist Realism. That’s been a thread through Danqing Hong, and Ni Jun. In Figurative Dias- when Russian artists were moving to Rome to study potentially dangerous. your work—using this language, repurposing pora there is a notion that while a visual the Renaissance and Baroque periods. MT Her painting involved self-representation Opposite (bottom): tropes from the ’50s, from the film world, from illus- Komar and Melamid, PD language was marginalized in the United States Mark, were you and Vitaly friends at that with a sensitive exuberance that was well beyond AntiChrist (Glory to God), tration, from art history, and turning them on their and Western Europe, it was also migrating across point? the agenda of Socialist Realism. 1990–91, oil on canvas, 72 × heads. Mark, was that something you found in the 1 MARK TANSEY PD 54 ⁄8 inches (182.9 × 137.5 cultures, still being preserved to a degree in the Yes, we had met. I very much admired Xin, do you know if the Chinese artists were cm), Collection of Neil K. work by the Chinese artists? East. There, reanimated as propaganda, this lan- Komar and Melamid’s work and how they had puzzled by the American reactions to their work? Rector © Vitaly Komar and MT Danqing’s work in particular involved guage was kept alive. internalized critical content in the Socialist Real- I’ve heard that Chen Danqing was disappointed Alexander Melamid cross-cultural juxtaposing and repurposing of Vitaly, you were the one who originally intro- ist form. that the level of success he had achieved in China Left: images of different times. What the artists had in duced Mark to these artists, so maybe you can PD Were you ever in a studio of theirs at the time? was so different from what he was achieving in Yu Hong, Resolution, 2015, common was an emerging sense of self-reflection 7 acrylic on canvas, 70 ⁄8 × MT 3 explain how you first encountered their work. The first time I visited their studio was for one America. 78 ⁄4 inches (180 × 200 cm). and self-authorship. VITALY KOMAR At that time, Alexander Melamid and of the evening meetings Vitaly mentioned earlier. XW I wouldn’t even say he had an American Private Collection © Yu Hong PD But always with authenticity, right? They I published a call to artists in Artforum magazine. That’s where I first saw slides of Chen Danqing’s reception, because there was a lack of any main- Below: weren’t indulging in some of the notions of a bank- We asked for proposals of what to do with Soviet pictures and was introduced to him. stream recognition of these artists at the time, Ni Jun, China Central rupted culture that a lot of ’80s postmodern artists communist-era monuments or Socialist monu- PD Danqing was living in the States for about before contemporary Chinese art started appear- Television under were. Construction, 2008, oil on 3 3 ments to Vladimir Lenin and Joseph Stalin. Russia twenty years, wasn’t he? ing in major museum exhibitions in the 1990s and canvas, 17 ⁄4 × 17 ⁄4 inches MT There was a vitality that stood out against the started to destroy these monuments in the early XIN WANG He came in 1982. subsequently as an art-market phenomenon in (45 × 45 cm) © Ni Jun narrow presence of the ’80s commodity critique. I 1990s, after the collapse of the Soviet Union. Art- MT I remember a very striking painting by Dan- the mid-2000s. I don’t know what kind of feed- Following spread, left: don’t know how to put it simply. I noticed a qual- ists from countries including Germany, China, qing, of a field worker listening to a radio announce back they got from the Transformations exhibi- Liu Xiaodong, My Hometown, ity, a depth, a complexity in the work. I saw that in 2014, oil on linen, 30 × 38 the death of Chairman Mao. It struck me. tion because that was a more intimate crowd of inches (76.2 × 96.5 cm).
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