| The Chinese contemporary art was being presenting a pluralistic numerous and com plicated situation since the1990s, along with the further deepening of reform and openin g up, high-speed operation of the economy. Various avant-garde art and media experimen t was flourishing everywhere under the impact of the market. In1989, the "modern art ex hibition" was held in the China Art Museum which ended the simple reference and imitat ion of western modernism after the "85art trendy". In1990s, the artists began to return t o the local community, concerned about China’s current reality, trying to show and discus s survival situation, the relationship between the individual and history, reality and the in dividual, between the individual and the self-consciousness and began actively involved i n social issues in contemporary China. A group of local artists of international reputation was being emerged in China during this period. The artists representatives included:Zha ng Xiaogang, Fang Lijun, Yue Minjun, Zeng Fanzhi and so on. These artists were invar iably focusing on the creation of the portrait as a theme in their works, and used the meth od of confession to approach to performance, confession mentioned here, it was not a we ak confession, but the right and will of alternative form of expression, it was one kind of effeminate gesture, while attempting to achieve through self-digestion of the original rul es of order, deconstruction, and from which to build a new self and get a dominant force. The Chinese artists broke the limitations and trampling on the individual’s rights discours e by the use of the confessional style portrait. In the thinking and creation of cultural sym bols, they were combing their cultural context, integrating various resources in the curren t system and integration into the global rules process, seeking self-development in order t o build a series of line with the development of the times, more reasonable, more and mor e equitable values and cultural identity. |
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