Female artist

Since the Eighth Five-Year Plan, compared with the weakness of feminism in terms of fewer participants and works, China's avant-garde art has almost formed a group with avant-garde standards in terms of concepts, language exploration and various new media experiments. This group includes Cui Xiuwen, Chen Qingqing, Chen Lingyang, Yu Hong, Xiang Jing, john young and others. The avant-garde and linguistic growth of women's art developed almost synchronously with the contemporary art in the 1990s, and each stage had its own excellent women's works and image style.

Although most female artists don't actually think they are engaged in feminist art, the artistic language and ideas of Cui Xiuwen, Yu Hong and Chen Lingyang are not entirely feminist art, and some female artists even have more rational artistic ideas than some male artists. However, the feminist features in the female theme, female consciousness and image texture that her works pay attention to are still suitable as a phenomenon framework and a highlighted group.

/kloc-The maturity of women's art in the 1990s first lies in the maturity of China women as a female group in the period of rapid social change in China, especially in large and medium-sized cities with great social and economic changes. A group of truly elite cultural women have emerged. They not only give full play to women's unique gender charm and wisdom with feminine characteristics, but also actively participate in social competition and language exploration as independent people, and have paid a lot of youth and hardships like men.

/kloc-the most outstanding progress of women's art since the 1990s is the unique pioneering exploration and self-transcendence in artistic language. The problem that most female artists actually think about and reveal their self-image is quite profound, and their artistic level is relatively different from that of male art since 1990. In fact, many women's arts are still concerned about their universal existence as a person or a woman in this era and society. Women are regarded as the way and channel to the universal theme because of their unique keen feeling and expressive force to this gender, instead of emphasizing the uniqueness of identity and the independence of gender language like many female arts in Europe and America. In fact, it is not surprising that the artistic language of China avant-garde women is precocious, which is related to the historical background that China has led the world women's liberation since 1949.

Since1990s, an outstanding progress in China's female art is self-salvation through language. Female artists are even more instinctive and pure than male artists in the motivation of language salvation. They focus on the theme of self-experience, the analysis of self-image and the fiction of self-language. This generation of female artists began to be truly creative in artistic language.

Cui Xiuwen's Video Toilet is a masterpiece of criticizing reality in the late 1990s. It publicizes women's peeping in nightclubs in the style of imitating documentaries, and reflects the self-dressing scene of young women who participated in the sex trade in metropolis during the social transformation period in China. Cui Xiuwen's images gradually transformed into the female images in fables in the later Three Realms series, showing the visual symbols of her social and post-ideological experiences.

Yu Hong's series Witness of Growth is an image narrative of women's self-growth history. The series of paintings that she presents year after year use a personal "epic" way, which makes a single painting have daily narrative power in the "epic" structure. Her latest painting series "Ordinary People" explores the existence of real images in imaginary scenes and the relationship between photography and painting.

The theme of He Chengyao's works in the late 1990s is the dialogue with Duchamp, which shows the reflection on female artistic gender identity. His Witness and Ninety-nine Needles around 2002 are about exploring the spiritual family history of self and exploring the female body. He Chengyao's photography and performance have a cruel visual style of feminism.

Chen Lingyang's "Flowers in December" series turned a more gender-specific female body part into a personalized vocabulary, and showed a kind of female self-presentation courage by beautifying menstrual blood. This pioneering attitude is also reflected in Nash's paintings about homosexual imagination. Nash's paintings introduce the theme of female homosexuality, and also show the beginning of a new generation of paintings visually imitating cartoons. In the late 1990s, john young's paintings explored the nothingness and sentimentality of a new generation of urban women under the cool visual representation, and discussed the influence of popular cultural images on the collective consciousness of female images on the theme. Xiang Jing's sculpture themes in recent years show a new generation of absurd fables in the materialistic era, and her realistic sculptures restore the language experiments of academic sculptures in image and color.

Chen Qingqing's clothing knitting series began to explore a female installation language in the late 1990s, especially the formal experiments on materials. Recently, she regarded the TV box as a virtual fantasy box for women, and she has great personal language strength. Her installation landscape series combines the symbolic images of prehistoric, political and female landscapes, which is very subtle in vision and penetrating in history.

China's contemporary art has made great achievements in1990s, but the achievements of women's art have not really attracted the attention of critics. Especially in the whole1990s, a group of high-level female artists rose, and their unique contribution to the contemporary artistic language in China was not really taken seriously. Compared with the success of outstanding male artists in190' s, outstanding female artists have not been paid enough attention by the system, but it also makes female artists appear more sincere and energetic in art.

This exhibition attempts to show and analyze the complex and dynamic female images of women in this era created by eight outstanding female artists in China since 1990, and their pioneering exploration in artistic language. The female images they contributed are brand-new in the history of visual art in China, and their artistic language is not inferior to that of international feminist art. ..

Female art transcends and liberates itself through language utopia, just like rebuilding a "language attic". In traditional culture, "boudoir" refers to a social representation of women's gender space. There is a saying of "boudoir" in China, and there is also a famous metaphor of "crazy woman in the attic" in European feminist literature and theory. By transcending from the attic to the language, China female art in1990s completed an important stage of self-liberation, which reflected that women really began to transcend their gender roles from the language level.