Liu Xiaodong (né en 1963) - photo 1
Liu Xiaodong (né en 1963) - photo 2

Liu Xiaodong (né en 1963)

Lot 101
21.09.2022 15:00UTC +01:00
Classic
Sold
€ 403 200
AuctioneerCHRISTIE'S
Event locationFrance, Paris
Archive
The auction is completed. No bids can be placed anymore.
Archive
ID 813830
Lot 101 | Liu Xiaodong (né en 1963)
Estimate value
€ 300 000 – 500 000
Liu Xiaodong (né en 1963)

A Dying Rabbit and Nothing to do Men No. 2

signé en chinois et daté ‘2001’ (en bas à gauche); signé en pinyin et daté '2001' (au dos)

huile sur toile

200 x 200 cm.

Peint en 2001.



signed in Chinese and dated ‘2001’ (lower left); signed in Pinyin and dated '2001' (on the reverse)

oil on canvas

78 3/4 x 78 3/4 in.

Painted in 2001.





Provenance

Galerie Loft, Paris

Acquis auprès de celle-ci en 2003





Literature

MAP BOOK PUBLISHERS, Red Flag Collection Liu Xiaodong, Hong Kong, China, 2006 (illustré p. 86).



Special notice


This item will be transferred to an offsite warehouse after the sale. Please refer to department for information about storage charges and collection
details.



Post lot text

« Dans le monde d'aujourd'hui, il y a des conflits et des contradictions partout. C'est presque le devoir d'un artiste de raconter, de dépeindre les conflits dans le monde ». - Liu Xiaodong

"In today’s world there are conflicts and contradictions everywhere. It’s almost an artist’s duty to narrate, to depict the conflicts in the world.” - Liu Xiaodong
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« C'est en véritable ethnologue que Liu Xiaodong arpente le monde et les communautés qu'il aborde, capturant à chaque fois des moments de grâce [...] Sa production, rare, fonctionne par séries, chacune étant articulée autour d'une problématique sociétale ». - Jérôme Sans

“As a true ethnologist, Liu Xiaodong surveys the world and the communities he approaches, capturing moments of grace [...] His rare production functions in series, each one articulated around a societal issue.” - Jérôme Sans


Liu Xiaodong est une figure clé du nouveau réalisme chinois, parfois appelé néo-réalisme. Par les sujets qu’il aborde - migrations de populations, crises environnementales et bouleversements économiques - Liu Xiaodong fait opposition au style institutionnel et idéologique du réalisme social, tel qu’il fut promulgué par l’académie centrale des Beaux-Arts de Beijing, où paradoxalement il enseigne depuis 1995.

C’est à travers l’absence de tout message social, politique et économique dans les sujets représentés, ainsi qu’à travers la touche libre et expressive du peintre, que s’opère cette opposition. Les peintres néo-réalistes de la fin du millénaire peignent la réalité la plus banale telle qu’elle leur apparaît : fragmentée et affranchie de tout filtre idéologique. Malgré son émancipation de tout réalisme institutionnel, la démarche de l’artiste, où il observe longuement et minutieusement la thématique choisie sur le terrain, le rapproche du cinéma néo-réaliste italien, tandis que son rapport direct et franc à ses modèles, figés dans leur réalité quotidienne, rappelle les œuvres d’August Sander et Walker Evans.

Le sujet du tableau, dans sa représentation journalistique d’une classe sociale marginalisée en Chine, ici les sans-emplois, est typique du peintre et du mouvement artistique auquel il appartient. Le sentiment de désœuvrement qui émane des figures est aussi caractéristique ; Song Yonghong, un autre néo-réaliste chinois, décrit ainsi l’importance de l’ennui dans la représentation objective de notre existence : « Que ce soit dans la vie ou dans l'art, la réalité ne nous laisse que des fragments aléatoires. [...] Ainsi, l'ennui devient la perception la plus vraie de notre état d'existence actuel ».

Liu Xiaodong is a key figure of new Chinese realism, sometimes called neo-realism. Through the subjects he tackles —population migrations, environmental crises and economic upheavals— Liu Xiaodong opposes the institutional and ideological style of social realism, as promulgated by the Central Academy of Fine Arts in Beijing, where, paradoxically, he has taught since 1995.

It is through the absence of any social, political and economic message in the subjects represented, as well as through the painter's free and expressive touch, that this opposition operates. The neo-realist painters at the end of the millennium painted the most banal reality as it appeared to them: fragmented and free of any ideological filter.
Despite his emancipation from institutional realism, the artist's approach, in which he observes the chosen theme in the field at length and in detail, brings him closer to Italian neo-realist cinema, while his direct and frank relationship with his models, frozen in their everyday reality, recalls the works of August Sander and Walker Evans.

The subject of the painting, in its journalistic depiction of a marginalised social class in China, in this case, the unemployed, is typical of the painter and the artistic movement to which he belongs. The feeling of idleness that emanates from the figures is also characteristic; Song Yonghong, another Chinese neo-realist, describes the importance of boredom in the objective representation of our existence: “Whether in life or in art, reality only leaves us with random fragments. [...] Thus, boredom becomes the truest perception of our current state of existence.”


Applied technique:Oil on canvas
Art style:Contemporary art
Place of origin:China, Eastern Asia, Asia
Auction house category:Paintings
Address of auction CHRISTIE'S
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