[Inside-Out Exhibition] Participating Artists – Salon, Salon: Fine Art Practices from 1972 to 1982 in Profile – A Beijing Perspective

 

Salon, Salon: Fine Art Practices from 1972 to 1982 in Profile – A Beijing Perspective

Participating Artists

 

Salon, Salon focuses on a ten-year period from 1972 after Lin Biao’s botched coup against Mao and airplane crash in 1971 to 1982, marked by The Summary of the Fifth National Trial Conference on the “Two Cases” issued by the Central Government. We consider this decade as both a critical transition in China’s political history, and a relatively cohesive artistic period. By studying the detailed features and multi-layered fine art practices within this period, we reconsider the mentality and approaches of artists in a period of dramatic political changes and the issue of judgments in existing historical narratives of art.

 

This exhibition inquires into the artistic practices involving three generations of artists active in Beijing. Specifically, we single out several art groups and individual artists for our research and presentation, including: 1) Painters trained before the Liberation War (1945-1949); 2) Painters trained after the founding of People’s Republic of China (1949) and before the Cultural Revolution (1966-1976); 3) Amateurish painters appearing before and during the Cultural Revolution; 4) Young artists, writers and poets who graduated and became active in the late Cultural Revolution or after.

 

Participating artists:

 

Bao Kun (1953-), Bo Yun (Li Yongcun, 1948-), Cao Dali (1934-), Di Cangyuan (1926-2003), Feng Guodong (1948-2005), Gao Zipeng (1976-), Gu Yuan (1919-1996), Guan Liang (1900-1986), Huang Rui (1952-), Kang Wanhua (1944-), Li Huaji (1931-), Li Shan (1952-), Li Shuang (1957-), Li Tian (1950-), Li Xiaobin (1955-), Li Xiushi (1933-), Li Yingjie (1947-), Lin Fengmian (1900-1991), Ling Fei (1953-), Liu Haisu (1896-1994), Liu Huanzhang (1930-), Liu Xiangcheng (1951-), Luo Erchun (1930-2015), Ma Desheng (1952-), Ma Kelu (1954-), Murray Lerner (1927-), Pang Jun (1936-), Pang Xunqin (1906-1985), Qin Yufen (1954-), Qiu Di (1906-1958), Quan Zhenghuan (1932-2009), Ren Shulin (1954-), Sha Qi (1914-2005), Sun Qingqing (1958-), Tang Pinggang (1955-), Wang Keping (1949-), Wang Henei (1912-2000), Wang Lu (1936-), Wang Miao (1951-), Wei Hai (1952-), Wei Qimei (1923-2009), Wen Danqing (1954-), Wen Lipeng (1954-), Wu Dayu (1903-1988), Wu Guanzhong (1919—2010), Wu Meng (1980-), Wu Zuoren (1908-1997), Yan Li (1954-), Yan Wenliang (1893-1988), Yan Zhenduo (1940-), Yang Yushu (1944-), Ye Qianyu (1907-1995), Yuan Jia (1963-), Yuan Yunfu (1933-), Yuan Zuo (1957-), Zhang Ding (1917-2010), Zhang Wei (1952-), Zhao Wenliang (1937-), Zheng Zigang (1953-2013), Zheng Ziyan (1951-), Zhong Ming (1949-), Zhong Xingzuo (1955-), Zhou Bichu (1903-1995), Zhou Maiyou (1936-), Zhu Danian (1916-1995), Zhu Jinshi (1954-), Zhu Naizheng (1935-2013), Zhuang Yan (1915-2002).

 

Many of the participating artists were also involved in the Beijing Oil Painting Society (including the “Spring Festival Oil Painting Exhibition” preceding its formation), Men of the Same Generation (the Contemporaries Group), the No Name Group, the Stars, Friday Salon, April Photo Society and etc. from 1978 to 1979. Some artists included in this exhibition, were not involved in any art groups, also contributed to the narrative of the period with their special languages.

 

This exhibition includes artworks of some of the involved artists, made around the period from 1972 to 1982, as well as archival materials that outline the historical settings out of which their works and practice had emerged. It looks at the “internal exile” of artists and their practice under harsh political circumstances, considering how individual practitioners had explored, defined, oscillated or adjusted their personal standpoints confronted by the tension between art and politics.

 

On the eve of the opening, we would like to express our deepest gratitude towards the 68 artists presented in this exhibition, as well as to the artists, their family members, friends, collectors and institutions who have generously provided us with advice, and information in our research, and loaned artworks and archival materials to the exhibition. Special thanks to: An Su, Da Xueyun, Dai Pu, Feng Xi, Han Lihua, Han Xueye, Hao Jingban, Huang Guanyu, Jia Peng, Jia Wei, Karen Smith, Li Chen, Li Dajun, Li Yaochen, Lin Song, Liu Chan, Lu Zhengyuan, Michael Evans, Shen Chaohui, Wang Huangsheng, Wang Luyan, Wang Luxiang, Wang Shaoqiang, Wang Yiyi, Wu Hongliang, Zhang Qiang, Zhao Youhou, Zhu Lin, Zhuang Xiaolei; and the institutions: Boers-Li Gallery, Daipu Architects, Guangyu Space Art Center, Liu Haisu Art Museum, Wu Dayu Art Foundation, Wu Zuoren International Foundation of Fine Arts, CAFA Art Museum.