Lijun Fang

FANG LIJUN (Chinese, B. 1963) 2001.7.25 acrylic on canvas 180 x 79 cm. (71 x 31 in.) Painted in 2001 Max Protetch Gallery (now Meulesteen), New York, USA Acquired directly from the above by the present owner Hebei Education Press, Chinese Artists of Today: Fang Lijun, Hebei, China, 2006 (illustrated, p. 414). Culture and Art Publishing House, Fang Lijun, Beijing, China, 2010 (illustrated, p. 330). Fang Lijun started his career in the early 1990s, a significant period when a group of young artists were actively examining the result of the rise of contemporary art after the Cultural Revolution and searching for the real individual features. Both style and theme of Fang's work are extremely unique and clear, especially the image of bald figures which has been adapting for many years in his pieces and impresses the viewers with unforgettable memories, and turns out to be his individual art symbol with simple styles but remarkable implications. Fang's style has undergone several renovations from the bald crowds with intentional escape from the world to the dedicated swimmers searching for their souls deep inside the water, and later transforms into the depiction of mass public under the immense picture, such as 2001.7.25 (Lot 435) and others in the same series. Apart from the visual and language transformations, his own continuous emotional adjustment can also been seen in the picture, showing his view of the world changes from internal reflection to great compassion. The figures in 2001.7.25 have reddish orange skin which appears to be particularly brightening under the grayish blue sky. Color red normally represents festivity and auspiciousness in traditional Chinese cultures and it has since been politically associated with Communism. The reddish characters seemingly suggest that people have been molded into cognate identities of the same skin color under the evolution of mankind and racial integration. The purpose of any form of revolution is to overthrow old ways and look for space for developing new concepts. Figures in red undoubtedly represent this revolutionary mindset for the change of better environment. They are looking up into the sky and staring at a man on the top wearing checked shirt and holding a yellow flower. Their eyes show their desperation as if they were anticipating rain after drought. The few flowers floating above them seem to not present a sight of pleasure for them, leading viewers to contemplate that the glorious picture means little to them when their real pursuit is ultimate perfection and happiness. The image of a crowd raising flags and passionately shouting slogans generates a scene of enthusiasm filled with unlimited hope. Time, however, washes away past ideologies that once stood and replaces them with another system that fits to its times. For Fang, flower is a symbol for this utopian dream that existed and is now replaced by ideals of consumerism in contemporary China. Fang stated, 'The appearance of the flower is in fact so sudden, but it's mainly coming from life which is about the background of education. We have only been shown the good things since we were little while all the bad one have intentionally been covered up. Those things being concealed, however, give me the biggest crush.'

147 Fang Lijun b 1963 2001.1.9 signed in Chinese, dated 2001.1.9 and numbered 4/15 lower middle woodblock print on rice paper 244 x 122 cm S$ 40,000 - 60,000 US$ 32,000 - 48,000 Provenance Private Collection, Europe Sotheby's Contemporary Asian Art Hong Kong, 3 October 2011, Lot 1042 Exhibited China, Beijing, Today Art Museum, Fang Lijun, October, 2006, p. 63 (alternate edition exhibited) Russia, Moscow, We Are Your Future - Special Project in Moscow Biennale March, 2007, p. 41 Literature Fang Lijun, Hunan Fine Arts Publishing House, China, 2007, p. 9 and 114 Endlessness of Life: 25 Years Retrospect of Fang Lijun, Taipei Fine Arts Museum, Taiwan, 2009, p. 103 Fang Lijun, Culture And Art Publishing House, Beijing, China, 2010, p. 331

No.2 Artist FANG LIJUN (b.1963) Size 80×100cm Era 1997 Auction 2012 Spring Auction - Chinese Contemporary Art and Sculptures Lot.119 Material Oil on Canvas Signature Signed on the Reverse: Fang Linjun in Chinese, dated 1997 and titled No.2 Exposition With a certificate of authenticity from gallery PROVENANCE Galerie Serieuze Zaken / Rob Malasch, The Netherlands The 64 Movement in 1989 is a watershed in Chinese Modern Art history; the transformation in economy, society and politics has interacted with the thoughts and actions of artists. Viewing from the atmosphere then, Chinese art critic Li Xian Ting brought up the term “the cynical realism” in 1990 to reveal a new and contemporary creation style. The “Post 89” became a significant trademark in Chinese contemporary art history; the artists were rebellious and criticizing in reflecting and taunting the society and formed a new cultural strength. The representatives are – Fang Li Jun, Yue Min Jun, Wang Guang Yi, Zhang Xiao Gang, known as the Chinese contemporary art F4. “No.2” is Fang Li Jun’’s classic with using the theme “water”. The blue, clear water slowly flows to gently reveal a sense of leafing within the endless. Without direction nor target. The floating figurative objects might also be invisible. It is a metaphor of “a drop in the ocean” always discovering, searching and struggling; unable to escape its fate. With the diminishing of passion in the 80s came along the laidback and depressed 90s, there is a lack of belonging in social value and detached phenomena. People are lost and frustrated but still moved forward like the waters in the painting moving and creating ripples. Fang Li Jun’’s artwork did not come in vain rather he is trying to arise the viewers’’ self- awareness and self-reflection. Different individuals will have different images to reflect the heart. The artist’’s skills empowered a sense of peace and tranquility for the viewers to temporary sooth the emptiness and lonesome feeling. ”No.2” returned to the most natural and original emotions without rage and laughter. The artist utilized an interesting image to study the contemporary micro and macro, the artwork is indeed a masterpiece to keep. Estimate TWD 9,000,000 ~ 15,000,000 USD 300,600 ~ 501,000 HKD 2,340,000 ~ 3,900,000 Hammer Price TWD USD 0 HKD 0

Lot Description FANG LIJUN (Chinese, B. 1963) 1998.3.1 signed in Chinese (upper right); dated '1998.3.1'; signed in Chinese (on the reverse) oil on canvas 139 x 179 cm. (54 3/4 x 70 1/2 in.) Painted in 1998 Provenance Private Collection, Asia Literature Sichuan Fine Arts Publishing House, Collected Edition of Chinese Oil Painter Volume of Fang Lijun, Sichuan, China, 2006 (illustrated, p. 408). Lo Yinhua (ed.), Live like a Wild Dog: 1963-2008 Archival Documentation of Fang Lijun, Taipei Fine Arts Museum & Visual Art (She Jie Yi Shu) Publishing House, Taipei, Taiwan, 2009 (illustrated, p. 269). Lu Peng & Liu Chun (ed.), Fang Lijun: Chronology, Culture and Art Publishing House, 2010 (illustrated, p. 301). View Lot Notes › Fang Lijun is one of the most iconic and influential figures of contemporary Chinese art. The frustration and anguish that China's youth felt towards their suppressing environment found their ways out through Fang's rebellious yet ambiguous bald figures, which convey the unique state of mind of his generation. The art of Fang is infused a psychological complexity, nuanced, ironically subdued and sardonically frivolous, a response to the alienation and lack of direction felt by Fang and his generation in the early 1990s. 'I first drew water in an attempt to find a way similar to our living environment. Actually it is a choice of tool.' Fang's earliest works foregrounded his brooding, loutish hooligans. Soon, Fang shifts his focus, retaining the bald figures but placing them literally at sea.. Consistent with his earliest works, his concern still lies in the interaction of humans and the environment, and the simplicity of his titles, often market merely by the date, honor a sentiment at once romantic and tragic. The canvas 1998.3.1 simply describes the figure of a bald subject immersing itself in water, just half of his skull is shown on emerging above the water's surface. He doesn't show any of the athleticism of swimming, but appears more like a buoy floating in fixed position. There are no ripples on the water surface. Man and water becomes one in perfect tranquility, butmen and water equally share the same volatile nature. Both are subject to changes due to influences of external factors. Therefore, a superior state of mind is defined by the composure of a man in face of the turbulent world and his ability to calmly navigate himself through it without losing his inner peace. As Bai Juyi, the renowned poet of the Tang Dynasty, wrote in his Tribute to Li Shilang , "The ways of the world are as harsh as ever, And the right and wrong are not too far apart. Men never cease to fight in the heart Like the tides and waves that come and go What a rare man is thee? With a mind as clear as still water. How mercilessly the rains fall and the winds blow When morning comes, the roosters still crow." A state of mind as clear as still water has been the life-long goal pursued by Chinese scholars and philosophers, who see the changing states of water as the visualized psyche of men. The water portrayed by Fang is a vivid illustration of the right attitude to be adopted in contemporary Chinese society. If the bald figure channels the strong voice of rebels and displays a refusal to compromise, the water is a subtle symbol of self-improvement and encouragement. The bald figure and water are in perfect union to complete Fang's artistic lexicon. In Fang's own words, "I do not allow water to have boundaries. I do not allow my water to be trapped in a pool, with borders." Fang's seemingly cryptic comment explains why he attempts to cut down redundant details to preserve the simplicity of water in both view and essence. The symbolic meaning of water goes beyond objective reality and becomes a space of spiritual advancement. The figure in the painting seems to have attained a state of selflessness in deep meditation as soon as he closes his eyes. The water surrounding him is not a concrete material, but a prevalent concept, a mental reflection of the spiritual practitioner.

Lot Description FANG LIJUN (Chinese, B. 1963) 2002. 6. 1 signed in Chinese; dated '2002.6.1' (on the reverse) oil on canvas 270 x 120 cm. (106 1/4 x 47 1/4 in.) Painted in 2002 Provenance Hanart TZ Gallery, Hong Kong, China Acquired from the above by the present owner in 2004 Pre-Lot Text Property of an Important Private New York Collection Literature He Xiangning Art Museum & Hunan Fine Arts Publishing House, Image is Power: The Art of Wang Guangyi, Zhang Xiaogang and Fang Lijiun, Shenzhen Changsha, China, 2002 (illustrated, plate F-7, p. 109). Sichuan Fine Arts Publishing House, Collected Edition Of Chinese Oil Painter Volume of Fang Lijun, Sichuan, China, 2006 (illustrated, pp. 118-119). Hebei Education Press, Chinese Artists of Today: Fang Lijun, Hebei, China, 2006 (illustrated, p. 284). Lu Hong (ed.), China avant-garde Art 1979-2004, Hebei Art Publishing, Hebei, China, 2006 (illustrated, p. 379). Lo Yinhua (ed.), Live like a Wild Dog: 1963-2008 Archival Documentation of Fang Lijun, Taipei Fine Arts Museum & Visual Art (She Jie Yi Shu) Publishing House, Taipei, Taiwan, 2009 (illustrated, p. 290). Lu Peng & Liu Chun (ed.), Fang Lijun, Culture and Art Publishing House, 2010 (illustrated, p. 348). Exhibited Shenzhen, China, He Xiangning Art Museum, Image is Power, 2002. Jakarta, Indonesia, National Gallery, From China with Art, 2003. Hong Kong, China, Hong Kong Arts Centre, Fang Lijun, 20 December 2002- 20 January 2003. View Lot Notes › Fang Lijun is an artist whose emergence and growth accompanied the opening up of Chinese society in the 1990s. His works emphasize the pursuit of spiritual freedom and reflect upon the meaning of life in the contemporary society. At the same time, they question the condescending collective consciousness of the nation, and reveal the struggleof Fang's generation for individual autonomy and expression. His painting style is frank and direct, surpassing the persistence of realistic technique among the artists who went before him. With his personal interpretation on "beauty" and "ugliness", his style has had considerable impact in the development of a contemporary avant-garde Chinese art, opening up a refreshing new page for Chinese oil painting. The tragedy of the June 4th Incident in 1989 created a sense of unease in Chinese society. Artists who had enjoyed official support under the liberalization and opening up of the earlier part of the decade now faced new restrictions. Ironically, though, this new set of circumstances stimulated artists to search for new outlets and new styles in order to express themselves. The bald-headed figures of Fang Lijun that appeared in the late 1980s and early 1990s were the perfect idiom for this new age of ironic detachment and existential drift. The bald-headed image, in Fang's hands, is filled with contradictions - it represents the baldness of a criminal, prisoner or a soldier, and suggests a subversive if not threatening presence; at the same time, it evokes the baldness of monks, their denial of worldly materialism and pursuit of values that exceed the earthly realm; and in the contemporary era, the shaved head further suggests a hooligan, someone who self-consciously adopts an outsider status. Hence, the bald-headed figures of Fang are rich with meaning and associations; irrespective of whether they embody elements of the good or the evil, they are, to a certain extent, all characters out of the mainstream, and are to a certain degree, distant from the society. Fang Lijun to create a space beyond that of authoritative power, highlighting the revolutionary spirit inherent to his works. Humans are of course largely born without hair, and the baldness of a new-born baby further implies the beginning of life and all the expectations that birth entails. 2002.6.1 (Lot 2039) depict a bald-headed child, somehow preternaturally mature, riding on a large red peony floating still amidst the air. His face cheerfully looks down onto the packed group of bald-headed man in the bottom of the painting, who raise their heads and looks at the child earnestly and pleadingly at the child. Some raise their hands to catch the flowers that he distributes. With this work, Fang adopts a monumental vertical composition, in one that highlights the distances between the sky and the earth, emphasizing the child's nearly other worldly status above the others, giving him a sense of prestige and distinctiveness. The interaction between the child and the group of man evokes the religious paintings in the European Renaissance period (fig.1). In works such as these, a hierarchical composition reinforced Jesus status as savior and leader among men in symmetrical altar-styled composition. These compositions emphasized redemption on earth through the blessings and salvation from the Heaven. "For a young age, people would only show us good things, and tried to cover up everything negative; yet, what creates that biggest impact on me are all things that came beneath goodness." The extreme brightness and vibrant colours in 2002.6.1 psychologically evoke positive associations in the viewer. In terms of visual language, Fang blends in the characteristic of "Red, Bright and Shining" of the Cultural Revolution style (fig.2). The identity of the ruler is expanded indefinitely into a benevolent, almost Christ-like savior. However, history has shown demonstrated the bitter pills that have followed movements based on charismatic personalities and emotional excitement. Rulers dictates the destiny of the people, and they can offer redemption just as easily as they can bring pain and suffering. The duality of the role of the leader is suggested in Michelangelo's depiction of Jesus Christ in The Last Judgment (fig.3), where the fate of the believers and the sinners differ powerfully. Fang adopts this semi-religious language, but significantly undermines it, mocking the masses who become helplessly manipulated targets. With works like 2006.2.1, Fang investigates the near-religious worship of leaders in under any political movement; and is sympathetic towards the absolute suppression that has been cast upon the individuals. As such, his bald-headed figures have an important and inevitable link with the social background of contemporary China, as Fang himself states, "Although the image of a bald man as an individual is distinctive, yet as they appear as a collective, the individual personality will vanish. This is for me a strong and compelling reason. For a man like me being brought up against this cultural background, the feeling of one as being neglected and ignored as an individual within the society is an intense one." Here Fang takes his central motif of the hooligan and reshapes him to new conceptual ends. Baldness symbolizes those men with a blurred identity in such a political era, and the unified bright red skin also reinforces this tension. Set against a majestic snow-capped peak, the visual meaning of Fang's work is the exactly opposite of that of the propagandist paintings. He is not praising those in power, but is placing the hope for a better life in the hands of the people. He lets them roam around freely between heaven and earth, and receive the blessings given by nature to each individual. Fang uses his sensitivity as a contemporary artist to highlight the tensions and conflicts inherent to human nature and his immediate social environment, while also expressing his genuine concern for the fates of those caught up in these seemingly timeless and eternal struggles.