中国青年艺术家——新生势力
YOUNG CHINESE ARTISTS
本书由世界知名的慕尼黑艺术出版商PRESTEL (www.prestel.com)赞助并将于2008年夏末在全世界范围内发行。
这本书将采用照片、图画和录像资料等媒体手段来向广大读者介绍27名中国“70后”的新生
代艺术家和他们的作品（他们出生于1975-1981年这一时期）。书中针对每名艺术家都有一个文字介绍、其作品展示以及相应的访谈记录。
我们很高兴地通知您，您和您的作品将被记录到该书中。
关于本书编辑/记者
该书将由经验丰富的记者所组成的国际团队来完成。
编辑：Xenia Piech（生于1975年）
她是艺术评论家与研究中国当代艺术的专家，目前在北京工作，并为《艺术》杂志和《亚
艺术》杂志供稿。
编辑：Cordelia Steiner （生于1981年）/ Christoph Noe （生于1976年）他们于2005年成立了THE MINISTRY OF ART工作室（ www.theministryofart.com ），为中国“70后”青年艺术家开拓海外市场提供帮助。
The survey and coverage of the post-1975 generation of Chinese artists has long been a specific global requirement. The artists are importantly viewed as being broadly representative rather than being selected as being in any way the best artists of their generation. The editors have each a solid foundation of experience of contemporary art in China. Both Noe and Steiner were founder and co-founder of the so-called ‘Ministry of Art’ as a platform for the independent promotion of young Chinese artists. Xenia Piech is a Beijing-based Sinologist and art historian again specialising in contemporary Chinese Art, and is the China Desk Editor for Art Asia Pacific. The 17 authors of articles also included are drawn from a wide range of individuals with close experience of the creative surge that has occurred in China in the past decade or so. The Editors claim that notwithstanding the growth in Video, Multi-media, and Installation Art, painting is still very much the “driving force in the contemporary art scene”. Accordingly the selections made broadly mirror the variety of media work, in video, photography, animation, performance, installation, sculpture, and graphic arts.
From Observation To Animation
Wu Junyong can be considered as one of the most famous Flash Art practitioners in China, His work is inclined towards self-entertainment and sees New Media art as a tool to liberate artistic concepts. It is this idea that he uses in his creation as it allows the boundaries of art to be extended into new domains. For Wu Junyong, New Media provides the ability to quickly put into practice a person¡¯s many different ideas. His artistic principles are very individualistic as he almost never predicts the outcome of his work and tends to work in a very random way, sometimes thinking about what he wants to do as he is doing it, and sometimes simply doing it while thinking about it.
To date, Waif Us Rich realized in 2005 is Wu Junyong is most important work. The work has its roots in the Internet culture. Surfing on the web he encountered the song “The Day That I’m Rolling With Money” by Zhou Xixi. The song moved and affected him because it echoed his own taste and thus inspired him to create this work. Wait Us Rich – made in Flash MV – uses a large red background and Zhou Xixi’s powerful rock song to attack the viewer’s visual and aural senses. A naked man with a flashing dollar sign on his head is sitting in the middle of the screen. With the rise and tall of the music, social issues such as the New Rich, extravagance, inflation, and the pursuit of blatant materialism are parodied as absurd phenomena. The naked man lifts his bum up in the air and sprays out an endless stream of paper money. At the same time a row of headless men in western suits parade across the screen with briefcases located where their heads should be. A little bald man in black clothing drives a black Rolls Royce whose wheels are replaced by feet, thus seemingly walking across the screen and pulling a limousine behind. With this work Wu Junyong addresses many much discussed social topics and shows an innate understanding of human nature. Wait Us Rich is on the one hand critical of society, and on the other full of entertainment; it is satirical and at the same time funny. It builds a perceptual world that is based upon the vulgar and shallow world of humanity, being both a mirror held up to reality and the vulgar world of one person’s imagination.
An important part of contemporary Chinese culture is the love of idols and entertainment. In this cultural context, Wu Junyong ¡s work tries to create a world based on bizarre morals enveloped in the crazy atmosphere of a game that is built on the tedium and joy of collective absurdity. Undeniably, contemporary American and Japanese cartoons have had a large effect on Chinese aesthetics. Wu Junyong believes that the affects of today is culture are felt in every aspect of life, and his work is filled with these influences. The images in his works are largely based on traditional illustrated books for the lower classes as well as folk art. Parade (2006), for example, was influenced by folk histories, and the Opera series – Opera L Opera II, and Opera III – realized between 2006 and 2007, is based on old communal stage performances. In this animation work Wu Junyong satirically expresses his observations on politics by making politicians perform on a stage.
Wu Junyong likes things that are funny and full of knowledge. His aesthetic principals are based in normal culture, but his work often reflects a less than ordinary meaning.
By Huang Du