“IDOL” 1979
NO
WOOD
57x30x15
Collection of the artist
Exhibited:
Asia Society Hong Kong (May 15 – September 1, 2013).
“Blooming in the Shadows” China Institute Gallery New York (September 15 – December 11, 2011).
“Wang Keping, Works from 1979-2006” organized by He Xiangning Art Museum, Shenzhen, China (Oct 25th until Nov 23rd, 2008).
National Art Gallery, Beijing (August, 1980)
“The Stars Outdoor Art Exhibition” Beijing (27 September, 1979)
Born in Beijing, China in 1949, Wang Keping became one among the most influential modern-day Chinese. He has been a provocative artist during the late 1970s and the 1980s, as he called for protests that fight against suppression of freedom and democracy. The Idol was his sculptor that resembled Mao Zedong, who had worked towards elevating himself in the political area. In contrast, he found ways in preventing liberal writers and artist from presenting their visions about the future of their country. Presently, Wang Keping is still working and resides currently in Paris, France. He engages in writing scripts for Chinese television. His artistry was also tried when he became a member of the Red Guard, which was an acting group that was very active during the 1966-76 Cultural Revolution. The Chinese Cultural Revolution occurred during the leadership of Mao Zedong, whose communist perspective made him dictate that any work of art must be made to serve the state. He implemented laws that determine the things that must be painted and those that are prohibited from being translated into art.
While Wang tried to impart his skills in writing plays, his artistic inclination was most profound wood carving which he found as the main medium for his artistry Wang Keping is known widely as a member of the originators of the ‘Stars’ Arts group (Xingxing), which they started in 1979 following a post-cultural revolution. The Stars group became prominent for their demand towards ‘democracy and artistic freedom’. The artist who found themselves muffled for more than three decades worked towards organizing an exhibiton that help disrupt the Communist orthodoxy. The members of the Stars Art Group advocated to have artistic freedom, since the communist ideology in the country had prevented them from freely expressing their freedom to use their artistic skills. Consequently, they were permitted to hold two exhibitions of their art works in public, and while most members of the “The Stars” left China during that time, this did not hinder their exhibit from attracting thousands of people. The majority of the art works exhibited by the Keping’s group comprised of wooden sculptures, prints and paintings. A closer examination showed that they are clearly made in an unsophisticated way. They are in contrast to the Soviet’s standards which is more focused on implementing socialist realism in China.
Many people believed that Wang’s masterpiece, the controversial Idol which he completed in 1979 was inspired by his fascination with the “Theater of the Absurd”. A fascinating fact about this work is that the wood, which he first selected for this work was used rarely in official sculpture. Wang’s completion of a piece of art is generally guided by the combination of better materials and outstanding artistry, rather than a specific ideology.
The appeal of Idol(1979) is attributed to the cleverness by which the work slightly bear a resemblance to Chairman Mao, with its wide forehead and a wonky eye. While the sculpture does not have a direct similarity with Mao, most viewers can readily see the similarity by comparing two prominent elements which are the Communist star and the heavy cheeks. The fearlessness of Wang in working towards the creation of intrepid artwork points out to social change. This confirmed that the young artists of China during that time were open about the idea of art exploration through the use of different mediums in expressing their suppressed views. Further, the selection of a name leads the sculpture to direct attention to the communist rule, and religious superstitions. The objective of the sculpture was the unmasking of the godlike image of Mao. He continued to be Communist symbol, and one who commands worship, but the sculpture deserves some questioning.
Chinese political propaganda was immediately noted when the audience instantly recognized the likeness of the sculpture with that of Mao. The reason why Mao became an integral part of everyday Chinese life was attributed to the repetition of his image, which eventually intruded into peoples unconscious. Further, the process of linking the sculpture with Mao shows the sensibility of the Chinese towards propaganda. By comparing frictional elements, that is, the appearance of a Buddha which signifies dignity, and the facial look suggesting a comic mood leads to absurdity
Consequently, the sculpture proves the vanity that exists in the cult’s object, which leads in probing the importance of these idols. The existence of uncertainty in the signs, makes the viewer become aware of the propaganda, that aims to fit in the signs from diverse and contrasting realms. Wang’s works were geared towards criticizing the fanatical worship of idols and the use of propaganda throughout the Cultural Revolution. His act was specifically pointed to how the image of Mao represents the reverse of autonomy. Consequently, he demands for the liberation of each man, whose basic human right includes the right to feel reserved and doubtful towards authority.
BIBLIOGRAPHY:
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"China Before Avant-Garde On Sotheby's Blog". Sothebys.com. N.p., 2017. Web. 24 Jan. 2017.
Gladston, Paul. 2013. Avant-Garde' Art Groups In China, 1979-1989. 1st ed. Bristol: Intellect.
Hendrikse, Cees and Thomas J Berghuis. 2008. Writing On The Wall. 1st ed. [Groningen]: Groninger Museum.
Lao, Song. "Wang, Keping (1949-)." In Biographical Dictionary of the People's Republic of China, by Yuwu Song. McFarland, 2013. https://ezproxy.sothebysinstitute.com/login?url=http://search.credoreference.com/content/entry/mcfpeoples/wang_keping_1949/0
Li, Xianting, and “Confessions of a China Avant-Garde Curator,” in Contemporary Chinese Art: Primary Documents, ed. Wu Hung. (New York: Museum of Modern Art, 2010), and p11.
Lieberthal, Kenneth, Cheng Li, and Keping Yu. 2014. China's Political Development. 1st ed. Washington, D.C.: Brookings Institution Press.
Schoenholz Bee, Harriet. 1999. 350 Works From The Museum Of Modern Art New York. 1st Ed. New York: The Museum of Modern Art.
