Chen Yufei, Ma Baozhong October 22 – November 19, 2013 National Chiao Tung University Art Center, Hsinchu
Chen Yufei, Hollow Man, 2012
Chen Yufei, Hurt, 2012
Chen Yufei, Insomnia, 2011
Chen Yufei, Fake Flowers, 2010
Chen Yufei, As id the Future is Unimaginable 3, 2010
Ma Baozhong, Criss-Cross: A Girl’s Dream No. 1, 2013
Ma Baozhong, Criss-Cross: A Girl’s Dream No. 4, 2013
Ma Baozhong, Ullrich Baez, 2012
Ma Baozhong, Transaction No. 1, 2012
Ma Baozhong, Transaction No. 3, 2013
In any post-modern society, especially in China today, one cannot help but feel somewhat apathetic or emotionally detached from the larger society. With the advancement of free press, mainstream media, and also social media, social problems have become more apparent to the individual. Also, individuals are less burdened with social or political restrain on their thoughts and beliefs. However, as some individuals dwell and reflect more freely upon their surrounding environments, they become less and less confident in their society. As a self-defense mechanism, these individuals, either consciously or unconsciously, are forced to emotionally detach themselves from the society. Thus, they feel a sense of dislocation; being estranged by their own environment.
From a brief job venture into Shenzhen in 1987, Chen Yufei felt the full force of China’s economic reform and transformation, as well as all of its social ramifications. Chen observed as the lives of those around him became absorbed by the sudden influx of capital. As discrepancies of wealth and power skyrocketed, lower echelons of society became prone to exploitation. While Chen himself is an intellectual, his sympathies lay with the everyday people. Unable to confront the social problems directly, he withdraws himself in becoming a passive observer through his art, with his ultimate subject matter being the common hardships of the lives known to him.
With China’s rise into global politics since the 1980s, global humanitarian issues have been brought to the attention of many keen Chinese observers, one of which is Ma Baozhong. Intrigued and genuinely concerned with contemporary social events, Ma uses his art as vehicles of reflection and contemplation, as well as commentary and critique. However, in his critique, Ma consciously removes himself from any obvious viewpoints, and seemly adopts the position of the neutral observer. He is forced to do so, in order not to further upset the tense political atmosphere surrounding him. Yet, his compositions are so powerful and cleverly constructed, the learned art viewer can carefully sense Ma’s commentary and critique.
