| Yue Minjun's paintings offer a light-hearted | | | | collectivism? Does his work indicate |
| approach to philosophical enquiry and | | | | self-identification that represents the pressing of |
| contemplation of existence. Drawing connotations | | | | the self-identity into a collective existence? Of the |
| to the disparate images of the Laughing Buddha | | | | many questions that arise, this is The mose basic: |
| and the inane gap toothed grin of Alfred E. | | | | Can the meaning of Yue Minjun's self-portraits be |
| Newman, Yue's self-portraits have been describe | | | | categorized as auratic or post-auratic Within the |
| by theorist Li Xianting as "a self-ironic response to | | | | development of modern art, the search for reality |
| the spiritual vacuum and folly of modern-day | | | | through representation has been fully deter-mined |
| China. The Paintings, sculptures and installations of | | | | by the relationship between the individual absolute |
| Yue Minjun always feature uniform laughing faces. | | | | and reality. Yue subverts the grandiose aura of |
| And if these laughing faces are observed | | | | art history through his adaptation of pop |
| carefully, it will be noticed that these faces are | | | | aesthetics. |
| the face of Yue Minjun. | | | | Selected Exhibitions- |
| The acidic tones and commercialized vacuity of | | | | 2004 |
| his works are used to underscore the insincerity | | | | - Yue Minjun: Sculptures And Paintings, Schoeni |
| of his figures' mirth. As both antagonists and | | | | Art Gallery, Hong Kong |
| anti-heroes, Yue's hysterical cohorts equally bully | | | | 2003 |
| the viewer and stand as subjects of ridicule. Using | | | | - Yue Minjun: Beijing Ironicals, Prüss & Ochs |
| laughter as a denotation of violence and | | | | Gallery, Berlin, Germany |
| vulnerability, Yue's paintings balance a zeitgeist of | | | | - Yue Minjun, Meile Gallery, Switzerland |
| modern day anxiety with an Eastern philosophical | | | | 2002 |
| ethos, positing the response to the true nature of | | | | - Soaking In Silly Laughter: One Of Art Singapore |
| reality as an endless cynical guffaw.Yue Minjun | | | | 2002, Soobin Art Gallery, Singapore |
| presents various realities that emerge as the | | | | - Yue Minjun: Handling, One World Art Center, |
| background behind the laughing visages. These | | | | China |
| realities emerge through various easy to | | | | 2000 |
| recognize symbols, metaphors and signs, or | | | | - Red Ocean: Yue Minjun, Chinese Contemporary, |
| through depictions of daily life. The laughing faces | | | | London, Uk |
| and the representations of reality in Yue Minjun's | | | | Conclusions: |
| works are closely related. And this relationship | | | | Yue Minjun's paintings offer a light-hearted |
| shows Yue Minjun's fairly easy to read cynicism in | | | | approach to philosophical enquiry and |
| confrontation with reality. | | | | contemplation of existence. The laughing faces |
| Can the works of Yue Minjun be said to be | | | | and the representations of reality in Yue Minjun's |
| self-portraits? Does his artwork present any | | | | works are closely related |
| insight into the conflict between individuality and | | | | What to Do Next... |