ZHU GUANG (China), Surikov Moscow State Academic Art Institute

The concept of "modern Chinese art" appeared in China in the late XIX-early XX centuries. It came from the West, was controversial then and still causes controversy among art historians. This is also reflected in the names of various auction exhibitions of works of contemporary Chinese art. For example, in mainland China, the definition of "oil painting and sculpture" prevails, in Hong Kong - "Chinese art of the XX century", and in Taiwan- "Western painting and sculpture created by the Chinese".

Meanwhile, in the West, which was introduced to modern Chinese art not so long ago, there is already a fairly clear definition: Chinese avant - garde art is extremely original, energetic and bright, and an unequivocal opinion: "Chinese" should be bought, they are growing rapidly in price. At the same time, the subjects of modern Chinese art in the West include oil paintings, sculptures, prints, photographs, installations, etc., which show an innovative avant-garde style that undermines traditional norms.

In September 2007, six of the ten most expensive paintings sold at auctions around the world were created by the current generation of Chinese artists. In October - two out of ten, and the works of artists Yue Minjun and Zeng Fanzhi collectors estimated more than a million dollars more expensive than paintings by American Andy Warhol and Claude Monet. "I think that the current generation of Chinese artists is the reincarnation of the French Impressionists. I have no other explanation for this incredible success, " one painting enthusiast from Singapore shared his impression.¹

It should be noted that Chinese artists began to master the non-traditional genre of oil painting in China only at the end of the XX century. ² Indeed, they were greatly influenced by expositions of foreign exhibitions, the opportunity to get acquainted with which appeared in the 1980s, and since the 1990s they have already opened their own art exhibitions in their homeland. For the past 20 years, the Chinese avant-garde has enjoyed state support. The political climate in China has noticeably warmed since 1978. The reforms are improving the social conditions of Chinese people, which also affects the development of contemporary art.

In Hong Kong, which is traditionally open to international business, Sotheby's began holding auctions in 1973, and Christie's in 1986, but it wasn't until 1991 that Christie first opened the Chinese Modern Oil Painting exhibition. A record of 1.375 million gonk was registered at the auction. United States dollars.* For the work of artist Cheng Yifei (see page 2 of the cover).

In 1989, the French auction house Derout opened an exhibition at the People's Congress House in Beijing. For the first time in China, an international auction of works of art was held. This was a landmark event for the future of the Chinese art market.

In 1993, the Hanyaxuan Gallery in Hong Kong opens the auction exhibition "After 89-new Chinese Art". This exhibition presented the Chinese avant-garde in a comprehensive way for the first time, continuing its work in England and Australia. In the same year, 14 artists representing new trends - pop art and "cynical realism"-participate in the 45th Venice Biennale. Their curator, an Italian art critic, selected the artists ' canvases himself, making a trip to China. In 1994-1995, these artists presented their works at the most prestigious international art exhibitions.

Since the 1990s, professional foreign collectors have been turning to collecting Chinese contemporary art. At that time, it was just beginning to compete with Soviet social art, which was at the peak of its appeal to foreign collectors.

During this period, a specialized art gallery called "Red Door" appears in Beijing. It was discovered by Australian Brian Wallace. Later, similar galleries began to open in Shanghai, but mostly they were visited by foreigners. Chinese collectors of a new generation of interest in the art of their contemporaries for the time being did not show.

The owner of the world's largest collection of Chinese avant-garde is Swiss businessman Uli Sigg. It is to him that a significant contribution belongs in today's international-

* $ 1 - approximately 7 races. United States dollars.

native popularity of the "Chinese". He is considered a pioneer and trendsetter of "Chinese fashion" among Western collectors, who are now increasingly turning to the works of contemporary Chinese artists.

Sigg began collecting his collection in the mid-1990s during his tenure as Swiss Ambassador to China, and his selection became a kind of recommendation for other collectors and art galleries. And, apparently, a well-known art critic in China is right, who noted that "with him, collecting Chinese contemporary art began a new period-from 'professional' to 'special'³. There were collectors who specially collected works of the Chinese avant-garde. Now Chinese collectors have started to add to their collections, having the opportunity to communicate with artists and plan new acquisitions.

It should be noted that Uli Sigg became the founder of the award for achievements in art for contemporary Chinese artists ("Chinese Contemporary Art Awards"). Every year, it invites prominent foreign art critics to participate in the competition's jury, thereby increasing its level and interest in new Chinese art.

Another Swiss citizen, art critic Harald Sceman, is a propagandist of modern Chinese painting. In 1999, at the 48th Venice Biennale, he presented a highly successful exhibition of 19 Chinese artists under the slogan "Without Borders".

At the turn of the century, amateur collectors are interested in abstract and expressive art, while professionals are interested in Chinese pop art and "cynical realism"-a detached, sarcastic reinterpretation of the communist past and socialist present, which has found understanding among the Western public.

But modern Chinese painting is not limited to these areas. It is multi-faceted and in some ways not quite modern, because it has come a long way, it has deep roots-Chinese classics, realistic style. Of course, Chinese artists have made a big breakthrough, mastering new forms and techniques, adopting the market technologies of the West. In the first half of 2006 alone, revenue from the sale of Chinese oil paintings totaled $ 1 billion. RMB*.

It seems to us that the interest in Chinese contemporary art in the West is due to a number of reasons. The works of Chinese artists are original, have a bright character, and are filled with vitality. Artists Xu Bing, Cai Guoqiang and Huang Yong gained international recognition in the 1990s. Cai Guoqiang is known for using gunpowder as an artistic medium not only in his paintings, but also in his peculiar "explosions"-installations that the artist presents as events. The most famous of these "explosions" he demonstrated in 1989, shortly before the fall of the Berlin Wall.

It should be mentioned that Chinese contemporary art developed under the influence of the West, to a large extent coordinated by the West. Here's just one example. In 1990, the New York Times published a special issue dedicated to the Chinese avant-garde. On the cover of the magazine is a photo of a painting by Fang Lijun with the caption: "It's not a yawn, it's a roar that will liberate China!" Chinese art, like social art once was, was used in the West for propaganda purposes.

In recent years, Chinese artists have been trying to move beyond near-communist reflection. "They try to talk about what they see around them. Not to reinterpret the "cultural revolution" once again, but to reflect the problems of modern China," says Uta Grosenik, a German art historian. According to her, Chinese artists are much more active than their Western counterparts, experimenting with new techniques and textures - video, multimedia techniques. And the demand for such work is growing.

She recently published The China Art Book, an anthology of contemporary Chinese artists. "I realized that I needed to write such a book at the beginning of 2005, when a wave of interest in contemporary Chinese artists rose in the West," said Uta Grosenik. In her opinion, the growing demand for contemporary Chinese art is associated with a general increase in interest in China in connection with the Olympics and the rise of China in the world table of ranks. "The focus on contemporary China has shifted to actual Chinese art, which has proven to be understandable to Western audiences," she explains.⁴

Today, China has four major centers of contemporary art-Beijing, Shanghai, Hangzhou and Chongqing, where the country's best art universities are located. The most famous art community is Beijing's "798 Artist Village" in Dashanzi district.

Hong Kong is home to a number of art galleries that help continuously promote the Chinese avant-garde. The Chinese government is not indifferent to the success of modern national art. In 2002, the Chinese Ministry of Culture participated in the Venice Biennale for the first time. And in 2003. Fang Dian and other art historians delegated by the ministry organized the first exhibition of contemporary Chinese painting in Germany, and then in France and the United States.

Realizing the value of a new national art, China would like to return the works of contemporary artists that have gone abroad as part of its history. But in most cases, these works are privately owned by galleries and collectors, and they are unlikely to be returned to China.

* $ 1 - approximately 8 yuan.

¹ www.expert.ru/printissues/expert/2007/45/document349615/

^{Shui Zhongtian.} 2 Chinese oil painting in the period of development / / Chinese oil painting. N 6. Peking. 2006.

^{Pi Lee.} 3 Research of foreign collectors of Chinese contemporary art // Oriental art. Finance. N 1. Beijing, 2006, p. 106.

⁴ www.expert.ru/printissues/expert/2007/45/document349615

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