If you haven't read my introductory post to contemporary Chinese artist Yue Minjun (岳敏君), click here.
In the 1990s, Yue Minjun became an established Chinese artist for his cynic realism approach to addressing taboo sociopolitical topics. Known for his comical lurid portraits, Yue paved the way for the innovation and modernization of contemporary art in China.
After a ten year hiatus, in March of 2022, Yue opened a solo exhibition at Tang Contemporary Art in Hong Kong titled "Smile at the Flower Sermon." In this exhibition, comprised of 20 pieces, he surprised everyone with something new; he unveiled several new floral paintings alongside his iconic pink caricatures.
Conceptualized during the beginning of the pandemic, Yue was inspired by the flowers in his city (Chuncheng, Yunnan), which became a source of beauty and revitalization amidst the loneliness and gloom of quarantine. However, Yue states that these flowers are merely decorative elements; just like the hysterical smiles in his early works, these flowers are deceptive. There is an air of mystery surrounding the subjects of Yue's work as their genuine expressions, faces, and identities remain hidden by flowers. Yue uses this to invite the viewer to look closer, asking: what are the flowers concealing? What is lost to superficial beauty?
Following the success of "Smile at the Flower Sermon," Yue collaborated on another exhibition that same year in December at Tang Contemporary Art's Beijing location, which he titled "Eudaimonia."
Eudaimonia is a Greek word defined as a state or condition of good spirit and well-being that draws on growth, authenticity, and the highest moral thought and conduct. Yue Minjun attempts to uncover the key to achieving happiness, welfare, and inner peace through this new exhibition.
Like his last exhibition, the new paintings Yue revealed in "Eudaimonia" builds on the elements in his previous works. New to his exhibition, his paintings celebrate famous artists and strongly reference their work.
For example, Picasso and I (2022) combines Picasso's Guernica (1937) and Yue's iconic laughing figures, melding together 2D and 3D elements with anti-violence and anti-war sentiments to create a complex and multidimensional piece. Yue's cynical realism works in harmony with Picasso's cubism, and Picasso and I illustrates an evolved confusion and chaos.
Yue Minjun also drew inspiration from classical art, such as Hibiscus (2022). His take on Leonardo da Vinci's Lady with an Ermine (1489) features the subject in his signature pink hue and toothy grin. Yue also demonstrates his attention to detail and history with his use of a hibiscus flower to cover the subject's face. The original painting was commissioned to be a love letter to a mistress, and supposedly the ermine, which symbolizes purity and honor in many interpretations, conceals the subject's pregnancy. By carefully choosing to use a hibiscus, conveying romantic passion and joy, Yue creates a distinctive juxtaposition of symbolism and ideals.
My favorite, Peach Blossom (2022), is a rendition of Johannes Vermeer's famous oil painting Girl with a Pearl Earring. The original portrait's mystery and tranquility are again replaced with a wide smile. Ironically, Vermeer's painting had initially gained some controversy over his subject's slightly parted lips. At the time, it was seen as obscene and overtly sexual, but Yue takes it a step further. Similarly to Hibiscus, using peach blossoms to represent vitality and youth in Peach Blossom showcases Yue's unique use of floral symbolism.
Despite adding these new elements, Yue Minjun maintains a strong aesthetic throughout these exhibitions, continuing to use humorous and whimsical motifs to address more profound social and political issues. His cynical artistic expression remains relevant and applicable 30 years after his initial entrance into the art world.