YANG MIAN 杨 冕
  • CV 简介
    • 中文简历
  • solo exhibition 个人展览
    • 2020 /Yang Mian Solo/2.6 Million Dots and Western Art history 杨冕个展《二百六十万个点和西方艺术史》
    • 2020 /Yang Mian CMYK 杨冕-“C。M。Y。K”
    • 2016 /CMYK:Paintings by Yang Mian 杨冕的绘画
    • 2016 /Yang Mian 2016 杨冕 2016
    • 2012/ CMYK-Yang Mian Painting 杨 冕 的 绘 画
    • 2008 /Posing YangMian 2007-2008 姿态 2007-2008 >
      • works in exhibition place/展览现场
      • Special Project / 特别项目
    • 2008 / Classical 那些经典
    • 2008 / From Classic to Standard 从标准到经典
    • 2007 / Classical 那些经典
    • 2006/ 2005 Yangmian`s standard. 2005年杨冕眼中的标准
    • 2004 Beauty Standard / 美丽标准
    • 2004 2003 Yang Mian's Standard / 2003年杨冕眼中的标准
    • 2003 Made in Beijing-House Standard / 北京制造-建筑标准
    • 2002 Made in Chengdu/成都制造
    • 2001 I deal Building Standards/理想的建筑“标准”
    • 1999 The Beauty Standard / 美好标准
    • 1998 Yang mian`s solo exhibition / 杨冕个展
  • exhibition 展览
    • Museum exhibition / 美术馆展览
    • Other exhibition / 其他展览
    • Art fair 艺术博览会
  • works 作 品
    • 2010-2019 CMYK Chronology of works 作品年表 >
      • Nine Dragons 九龙图
      • 一千八百万个点Chinese temple view murals in 18 million points -Yang Mian`s works 中的中国寺观壁画 杨冕 作 品
      • M.A.M 金钱/艺术/博物馆
      • Yang Mian’s 2,624,757 CMYK points and Western art history 杨 冕 的2,624,757个CMYK点和 西方艺术史
      • Ma Yuan Ten Thousand Riplets on the Yangzi 马远 水图
      • CMYK-Yuan Zhao Mengfu Autumn Colors on the Que and Hua Mountains(元 赵孟頫 鹊华秋色图 局部),Acryli on canvas,320x1400cm,2010,Yang mian Party
    • 2006-2008 Welcome -China cultural revolution Chronology of works 来中国-文化的革命 作品年表
    • 1997-2005 standard 标准系列 >
      • Beauty Standard 美丽“标准”
      • House Standard 建筑“标准”
  • texts 文章
    • English >
      • 2011 Britta Erickson / Yang Mian Exposes an Essential Truth for Our Era
      • 2011 Lu Mingjun/ CMYK: Experiments in Metapictures and Visual Archeology
      • 2007 Pili / From Classic to Standard
      • 2006 Lixu / Secret of Standard  Li Xu
      • 2006 /“the standard” of Chinese esthetics with the contemporary society -Yangmian’s interview
      • 2004 Sunzhe / If you can understand what Mona Lisa is smiling about, then I will know what you are thinking.
      • 2004 Huang Liaoyuan/Give Me A Reason Firstly
      • 2003 Cities and Manufactured “Standards”: Yang Mian’s Work Huang Du
      • 1999 PI LI / THE IDEAL STANDARD
      • 1998 Harald Szeemann/ CCAA Comment for Yang mian
    • 中 文 >
      • 2011 吕澎 / 视觉的标准与观念——杨冕的艺术
      • 2011皮力 / CMYK 色点与图像:关于杨冕新作三个关键词的笔记
      • 2011 鲁明军 / “CMYK”:“元图像”实验 与视觉考古
      • 2011 林似竹 / 杨冕揭示我们时代的本质
      • 2011 殷嫣与杨冕的对话
      • 2007 皮力 / 从经典到标准
      • 2007 郑乃铭 回荡在历史与现实的新疏离现象—读杨冕的艺术
      • 2006 李旭 / 标准之谜
      • 2006 皮力/ “标准”背后
      • 2006 与中国当代社会同步的有“标准”的审美 ------杨冕访谈录
      • 2004 孙哲/如果你能理解蒙娜丽莎在笑什么,那我就能知道她们在想什么?
      • 2004 黄燎原/给个理由先
      • 2003 黄 笃 / 城市与制造的“标准” —读杨冕的作品
      • 2002 致房地产商和建筑师 杨 冕
      • 1999 皮 力 / 美好标准
      • 1998 易 英 / 流行文化与个人话语从杨冕的创作谈起
      • 1998 哈拉德.森曼 / 杨冕的中国当代艺术奖金评语
  • Public project 公共项目
  • publications 出版
    • 国际媒体 Inter national Midia
    • 个人画册 Personal exhibition album
    • 重要公共出版 Important publications
    • Media 媒体
  • Forums and public services 论坛及公共服务
  • 联系 contact

​From Classic to Standard  
Pi Li
2007
Yang Mian’s early paintings depict the images from daily advertisements in his own way.  Losing the previous shine, all the figures in his work are diminished and weakened into two-dimension in various skills by the artist, in another word, an unreal existence.  Even these images are real, they still seem to hide behind a layer of artificial fog. All these undoubtedly reveal an illusionary aspect of different “standards” in our life.  Here, smile is no longer an expression or emotional exteriorization, on the contrary, it’s just a mask, an indication of the distance between reality and dream. The more splendid it is, the more remote and unreachable the standard is.  Eventually, all the essence of the paintings comes to the repeatedly emerging color line.  If the delicate disposal of transient diminishment still keeps the raised veil for the audience to be close to beauty, the appearance of this color line seems to predict the irrevocable negation.  We could even take it as an intentional damage, unmerciful affirmation of the distance between standard and real life.
 Yang defines the way of these works as “standard”.  For him, “standard” means the incessant questioning of standard and reality.  If these works present the standards pervading the society, the unspoken line is “who are the producer of these standards?”  In the sense of sociology, the emergence of ad image is not to set up a certain standard, and smile itself is just a sort of temptation.  The individual existence of these images may give the impression of superficialness, however, once they exist in overwhelming quantity, superficialness would be implied by blood complex, and deeply permeate the whole social sun-consciousness.  Yang’s works hint the exceeding existence and blood complex’s hypocrisy in a teasing way. Based on this point, Yang’s works obtain more profound space of significance, presenting the individual features of artists of the new generation.
 As an odd combo, Yang’s painting is the integration of popular image, social critique and academicism.  He refines these images in the skill of academic oil painting to realize a transformation in image instead of directly borrowing popular images.  Among the artists of this generation cultivated in commercial culture, the relation between academicism and pop culture is like that between family culture and social culture, and the latter is usually more influential than the former.  Therefore, Yang’s transformation leads to the two-way social critique, i.e. mockery of academicism and query of commercial culture.
Along this thinking trend, among the newest exhibits, Yang leads his works to another direction, a.k.a. “classic”.  Yang’s classic is not only classic of historical significance, but also contains the classic of consumption fashion.  During the process, he continues the means of modifying previous images.  On one hand, he sorts out his own background of knowledge, stylistically modifying the classic paintings in art history.  He transforms the figures in works into abstract and two-dimensional ones, meanwhile turns the paintings of classicism into thinness and superficialness through bright colors and flat smearing.  On the other hand, he processes the pictures of fashion photography, turning them into three-dimension.  We could still strongly feel the two-dimensional interest from his sculptures.
Compared with the previous works, these works are no long a simple attitude and critique about fashion and popularity.  The artist turns his attention to visual art.  No matter classic paintings in art history or classic photographs in fashion magazine, they are one part of the influence affecting out present vision and behavior.  Here, “classic” is the extension of “standard”, yet the attention’s profundity has been strengthened.  Yang simplifies the visual diversity in academic painting, meanwhile adds more visual pleasure into simple and straightforward fashion photograph.  The core is to discuss the source and composition of our visual concept.  If we say the series of “standard” emphasizes the present, the series of “classic” is concerned with the connection between the past and the present.  In this sense, strong conceptuality is the conspicuous feature of these works.  Meanwhile, compared with the series of “standard”, the series of “classic” is more complicated and meaningful in visual combination.
Just like what I have been insisting, Yang’s works represent a more profound and rational interpretation of visual culture in contemporary society.  Unlike political pop art, he doesn’t simplify and symbolize popular culture; unlike cartoon artists, he doesn’t put himself in the level lower than popular culture during research.  Compared with gaudy art and political pop, he has deeper comprehension of popular culture.  Instead of using existent images as a means, he regards them as the objects of his career. Therefore, he avoids a sort of danger, in another word, the tragic destiny of Chinese painters in the previous period, which means they were used by political and art agents such as western curators or gallery owners to twist normal and fair critical spirit in Chinese contemporary art into the annotation of western political concept and excuse of cultural invasion.  Yang’s works reflect a two-way ideology, criticizing commercial culture and visual culture themselves, studying the concept and transforming vision.  Actually, the problem is just so simple.

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  • CV 简介
    • 中文简历
  • solo exhibition 个人展览
    • 2020 /Yang Mian Solo/2.6 Million Dots and Western Art history 杨冕个展《二百六十万个点和西方艺术史》
    • 2020 /Yang Mian CMYK 杨冕-“C。M。Y。K”
    • 2016 /CMYK:Paintings by Yang Mian 杨冕的绘画
    • 2016 /Yang Mian 2016 杨冕 2016
    • 2012/ CMYK-Yang Mian Painting 杨 冕 的 绘 画
    • 2008 /Posing YangMian 2007-2008 姿态 2007-2008 >
      • works in exhibition place/展览现场
      • Special Project / 特别项目
    • 2008 / Classical 那些经典
    • 2008 / From Classic to Standard 从标准到经典
    • 2007 / Classical 那些经典
    • 2006/ 2005 Yangmian`s standard. 2005年杨冕眼中的标准
    • 2004 Beauty Standard / 美丽标准
    • 2004 2003 Yang Mian's Standard / 2003年杨冕眼中的标准
    • 2003 Made in Beijing-House Standard / 北京制造-建筑标准
    • 2002 Made in Chengdu/成都制造
    • 2001 I deal Building Standards/理想的建筑“标准”
    • 1999 The Beauty Standard / 美好标准
    • 1998 Yang mian`s solo exhibition / 杨冕个展
  • exhibition 展览
    • Museum exhibition / 美术馆展览
    • Other exhibition / 其他展览
    • Art fair 艺术博览会
  • works 作 品
    • 2010-2019 CMYK Chronology of works 作品年表 >
      • Nine Dragons 九龙图
      • 一千八百万个点Chinese temple view murals in 18 million points -Yang Mian`s works 中的中国寺观壁画 杨冕 作 品
      • M.A.M 金钱/艺术/博物馆
      • Yang Mian’s 2,624,757 CMYK points and Western art history 杨 冕 的2,624,757个CMYK点和 西方艺术史
      • Ma Yuan Ten Thousand Riplets on the Yangzi 马远 水图
      • CMYK-Yuan Zhao Mengfu Autumn Colors on the Que and Hua Mountains(元 赵孟頫 鹊华秋色图 局部),Acryli on canvas,320x1400cm,2010,Yang mian Party
    • 2006-2008 Welcome -China cultural revolution Chronology of works 来中国-文化的革命 作品年表
    • 1997-2005 standard 标准系列 >
      • Beauty Standard 美丽“标准”
      • House Standard 建筑“标准”
  • texts 文章
    • English >
      • 2011 Britta Erickson / Yang Mian Exposes an Essential Truth for Our Era
      • 2011 Lu Mingjun/ CMYK: Experiments in Metapictures and Visual Archeology
      • 2007 Pili / From Classic to Standard
      • 2006 Lixu / Secret of Standard  Li Xu
      • 2006 /“the standard” of Chinese esthetics with the contemporary society -Yangmian’s interview
      • 2004 Sunzhe / If you can understand what Mona Lisa is smiling about, then I will know what you are thinking.
      • 2004 Huang Liaoyuan/Give Me A Reason Firstly
      • 2003 Cities and Manufactured “Standards”: Yang Mian’s Work Huang Du
      • 1999 PI LI / THE IDEAL STANDARD
      • 1998 Harald Szeemann/ CCAA Comment for Yang mian
    • 中 文 >
      • 2011 吕澎 / 视觉的标准与观念——杨冕的艺术
      • 2011皮力 / CMYK 色点与图像:关于杨冕新作三个关键词的笔记
      • 2011 鲁明军 / “CMYK”:“元图像”实验 与视觉考古
      • 2011 林似竹 / 杨冕揭示我们时代的本质
      • 2011 殷嫣与杨冕的对话
      • 2007 皮力 / 从经典到标准
      • 2007 郑乃铭 回荡在历史与现实的新疏离现象—读杨冕的艺术
      • 2006 李旭 / 标准之谜
      • 2006 皮力/ “标准”背后
      • 2006 与中国当代社会同步的有“标准”的审美 ------杨冕访谈录
      • 2004 孙哲/如果你能理解蒙娜丽莎在笑什么,那我就能知道她们在想什么?
      • 2004 黄燎原/给个理由先
      • 2003 黄 笃 / 城市与制造的“标准” —读杨冕的作品
      • 2002 致房地产商和建筑师 杨 冕
      • 1999 皮 力 / 美好标准
      • 1998 易 英 / 流行文化与个人话语从杨冕的创作谈起
      • 1998 哈拉德.森曼 / 杨冕的中国当代艺术奖金评语
  • Public project 公共项目
  • publications 出版
    • 国际媒体 Inter national Midia
    • 个人画册 Personal exhibition album
    • 重要公共出版 Important publications
    • Media 媒体
  • Forums and public services 论坛及公共服务
  • 联系 contact