LI TIANBING Urban Scene - JD Malat Gallery
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LI TIANBING
Urban Scene
JD M A L A T
G A L L E R Y
LONDON
‘One of the most critically acclaimed Chinese-born
artists of his generation’ ~ The Guardian
LI TIANBING
Urban Scene
JD M A L A T G A L L E R Y
3 4
Li Tianbing, ‘Urban Scene’
Since the late 1970s, the impact of political events on the narrative of Chinese artists has remained a constant For Li Tianbing there is a danger for contemporary artists to pass the Maoist ideology on to a younger
source of inspiration. The ‘Opening-up’ of China in December 1978, implemented by the political leader Deng Xiaoping, generation. The writer and Oriental academic Jeanne Boden, whose 2014 publication, Contemporary Chinese Art.
established a narrative with the West both economically and artistically. Contemporary Chinese art responded to the Post Socialist, Post-Traditional, Post-Colonial, says that ‘political Pop artists have used the Maoist discourse as a source
new social and political atmosphere by attempting to reflect the new landscape of China. Chinese artists moved away for the construction of a new identity in the face of growing globalisation and international influences. In spite of their
from official art towards capturing an alternative narrative deviating from the strict canon of Socialist Realism. Socialist satirising and criticism of Mao Zedong and the political indoctrination of his time, artists continued to worship and
Realism in China was held as the official style from the 1950s until the 1980s, under Mao Zedong. The ‘New Wave’ desire the Maoist discourse.’ In Li Tianbing’s work there is a clear distancing from this idea. By depicting the results
of avant-garde artists in China brought with it a challenging response to the demand for art as a cultural as well as a of these tensions; a freer society in China and the nostalgia of Maoist ideology, Li Tianbing is engaging with the
political commodity. Li Tianbing represents this ‘New Wave’ of Chinese artists who are capturing the political events complex issues of contemporary Chinese social politics, framing his works as part of a universal discourse of political
for a new generation. and ideological tensions.
The climate for artistic experimentation emerged in China in February 1979, at the Twelve Artists of Shanghai
exhibition which opened in Shanghai at the Children’s Palace in Huangpu district. The ‘participating artists, showed Li Tianbing’s first hand experience of the ‘Occupy Central with Love and Peace’ (OCLP) protests, which were
works inspired by Impressionism, Fauvism, Cubism and Expressionism. It was the first modern art exhibition and the established in March 2013 in Hong Kong, saw clashes between social activists and the civil authorities. Li Tianbing
first exhibition organised by individual artists since the establishment of the People’s Republic of China in 1949.’ As explains, “I travel back to China several times a year and like to observe. I was in Hong Kong during the ‘Occupy
such, The Twelve Artists of Shanghai exhibition demonstrated the shift of cultural narrative between China and the Central’ protests. I even saw a parade by retired soldiers and some street violence in my home town of Guilin. In Paris,
West, reflecting the socio-economic shift of expanding geographical trade boundaries, and the willingness to hold a where I work, my studio is located near the suburbs which saw the demonstrations of the ‘Mouvement des Gilets
dialogue with the West, particularly in terms of artistic experimentation. jaunes’ (Yellow Vest Movement), and I have witnessed how US society has changed after the election of President
Trump. All of these instances across the world has given me inspiration for this exhibition.”
In the exhibition ‘Urban Scene’, Li Tianbing focuses on the state of conflict between contrasting groups in Although there is a clear focus on representing Chinese social and political tensions in ‘Urban Scene,’ Li
society and attempts to capture the transient moments of conflict. Li Tianbing’s work is framed by the complexity of the Tianbing engages with a more generalised view of social politics. For Li Tianbing, “this series called ‘Urban Scene’
post-socialist issues in China which have led to a number of protests and ideological confrontations. In ‘Urban Scene’, talks about the conflict in today’s society and the dilemma of human life: the street violence, family drama, campus
Li Tianbing’s engagement with the discourse of bottom-up dynamics presents a shift away and rejection from the top- bullying, parade conflict, refugee crisis etc. The collision between limbs is the main interest of my work.” The city for
down policies of Socialist Realism. ‘Urban Scene’ becomes a signifier of the political and ideological tensions which Li Tianbing simultaneously becomes a space of order and disorder. The political right of way clashing with societies’
clash in the main spaces of the world’s urban centres. Li Tianbing’s work is a spectacle, not only for those involved, but right to the city. This constant flux, fuelled by the occupations, street protests, strikes and ideological confrontations
for the viewer who becomes a witness to these social tensions. are all captured in Li Tianbing’s work. In China, the urban space which had been given over to propaganda under Mao
Zedong, is now a space for protest, undermining the functional and political value of the city. The urban space in this
There is an obvious departure from the isolation felt in Li Tianbing’s earlier work. The psychological effects of context becomes dysfunctional.
the ‘one-child policy,’ which came into effect in China on 18th September 1980 has been replaced in ‘Urban Scene’
by a series of works dealing with the effects of mass confrontation. As Li Tianbing explains, “in China the growing The growing participation in protests fuelled by the renewed interest in the populist discourse becomes an
polarisation between the rich and poor coexist with the return of the communist Ideology Maoism, and the huge important narrative within the urban space. The attempt to question political and authoritarian control through mass
imbalance is repressed by the strong force of the ‘stability maintenance’ of the police, the situation is like a volcano rallies and protests is counteracted by more severe methods of control. Li Tianbing’s work captures the transient nature
ready to erupt at anytime. People become anxious and hysterical. In the US and Europe, the conflict mostly comes from of these important socio-political moments. The individuals who become the by-products of political structures are
the immigration issue, the confrontation between the local culture and the foreign culture.” The ‘stability maintenance grouped together in ‘Urban Scene’, making for an engaging and important exhibition.
system’ has been implemented in China as a way of repressing free speech. This has given rise to outbreaks of conflict
between the fight for free expression and the authoritarian challenge to maintain control over its citizens.
Stick, 2018
Oil on Canvas
157 x 198 + 8 cm
7 8
Confrontation #1, 2018
Oil on Canvas
213 x 244 cm
9 10
Green Confrontation, 2019
Oil on Canvas
198 x 244 cm
11 12
Green Fight, 2019
Oil on Canvas
122 x 152 cm
13 14
Looting Empty, 2018
Oil on Canvas
157 x 198 cm
15 16
Occupation on the Car, 2018
Oil on Canvas
178 x 244 cm
17 18On the Ground, 2018
Oil on Canvas
91 x 61 cm
19 20Orange Rivalry, 2019
Oil on Canvas
61 x 122 cm
21 22Parade, 2018
Oil on Canvas
198 x 244 cm
23 24Pose for Photo, 2018
Oil on Canvas
198 x 244 cm
25 26Purple Accumulation, 2019
Oil on Canvas
198 x 244 cm
27 28Purple Fight, 2018
Oil on Canvas
91 x 122 cm
29 30Purple Mess, 2018
Oil on Canvas
91 x 122 cm
31 32Red Accumulation, 2019
Oil on Canvas
198 x 244 cm
33 34Red Mess, 2018
Oil on Canvas
61 x 91 cm
35 36Red Small Scene, 2018
Oil on Canvas
41 x 51 cm
37 38School #1, 2018
Oil on Canvas
61 x 122 cm
39 40School #2, 2018
Oil on Canvas
61 x 122 cm
41 42Argument, 2018
Oil on Canvas
76 x 102 cm
43 44The Leg in the Scene, 2018
Oil on Canvas
122 x 91 cm
45 46The Survival, 2019
Oil on Canvas
122 x 152 cm
47 48Urban Petit #1, 2017
Oil on Canvas
41 x 51 cm
49 50Urban Petit #3, 2018
Oil on Canvas
41 x 51 cm
51 52Urban Petit #4, 2018
Oil on Canvas
41 x 51 cm
53 54Urban Petit #6, 2017
Oil on Canvas
51 x 41 cm
55 56Urban Petit, 2007
Oil on Canvas
41 x 51 cm
57 58Urban Scene #1, 2017
Oil on Canvas
178 x 244 cm
59 60Woman Fight #3, 2018
Oil on Canvas
91 x 61 cm
61 62Confrontation #2, 2018
Oil on Canvas
198 x 244 cm
63 64Jouer avec les
branches, 2017
Oil on Canvas
173 x 229 cm
65 66Jouer avec les
branches #2, 2017
Oil on Canvas
173 x 229 cm
67 68Lift Up the Tree Bar, 2017
Oil on Canvas
244 x 183 cm
69 70Li Tianbing CV
B. 1974 - Guilin, China.
Lives and works in Los Angeles, USA
Selected Solo Exhibitions Brand New Works, Kashya Hildebrand 2013 Art Plural Gallery at Sydney 2008 Art Basel Miami – L&M Arts
Gallery, New York, USA Contemporary Art Fair, Sydney, Australia Galleries, Miami, USA
2015 Journey of the Lone Monkey, 2005 Musée de Gajac, Villeneuve, Art Plural Gallery at Art Stage Singapore, Art Basel - L&M Arts, Basel, Switzerland
Pearl Lam Galleries, Singapore France Singapore
2012 Stephen Friedman Gallery, Du vent dans les branches, ArtSénat 2008,
Galerie Loft, Barcelona, Spain The 55th Venice Biennale, Venice, Italy Paris, FranceSport in Art, Today Art
London, UK
Galerie Loft, Paris, France 2012 Pearl Lam Galleries at Museum, Beijing, China
Layers of Time, Galerie Kashya SH Contemporary 2012 Shanghai Art Fair 2007 Museum of Contemporary Art,
Hildebrand, Zürich, Switzerland 2004 Galerie Albert Benamou, Paris,
France International Contemporary Art Shanghai, China National Museum of Fine
2011 A Game as a Pretense of Being, Exhibition, Shanghai Exhibition Center, Arts, Beijing, China
Kashya Hildebrand Gallery, New York,
Curated by Demetrio Paparoni, USA Shanghai, China 2006 Mickey dans tous ses états,
Hong Kong Arts Center, Hong Artcurial, Hotel Dassault, Paris, France
Kong, China 2002 Galerie Donzévansaanen, Pearl Lam Galleries at Art HK 2012, Hong
Lausanne, France Kong Convention and Exhibition Centre, 2005 Nature Détournée – Institute of
2010 Childhood Fantasy, Contrasts 2000 Musée Marzelles, Marmande, Hong Kong, China France, Munich, Germany
Gallery, Shanghai, China France 2004 Galerie Guislain Etat d’Art, Paris, France
Art Stage Singapore 2012 at Pearl Lam
2009 ADAA Armory Art Fair – L&M Selected Group Exhibitions Fine Art, Marina Bay Sands Convention 2002 Kashya Hildebrand Gallery,
Arts Gallery, New York, USA and Exhibition Center, Singapore Geneva, Switzerland, France
2019 Zona Maco México, Arte 2011 SH Contemporary 2011 at Pearl Biennale de la Jeune Création de Houilles,
2008 Me and My Brother, L&M Arts
Contemporáneo - JD Malat Gallery, Lam Fine Art, Shanghai, China Ville de Houilles, France
Gallery, New York, USA
Mexico City, Mexico
Surreal versus Surrealism in Contemporary
2007 Galerie Albert Benamou, France Art, Valencia, Spain Salon de la Jeune Création, Paris, France
2018 ‘Absorption as a Way of Seeing’,
1999 Académie des Beaux-Arts, Institut
Galerie Loft, France Pearl Lam gallery , Hong Kong Art Stage Singapore 2011 at Pearl Lam de France, Paris, France
Fine Art, Marina Bay Sands Expo and
Espace 1789, Saint-Ouen, France 2014 Art International, Istanbul, Turkey Museum of Modern Art, Dubrovnik, Croatia
Convention Center, SRiengarpdosr Ce
Flux: Collective Exhibition, Art Plural roisés, Art Plural Gallery, Singapore
2006 Beitou, Kashya Hildebrand
Gallery, Singapore
Gallery, Zurich 2010 Chinese Contemporary Art,
20th Anniversary Show, Opera 1998 Galerie Progres, Belgrade, Serbia
Gallery Singapore, Singapore Contrasts Gallery, Shanghai, China
Galerie Deborah Zafman, Paris,
France Kashya Hildebrand Gallery at Art14 Art Dubai, Dubai, UAE
London, London, UKSpecial Thanks:
Victoria Aboucaya
Jean-David Malat
Li Tianbing
Lara Ustunberk
Text: Richard Morrissey
info@jdmalat.com
30 Davies Street, London W1K 4NB
+ 44 203 746 68 30
www.jdmalat.com
73 74jdmalat.com
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