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| Reflections on the '80s Avant-Garde |
| By Huang Zhuan |
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 ot every era can find its way into history, while only those eras that have really changed our life value can．Not everyone can find his way into history, while only those talents who really have creative power can．
 1980s is an era of the strongest reformative significance in the modern history of China and also a creative era in a true sense. The thought emancipation movement in the political realm and the humanistic enlightenment thought in the cultural realm laid a deep spiritual foundation whereupon China truly became a modern country. During the period,the modernistic movement that occurred in the artistic field is not only a reaction of the reform in visual field, but also part of its practical content. In 1980s, the modern art movement was triggered by Stars Group, Anonymous Painting Group and the oil painting research groups in all places. Stars Group, in particular, set the basic orientation of the Chinese modern art movement in the comprehensive fields of ideology, literature, art and politics. As the mainstay of Chinese modern art in 1980s, the '85 Movement staged a grand drama of cultural and ideological history through a combination of social events, including art groups, art media and art exhibitions, with the China /Avant-Garde in 1989 as a conclusion. The Chinese modern art in 1980s is not only the continuation of the cultural movement featuring an eastward spreading of Western knowledge in early 20th century under new historical conditions, but also the herald of the modern art that appeared in China in 1990s and lasted until now. Its spiritual value and cultural significance extend far beyond the limits of art history.
 As the inception of Chinese modern art, Stars Group preluded the modern journey of Chinese culture in three aspects：awareness for political criticism ("Idol" and "A Long Long Life" by Wang Keping; "A Decade of Turmoil" by Mao Lizi), pursuit of enlightening spirit ("Rest and Six Square Meters" by Ma Desheng; N"ew Life" by Huang Rui) and explorations for formal art ("Word of Tweedle" and "Courtyard House" by Huang Rui). The Scar Painting that turned up in the same period took over the technique legacy of realism, but also changed the eulogistic tradition of Chinese realism with three themes: self-reflection (e. g. Why by Gao Xiaohua; Maple by Chen Yiming, Liu Yulian and Libin;" Farewell, My Road" by Wang Chuan, "Spring" by Wang Hai; "A Snow Day" in 1968 by Cheng Conglin), realization (Summer Night in 1978-I felt the thirst of the nation beside me by Cheng Conglin; "People of the Third Generation" by He Duoling and Ai Xuan; "Spring Breeze Awoke" by He Duoling) and humanism ("Father" by Luo Zhongli; "Group Paintings of Tibet" by Chen Danqing). The debates in the period about “formal beauty” and “abstract beauty” versus “realism” and about “self-expression” versus “nature of art” were the theoretical reaction in the process of such modernity．
The‘85 Movement that swept the whole nation in mid 1980s is a natural continuation and infiltration of the above two cultural enlightenment trends of thought, but with an entirely different spiritual core and social form. This movement used almost exclusively Western modernist theories and practices as ideological preparations and visual reference. Through the social organization form of local folk art groups, it launched an unprecedented modernist art movement in an all-round manner throughout the vast regions of China. The art groups of a certain organization scale, with theoretical views and a continuity include the “North Art Group” set up in July 1984 (major members: Wang Guangyi, Shu Qun, Ren Jian, Liu Yan); “New Wilding Painting School” set up in Xuzhou in 1985 (major members: Fu Zenan, Fan Bo, Zhu Xiaogang); “Pool Society” set up in Hangzhou in May 1986 (major members: Zhang Peili, Geng Jianyi, Song Ling); “Red Brigade” set up in Nanjing in June 1986 (major members: Ding Fang, Yang Zhilin, Shen Qin, Chai Xiaogang, Xu Lei);  ““Xiamen Dada Group” set up in Xiamen in September, 1986 (major members: Huang yongping, Cai Lixiong, Liu Yiling, Lin Chun, Jiao Yaoming); “Southern Art Salon” set up in Guangzhou in September 1986 (major members: Wang Du, Dai Jianfeng, Lin Yilin, Liang Juhui, Chen Shaoxiong); “Tribe。Tribe” set up in Wuhan in December 1986 (major members: Li Bangyao, Cao Dan, Fang Shaohua, Wei Guangqing); and “the Art Group of Southwest China” set up in 1988 (major members: Mao Xuhui, Pan Dehai, Zhang Xiaogang, Ye Yongqing). Exhibition is a primary social form of group activities. The important exhibitions during the period include: “Five-Person Exhibition of Modern Artists” (1983), “First Shanghai Art Exhibition of Youths” (1983), “New Concept Painting Exhibition” (1985), “Jiangsu Youngsters’ Art Week•Large-scale Modern Art Exhibition” (1985), “New Space ‘85” (1985), “November Exhibition” (1985), “Xuzhou Modern Art Exhibition” (1986), “the First Experimental Exhibitions of Southern Artist Salon” (1986), “Taiyuan Modern Art Exhibition” (1986), “Concept 21 Art Exhibition” (1986) and “Hunan Group Exhibition of Young Artists” (1986), “Xiamen Dada Exhibition” (1986) and “Hubei Youngsters’ Art Festival” (1986). The modernist art groups and large exhibitions holding various views that mushroomed in various places constituted the basic form of social activities for the ‘85 Movement, which strongly rocked and changed the traditional artistic shape under the cultural autocracy and planned economy of China．
At the same time, the ‘85 Movement is also a theoretical movement. We can even say that, just because it is a theoretical movement, it could have acquired such an extensive and deep-going historical influence. This enlightenment trend of thought in a modern sense directly took over the stand of fully accepting Western philosophies, arts, cultures and thoughts that had been around since the “May 4th Movement to challenge the totalitarian systems and ideas in Chinese culture. Nearly all modern and contemporary Western artistic and philosophic schools can find echoes here, from the “spirit of times” of Hegel to the absolute will of Schopenhauer and Nietzsche; from the irrational tuition of Bergson to the existentialism of Sartre; from abstract to fauvism;  and from Dadaism to Popism. Furthermore, the “cultural heat” and “aesthetic craze” prevalent in Chinese academia during the period can also find appropriate visual response in this movement. The “cold belt culture” and “rational painting” advocated by the North Art Group, the anti-aesthetic and anti-cultural position held in esteem by Xiamen Dada, the pursuit of mysticism and intuitionism by the Art Group of Southwest China and the existentialism tendency found in the works of the Pond Society jointly made up a bizarre theoretical picture. The controversy about the future of “Chinese paintings”, the debate over “purified language” versus “macro soul” and the presentation of the slogan “liquidating humanistic enthusiasm” enabled this theoretical movement to be more tinted with local issues. What deserves a mention is that, nearly simultaneously with this theoretical movement, Fan Jingzhong and his academic peers began a project of introducing Western art history, academic history and ideological concept history, which is still ongoing now. Through the translation and evaluation of the achievements made by Winckelmann, Wolfflin and Gombrich in their researches on Western art history and the scientific philosophy of Popper that criticizes rationalism, it advocates a cultural concept that respects historical value and open thinking. Although it has no direct theoretical links to the 1985 modernist movement, the project has been existing as an antithesis of the movement because of its scathing criticism of the “progressive” ideas and irrational tendency in modernism. However, from the perspective of broader historical dimensions, it provided more profound and lasting theoretical resources for the movement that had changed the value life and ideological concepts 0f Chinese．
 As a social event,‘85 Movement has another sociological feature, which is that a large number of social media became news spreading means and thought exchange position of the movement. Beijing’s Fine Arts in China, Nanjing’s Jiangsu Pictorial and Wuhan’s Art Trends are collectively referred to as the “two magazines and one newspaper” of modern fine arts of China. For a period of time, the Fine Arts and Beijing Youth Daily in Beijing, Painters in Hunan and Gallery in Guangzhou also played a role in publicizing modern art. Catering for the need of the movement, a number of outstanding theorists, critics and social activities came into being in 1980s, e. g. Gao Minglu, Li Xianting, Liu Xiaochun, Shui Zhongtian, Lang Shaojun, Zhou Yan, Tang Oingnian, Kong Chang’an, Zhang Oiang, Zheng Shengtian, Wang Xiaojian, Wang Mingxian, Yi Ying, Fan Di’an, Yin Shuangxi, Fei Dawei, Zhu Oingsheng, Gao Ling, Peng De, Pi Daojian, Yan Shanchun, Zhu Bin, Yang Xiaoyan, Shao Hong, Hong Zaixin, Chen Xiaoxin, Li Xiaoshan, Gu Chengfeng, Wang Lin, Lu Peng and Lu Hong. They provided multidimensional theoretical wisdom and a panoramic view of criticism for this movement of idealistic tinges. Most of them are still active on the stage of Chinese modern art today．
It is appropriate that the Chinese modern art movement in 1980s ended in a dramatic way via China／Avant-Garde in 1989, which presented not only the diversified art schools in the Chinese modern art, but also the cultural reality of 1980s that featured a coexistence of passion and confusion, ideals and restlessness. It marks the end of the enlightening collectivist times of Chinese modern art.
This art movement of 20 years ago has unquestionably become a part of the modern culture history of China. But, the review and study of it have yet to start. Whether as a historical lesson or as a spiritual heritage, it will tangibly and intangibly influence our art and life. We have the right and obligations to regard the commemoration and reflection of it as a historical resource for our continued creation.
“Create History: Commemorative Exhibition of Chinese Modern Art in 1980s” is a spiritual thanks giving sacrifice for and situational reproduction of this art movement.  It collected the precious original artworks and some artistic creation literature of 1980s to display the basic historical thread from Stars Group to the ‘85 Movement and then to the 1989 China／Avant-Garde. The exhibition includes over 20 artworks of such artists as Wang Keping, Huang Rui, Wang Chuan, Wang Hai, Wang Guangyi, Zhang Xiaogang, Zhang Peili, Xu Bing, Huang Yongping, Wenda Gu, Wu Shanzhuan, Gu Dexin, Wang Luyan, Mao Xuhui, Ding Fang, Shu Oun, Wang Youshen, Li Bangyao and Wen Pulin. Also among the exhibits are the rare works of the Stars Group, representative works of “scar” paintings and the representative works of various local art groups during the ‘85 Movement, e. g. 30X30 of Zhang Peili, the first video artwork of China; representative works of Wang Guangyi in the Arctic Pole and the late classical period; the manuscript of Mao Zedong AO, which was exhibited publicly for the first time; and a large number of rare pictures of the China / Avant-Garde in 1989. These exhibits are by the courtesy of the artists and important artwork collectors like Guan Yi, Oiu Fuzhi and Ullens Foundation and turn the exhibition into the first all-round demonstration and memorial activity of the modern art in 1980s.
Our gratitude goes to the artists, collectors and art institution who have provided their works and to OCT Real Estate that has financed the event. This exhibition looks especially natural and rational as an organic part of the activity in celebration of the 20th anniversary of this Chinese enterprise, which has provided long-term financial support for Chinese modern art.
Top Image：The cover of Create History:Commemoration Exhibition of Chinese Modern Art in 1980s
Image1：Stars Exhibition
Image2：Wang Keping's Icon
Image3：Ding Yi、Zhang Guoliang、Qin Yifeng, etc. Clothes Sculpture
Image4：Art Ideas
Image5：Create History:Commemoration Exhibition of Chinese Modern Art in 1980s
Related Links:
·Abstraction: An Expression Concerning Liberty
·Is there any other choice for Chinese Avant Garde art?---- Re-read “Free Communication”
·The Ghost of Collectivism in Our Art
·Who Should Be an Art Critic?
·Xiang Jing vs. Huang Zhuan 
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