Bridging Asia-EuropeⅡ

The Parkview Museum Beijing is pleased to announce the opening of the second exhibition of the series Bridging Asia-Europe. This contemporary art exhibition features works by artists from China and Central Europe: Wang Yuping (China), László Fehér (Hungary), and the artist couple Muntean/Rosenblum (Austria/Israel).
 
To build a bridge linking East and West, this exhibition creates an interactive dialogue between artists from different countries in order to promote a deeper understanding and appreciation of the specific aesthetic and artistic values, traditions and languages within different cultural contexts. The exhibition, curated by internationally acclaimed curator and art historian Lorand Hegyi and will be held from 26 September.
 
Bridging Asia-Europe II is structured around a personal presentation of each artist’s oeuvre, with no preference for any medium, methodological direction, or artistic tendency.Each installmentof the exhibition showcases the different visual elements through which the artists address, rethink and reinvent specific contemporarynarratives disclosing the complexity and the multiplicity of readings and interpretations of contemporary reality.
 
The showcased works present a rich and mature painterly universe, in which the representation of human body and its sociocultural surroundings, including the virtual and fictive realities associated with memory, self-reflection, projections, dreams and subconscious formations, play a central role.
 
László Fehér works with found images, with popular logo-like pictures, clichés and conventional images, which function as signals of established historical and sociocultural significance and also as archives of personal micro-history, of family albums. In László Fehér's universe, everyone is in transit, and everything is ephemeral; everywhere we discover the quiet, hidden, objectified melancholy of the temporal. The characters on his canvases seem to have landed in their particular spaces purely by chance; we feel that they are occupying their spaces only momentarily and temporarily, as if their presence were tenuous and temporary, all the while suggesting a certain inevitability and objectivity.
 
In Muntean/Rosenblum’s monumental paintings and drawings, the questioning irony appears in the unbearable, destabilizing irrationality and in the chaotic linguistic disorder that unexpectedly drive the inexplicable behavior of people, who seem to be forced to remain on the stage of the theater of improbabilities and obscure dramaturgies, like in the hallucinated movie-like scenes. Everything in the pictorial composition seems to be well-orchestrated but the question about the real motives of the actors’ behavior, about the relationships between places and figures, between texts and images, remains unanswered. Muntean/Rosenblum operate with a subtle irony, through which the discrepancy between the different aspects of virtual and material realities, the discrepancy between visual and textual information, and more significantly, the disconnect between conventional attitude models and created, virtual models, are questioned.
 
Wang Yuping’s sophisticated painterly method develops very strong, emotionally fulfilled, intensive and suggestive pictorial scenes, which evoke cultural-historical, art-historical clichés, literary, textual, and intellectual materials, references from theater, literature, philosophy, and traditional historical knowledge. His paintings reveal a rich, complex pictorial narrative, in which the obsessive questioning of the relationship between individual authenticity, personal identity, psychical and emotional realities, and the sociocultural, historical, mental and virtual realities takes central importance.
Wang Yuping’s meditative, analytic approach to the complexity of the aura of personal identity—with its sociocultural, historical, linguistic determinations and its diverse psychical, imaginary projections, with the power of virtual fields, and the dramaturgy of desires and dreams—develops a poetic parallel structure of immediate, given realities, and virtual, chosen realities. This parallel structure lends a certain kind of enigmatic double-identity to his figures, human or animal, as well as to his objects, natural or artificial. The faces of his figures, the bodies of his actors, and the material surfaces of his small, unimportant, completely banal, everyday things, all get a strange shadow-like, inexplicable, irritating alter ego, which evokes another, unknown, invisible, hidden, imaginary terrain of other experiences, of other rules, of other entities.
 
The second edition of the Bridging Asia–Europe exhibition seriesoffers a deeply human, intimate, substantial, complex and poetic vision about the human condition without any pathos or romanticism, but rather with a questioning character, with engagement for revealing contradictions and discrepancies between different messages, communication systems, language systems, and visual and textual forms of information.
 
It offers a complex, rich, deep, suggestive and perhaps somewhat disturbing, moving vision about basic existential questioning of human orientation, through the power of the singular, unique, imaginary worlds created by the artists of our days.
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