China Power Station : PART III
China Power Station
PART III
Julia Peyton-Jones + Hans Ulrich Obrist + Gunnar B. Kvaran + Valerio D’Alimonte, June 2, 2008
Cao Fei_Second Life_China
Cao Fei_Second Life_China


Mudam Luxembourg presents the exhibition China Power Station: Part III, the third step of an exhibition project created in collaboration with the Serpentine Gallery in London and the Astrup Fearnley Museum of Modern Art in Oslo. China Power Station: Part III is the result of long research work that curators Julia Peyton-Jones, Hans Ulrich Obrist and Gunnar B. Kvaran carried out in various Chinese metropolises. The project was created as an evolving, dynamic exhibition, reflecting the surprising developments that the Chinese cultural scene has experienced over the last few decades. A first exhibition was held by the Serpentine Gallery at the acclaimed Battersea Power Station in London, and a second in Astrup Fearnley Museum of Modern Art in Oslo. After its presentation in Mudam, the exhibition will mark its final step in Beijing in autumn 2008.

Cao Fei_Second Life_China
Cao Fei_Second Life_China


Each stage is structured around a different selection of artists and works of art, devised according to the context in which they are presented. The exhibition at Mudam aims to link the generation of artists who emerged in China in the 1980s, a time when China underwent a surprising artistic explosion, with a younger generation of artists who appeared on the international artistic scene from 2000.


Huang Yong Ping_Amerigo Verpucci
Huang Yong Ping_Amerigo Verpucci


In China, the social, political and economic conditions have undergone some drastic transformations since the 1980s. Before this date, the country had endured a long period of cultural and artistic isolation. Unlike their precursors who often began their careers in Europe and the United States, most of the artists from the new generation decided to remain and live in China. In general, they have been able to enjoy an artistic education combining history from western and eastern art, as well as the freedom to travel, which has enabled them to develop relationships and exchanges at an international level. The fact that these young artists have stayed to live in China means that they witness and partake in the profound changes that the country is presently going through.

Chen Shaoxing_Ink Diary
Chen Shaoxing_Ink Diary


Chen Quilin, numéro 3_Fulu_China
Chen Quilin, numéro 3_Fulu_China


Kan Xuang_Looking
Kan Xuang_Looking


Over the last decades, in the global context, China has moved from the periphery to the centre, so much that the country is marked by an optimism similar to that which energised the United States in the 1950s and 1960s. In this radically changing environment, undoubtedly more than elsewhere, contemporary Chinese artists have developed and are continuing to develop their practice in direct response to the context in which they live. Right from the start, the China Power Station project’s aim has been to highlight the most innovative responses produced by a particularly rich artistic field of exploration. Therefore, it is not surprising that China Power Station: Part III at Mudam explores the themes linked to urban space, the historic and contemporary situation in China, and to everyday spaces. The exhibition marks, through the example of a country which is currently undergoing accelerated economic change, together with the danger of unrestrained urbanisation and uniformity connected to globalisation, the ways in which current artistic practices respond to the challenges which stimulate the contemporary world.

Kan Xuang_Looking
Kan Xuang_Looking


Lee Mingwei_Letter Writing
Lee Mingwei_Letter Writing


Wang Jian Wei_Flying Bird
Wang Jian Wei_Flying Bird


It shows a particular interest in the quest for modernity and a return to tradition while revealing a real sensitivity towards urban and environmental transformations. In this way, the artist Huang Yong Ping associates aspects of western modernity with the traditions of his country of birth, often ironically, in his works of art. The artist, Lu Chunsheng, talks of the industrial era and the story of communism through films and photographs. The exhibition China Power Station: Part III at Mudam Luxembourg concentrates on installations and videos, which have been developing in China since the end of the 1990s. Video is used more and more by this generation of Chinese artists because it works both as a way of recording reality and as a writing tool translating the desire of these artists to bring a subjective and critical view of the changes that China is undergoing today.

Wang Jian Wei_Flying Bird
Wang Jian Wei_Flying Bird


Xu Zhen_18 Days
Xu Zhen_18 Days


Xue Tao_Rope Coil
Xue Tao_Rope Coil


The artist Cao Fei’s work is one example of a good illustration of the use of new media in modern Chinese art. In her work of art, I. Mirror: A Second Life City, she sheds light on the virtual world of Second Life. In this world which is accessible via the Internet, users the world over can live a second life, developing all kinds of activities. Cao Fei created a persona called China Tracy through whom she has been able to experiment with behaviour which would be considered strange, or even indecent, in the real world. Some of her adventures have been aggregated in the video installation made up of transparent walls and reflective surfaces whose futuristic forms are an invitation to enter and take part in this virtual reality.

Yang Fudong_The Half
Yang Fudong_The Half


Guest artists : Cao Fei, Chen Qiulin, Chen Shaoxiong, Chu Yun, Huang Yong Ping, Hu Xiangqian, Institute of Sound (curated by Ou Ning), Jia Zhang-Ke, Kan Xuan, Lee Mingwei, Liang Wei, Liu Wei, Lu Chunsheng, Qiu Anxiong, Wang Jian Wei, Xu Zhen, Xue Tao, Yang Fudong, Zhang Ding, Zhang Peili, Zhou Tao




Zhang Ding_N Kilometers
Zhang Ding_N Kilometers


www.mudam.lu