Tomorrow’s Fables – Yuan Kan exhibition today in Shanghai Academy of Painting Sculpture Art Museum

Began today (December 6) to December 20, “Tomorrow’s Fables – Yuan Kan Exhibition” opened to the public in Shanghai Oil Painting & Sculpture Institute Museum of Art (Jinzhu Road 111). In the just-concluded meeting Yibo, Mart entrance to the Ferris wheel and sit-white panda is from the Shanghai Youth group portrait sculptor Yuan Kan hands.

On the exhibition, one of the new forces as Shanghai Sculpture sector representative artists, Yuan Kan exhibition “Tomorrow’s Fables” is still the white panda began “talking about.”

Reporters saw, in the midst of depression, chill and sad, absurd atmosphere started slowly, the ubiquitous end ambience enveloped in the entire space, thousands of Quintana pale, looked sluggish panda, sizes, different attitude but there is no expression, stiff and sick, like soulless ghost, dark and strange. An endless pale, lay out the melancholy tone of the entire exhibition. As Fabre said: “Everything will be dead in order to all of rebirth.”

This interpretation of the deadly white panda crisis, through the “silent meeting”, “interactive entertainment”, “Sex and the build-up”, “Titanic”, “single”, “death pool” and “Fantasy of the Opera” and other twelve groups highly anthropomorphic creation and scene settings to the viewer to pass a strong and ominous message, can not be avoided, like witnessing the fate of mankind and its own till the end, to the end, slowly and clearly, depression dull the emotions welled up, unable to self.

The genius of the artist, her intentions are not prevalent custom in contemporary fashion ecological and environmental protection issues, but people familiar with the image of the giant panda as a carrier, through the ancient fable style, with animals as a mirror, the other hand, the mapping out of human beings fate. If the “Animal Farm” is the 20th century’s most prominent political allegory, then the artist Yuan Kan panda exhibit created by ethnic crisis “Tomorrow’s Fables”, can be said to be a reflection of the status quo of life fable modern society, modern artists I heard the cries of the spiritual life of the desert, a wake-up call, in the mid-despair echoed alone, pregnant with expectations of pain. McCain emphasizes Yuan, the owner of the crisis is not a panda, but we are human beings themselves!

How art, contemporary social issues concerned, the depth of the human condition caused widespread social thinking and explore new forces abandoned sculpture that door edge contemporary art traditional art of language, which is the job of the artist Yuan Kan face Faced with the problem.

Shanghai Oil Painting & Sculpture Institute, executive vice president, said Shaw Valley, as an outstanding young sculptor, Yuan Kan unique perspective, through this particular image of Chinese giant pandas to express contemporary urban existence. Pandas in his work is no longer used as a unique creature, but the pool of life experience, anthropomorphic image, there may be some vague, but meaningful life. Expression of contemporary works of ups and downs, and has humorous composition, showing the city’s frustration. This is a series of works of critical realism has meant for us to open a new visual identity, twist find ignorant.

Throughout “Tomorrow’s Fables” exhibition, the artist on the creative concept, performance techniques and the entire structure completely breaking the traditional exhibition of sculpture brought bound expression, with the device of this media, combined with the environment, space and images, ideas (beyond sculpture category), breaking the traditional with the contemporary sculpture and conceptual art in the form of a perfect combination, so that artists get a more artistic freedom broad appeal. Create a special scenario, meaning clear, in order to form an effective dialogue with the viewer space, communication, so it goes throughout the exhibition naturally have the most precious moment of artistic expression open and critical.