May 27 2013 – Much to the surprise of this critic, as I’m sure it was to all who viewed Chimeras, the appearance of the dictionary definition, not as an intro to the opening, but, as a prelude to the credits gives one pause. Could it be that filmmaker Mika Mattila wants viewers to determine which definition of Chimera best represents each protagonist only after viewing the documentary ?
Chi·Me·Ras – KAI’MIERA / Noun
1. A mythological beast made up of parts taken from various animals.
2. A wild, unrealistic dream or idea; an illusion; a fancy.
3. An organism artificially composed from two or more genetically distinct tissues.
Chimeras opening salvo is an exercise in contrast. Gone are the staid Maoist images of old world communist China. In its place we are lovingly feted with a neo capitalist mantra exemplified by the finest in luxury brands. Today’s Beijing bombards your senses with a landslide of European and Western brands and billboards from Cartier to Coke, Hermes to Gucci. China is transforming as unbridled consumerization stands to influence all facets of art, fashion and finance. In partnership with Ullens Center for Contemporary Art (UCCA), John Galliano and Charlize Theron for Dior brought glamour and celebrities from across the world to the red carpet gala dinner to mark the opening of the “Christian Dior and Chinese Artists” Exhibition. With the third highest number of billionaires by country after United States and Russia, China has become the little business engine that could.
This not so little engine is having a transformative effect on China’s contemporary art movement. Finnish filmmaker Mika Mattila’s thought-provoking documentary Chimeras, searches for a uniquely Chinese aesthetic in an international art world dominated by Western sensibilities. The film chronicles the personal and philosophical journeys of two very distinct artists. Wang Guangyi, a founding member of the influential Northern Artist Group in the eighties. Openly antagonistic to the establishment and considered by many to be the father of the Chinese modern art movement, Wang is known for his Political Pop Art, an art form with propaganda ties and strong Warholian influences. On the other end of the art spectrum is twenty something photography student Liu Gang from the Central Academy of Art. From humble beginning, Liu is starting to nurture the tools of his craft as he navigate an explosion of possibilities while feelings the frustrations of the business.
By definition, Wang artistic exploits tie in closely with 3. “organism artificially composed from two or more genetically distinct tissues.” We see this deeply rooted in his iconic images from Maoist propaganda during the cultural revolution (1965 – 1968) which forms the basis of his art. The combination of Chinese propaganda married with overt Western brands carved out a strong and loyal following in the always fickle international art world. Christie’s auctioned Wang’s most popular Great Criticism Series – Materialist’s Art starting at $1.5 million. In 2008, Wang’s annual auction sales of his works totaled 23 million USD, eighth place among living artist in the world. Yet, along with this wealth came the criticism. People have questioned his artistic value as well as the price of his works. Criticism aside, even with all this wealth he is still conflicted. Pondering his legacy he wonders, will my work still be relevant in 20 years, in 50 years ? Wang always saw art as a vehicle to build on a country’s historical and cultural heritage, which can be twisted or damaged by the business if left unchecked.
In contrast, Liu ever the idealist is seen more like, 2. “A wild, unrealistic dream or idea; an illusion; a fancy.” by definition. Artistically smaller in scope, Liu discusses his method for shooting. He states, “my photographs form a document of our state of mind that’s relevant to leave for the future.” With so much visual inspiration to draw from, Mika captures the organic nature of Liu’s photographic process to completion. The experience captured in the photo’s belies his twenty-something age which doesn’t go unnoticed. We see the fruition of his work in the Paper Dream Series. Curators review Liu’s body of work as he listens intently to the ebb and flow of their evaluation culminating in his first solo exhibit. His photo art concept of re-interpretation is completely lost on Liu’s father but the hordes of media, critics and art insiders bodes well for Liu’s first showing. After the success of Paper Dreams in Beijing, Liu went on to exhibit around the world including, Rotterdam, Chicago, San Francisco, Sydney and Seoul. Liu’s second solo exhibit, Better Life, at C-Space in Beijing explores China’s conflicted aspirations. Our idea of a better life, the artist explains, are “all fantasies from the West.” But, even with this first and second taste of success he too was at a cross roads in his career. Was it too much too soon ? Are there other forces at play here ? Is photography truly his life’s calling ?
Review: 3.5 / 5: Filmmaker, Mika Mattila does a masterful job of capturing the power and influence of the modern Chinese art movement through the eyes of two very distinct artists. Old world traditions are exposed and challenged by some. While contemporary standards of art are re-imagined and consumed by others. The rapid modernization of China, in all its incarnation continues to effect on culture direction of society and by default various elements of China’s modern art movement. In the end, Chimeras presents a window into the lives and challenges of Wang and Liu as the continue to hone their craft. Mika’s visual revolution put into context how China’s shedding the cultural anchors of the past and the ripple effect it is having on the contemporary art movement.
“We declare that what we paint is not ‘Art’. What we paint are ideas for a new humanity.”
Genres: Documentary | History
Director: Mika Mattila
Writer: Mika Mattila
Country: Finland | China
Language: Chinese (English Subtitles)
Runtime: 88 min
Cast: Wang Guangyi, Liu Gang, Shu Qun
