Vitamin Z, 2000
Wenbo Chen  

Print : Screen Print · 105 x 75 cm 41.3 x 29.5 inch

€600 600 €

One of the last works available by this artist

Shipping & delivery

Shipped from: France

Delivery to: France , € 20

Estimated delivery: Less than one week

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Verified Reviews : 9.6/10
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About the artwork

Type

Print : numbered and limited to 80 copies

2 copies available

Condition

Artwork sold in perfect condition, not framed

Authenticity

Sold with certificate of Authenticity from the gallery

Invoice from the gallery

Signature

Hand-signed by artist

Technique & Support

Screen Print on paper

Dimensions ( cminch )

105 x 75 cm 41.3 x 29.5 inch Height x Width x Depth

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Credentials

Vetted seller since 2013 • Top Seller

Discount

This seller offers discount when you purchase multiple artworks.

Description
Printed by "Atelier Arcay" founded in 1957 in Paris.

Portrait

Pop Art

Eastern Art

China

Asian Pop

Surrealism Pop

Wenbo Chen, Vitamin Z

Wenbo Chen

China  • 1969

Presentation

Chen Wenbo was born in 1969 in Chongqing, Sichuan Province, China. He graduated from the Sichuan Academy of Fine Arts.

In the continuity of Yue Minjun and the Beijing artists associated with "cynical realism", evoking the irruption of excessive consumption and modern dehumanisation, Chen Wenbo hijacks the classic medium of oil painting to produce striking and disturbing portraits. These ultra-realistic faces, with their smooth, naked, candy-pink skin, are criss-crossed with geometric patterns that seem to imprison them.

But the artist's intention is the opposite of cynical laughter or tragic resignation. The subjects are intensely subjective, their clear, determined and open looks tearing through the parasitic mesh of geometric patterns. The hands are in the foreground, questioning the face, grasping it, pointing at the ears, eyes and tongue in enigmatic, silent and complicit postures, in a form of challenge. A third hand frequently intervenes, making contact with the subject.

If Chen's work evokes, like many of his Chinese contemporaries, the suffering of a modern society in the grip of reification, it also and above all depicts the inalienable and subversive persistence of subjectivity, and the affirmation of its power to forge its own forms of social ties. Beyond the visceral unease they may at first arouse, these portraits directly challenge the viewer on the power of his own gaze, of his own hold on the world. It is no longer a question of complaining about the absence of freedom, it is up to us to conquer it.

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