In Duan Jiayu¡¯s work Artistic Chicken--Gao Minglu
 

  In Duan Jiayu¡¯s work Artistic Chicken, 2003 [PI.46-1] oultry seems to be the agent of this ? of urban identity. Chickens are a symbol of mass-production, inextricable products, luxuries, and the sex trade as well as having a gentle resigned character. Duan Jianyu¡¯s Artistic Chicken reflects on and cules the art market and contemporary urban culture. Artistic Chicken displayed in the 50th Venice Biennale, was clearly targeted at artist the art world. Another Artistic Chicken work features a female a painting the urban landscape from the top of a mountain. The se appeal of the figure combined with the image of chickens reveal ? inextricable connections between art, urban culture, and the econ. Duan Jianyu ingeniously slipped such an allegory into the allusive of Eastern ink painting. This hallucinatory feeling enhances the se allusion of the inky image. She has modified a number of paintings. Western modern masters into works with Orientalist flavor and ?  sexual appeal .In a parody of Ingre¡¯s The Spring, the painting¡¯s ori classical appeal is swathed in Eastern grace and charm, as the wom its center is surrounded by a horde of ducks signigying the desire c opposite sex. The classical elegance and the realistic depiction c inhibited male viewer¡¯s object of desire were supplanted by Duan Jianyu direct and uninhibited sexual provocation.[PI.45-2] Likewise, the n woman in Manet¡¯s Luncheon on the Grass was repainted as na pregnant, and unashamed, and an Art Chicken was added to the ca clucking away next to the two men and the woman. If Manet used visual language of ¡°loose women¡± to attack the moral hypocrisy o noble and upper class, Duan Jianyu¡¯s painting critiques the rhetoric ¡°gentlemen,¡± who discriminate against women.

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