Kuandu Museum of Fine Arts (KdMoFA) stands as a rare fine arts museum in Taiwan developed on a foundation of accomplishments in the arts and humanities as well as a firm position in the academic community.  Starting on July 21, Soka Art will step out of its space in Taipei and head to KdMoFA to hold the solo exhibition, MAO XUHUII’M HERE, in honor of an important artist who had major effects on the course of academic and art market development.  In middle of the exhibition period on September 20, an in-depth academic symposium, “The Autonomy of Images During Eras of Change  - Art Symposium on Mao Xuhui”, will also be held.  Exhibition curator Feng Boyi plans a comprehensive time cue with the academic position of KdMoFA strictly in mind.  For this time’s exhibition, he not only focuses on the artist's various historical stages and representative series of works, but also puts on display several transitional works with strong experimental and transformational styles.  The exhibition, MAO XUHUII’M HERE, will be divided into three sub-units: “Circumstances of Life”, “Out of Place”, and “Prop Fables”.  Through study, discussion, organization, and presentation, a deeper re-examination of the relation between the personal works of Mao Xuhui and the development of the important “‘85 New Wave” art movement in Chinese history will be conducted. 

China's First Contemporary Art Movement - '85 New Wave

‘85 New Wave serve as the most important movement in the art history of twentieth century China.  It created a new historical era, shattering the singular use of art as a tool of political propaganda and launching the first step in contemporary Chinese art.  During this period, a large number of outstanding artists and works began to appear in Chinese art history.  Artist Mao Xuhui is one of the important leaders of ‘85 New Wave.  His works emphasize an introverted sense of self and reflect upon the value of individual life and existence.  Whether they adopt a symbolic or metaphorical approach, his works all refuse to serve as complete reproductions of scenes from metaphysical life.  As he states, those types of works lack souls!   Mao Xuhui did not employ a style familiar to the art world at the time.  He was an artist who did not acknowledge “popular” models of art.  From his work, Red Bodies, created during the ‘85 New Wave movement, one can see his ridding of the influence of local realism at the time, while changing to a more expressionist language of painting to depict the gray shades of the human spirit and psychology amidst a faint background of social unrest.  The uniqueness of Mao Xuhui is captured in a statement by MAO XUHUII’M HERE curator Feng Boyi: “His works frequently carry a realistic relevance - relating to various issues invoked by social upheaval and eras of change, as well as his personal situations and experiences during these times.  This is indeed the main clue for interpreting the art of Mao Xuhui!”

Objects that are not Objects?!  Pictures that are not Pictures?!   The Substitution of Symbols in Artistic Language

The depiction of objects from daily life is another focus of Mao Xuhui’s art.  Drawing from fragments of daily life, he places common objects into his images, proposing the slogan: “What is  the new figurativeness?  It is the figurativeness of the mind, the figurativeness of the soul.”  On the surface, this focus of his art is influenced by the actual conditions of his life.  However, subconsciously, this is how the artist faces emotional projections during social change.  In the composition of works, such as The Scissors in the Mirror · Spring Day,  Eternity · Dedicated Hrabal, and Nirvana  · From Purple to Gold (The Disappearance and Rebirth of a Design Studio), a large number of scissors, chairs, purple, gold, and other symbolic schema intentionally convert the fixed symbolic meanings of the images to further allude how the era serves as a representation of power and a reference to human life.

Glimpsing at the History of Contemporary Art Development Through Works of Art

MAO XUHUII’M HERE serves as the first time that artist Mao Xuhui will be holding a large-scale exhibition in Taiwan that comprehensively encompasses the context of his works.  In addition to once again discussing ‘85 New Wave, the most important movement in Chinese art history, as the start to a historical axis, the exhibition also covers in detail the historical background and importance of Mao Xuhui’s role as a pioneer of Chinese art.  The process of adjusting and arranging his works began as far back as 1981.  At the same time, a large amount of time was spent working to borrow the works from the hands of various collectors to prepare them for this exhibition.  Furthermore, a series of photos, documents, and other files recording major historical moments, exhibitions, and events will once again be reproduced within the venue of this exhibition.  Mao Xuhui is an artist with a high degree of recognition in the history of Chinese art.  This exhibition, MAO XUHUII’M HERE, is an event that art lovers in Taiwan cannot afford to miss!