Pang Maokun /   Pang Maokun

China 1963

www.pangmaokun.net

Pang Maokun
Pang Maokun
Male
China
1963
November 11, 2014
Nina Karaicic is a journalist with experience in TV and radio media. Born in 1989, she had studied at the University of Belgrade – Faculty of Political Sciences (Journalism). Interests: Photography, Art, Film, Folklore, Video Games

Pang Maokun is a Chinese Contemporary artist who was born 1963 in Pang Maokun Sichuan, China, and received an MA from the Sichuan Arts Institute in 1988. Pang frequently shows work in major exhibitions and has held seven solo exhibitions.

From the age 16, his work has been shown in major exhibitions, including the 1984 “6th National Art Exhibition” in Beijing; the 1987 “1st Chinese Oil Painting Exhibition” in Hong Kong; the 1994 “8th National Fine Arts Exhibition” in Beijing; the 1997 “Chinese Art Exhibition” in Shanghai; the 1999 “9th National Fine Arts Exhibition” in Beijing; and the 2003 “3rd Chinese Oil Painting Exhibition” in Beijing. Pang showed work overseas as early as the 1980s and has taken part in academic visits in Paris and Amsterdam which provided further creative stimulus. Pang has shown his work in important overseas exhibits including the 1987 “Contemporary Chinese Oil Painting” in New York; the 1995 “Modern Chinese Oil Painting Exhibit” in Beijing’ the 1996 “Looking at Live from the Avant-garde” in St. Petersburg; the 2000 in Torgau Art Foundation in Germany; the 2001 “Chongqing Hot Pepper” exhibition in Germany; the “Sichuan Plot — Post-Cultural Revolution” exhibition in London; the 2003 “Chongqing Pepper” exhibition in the US; the 2004’s “Each Other” exhibition in France and ChinaToday Gallery, Brussels, Belgium 2005.

Pang Maokun is not the type of intellectual who seeks social reform or the salvation of mankind or the society. He is more concerned with his own independent spiritual exploration and artistic creation, adopting an attitude of benign indifference to the dramatic changes in social life and to the prevailing cultural mediocrity. While keeping a distance from the daily life, Maokun concentrates in the perfection of his own character and in his artistic exploration – a way of spiritual self-salvation. Exactly in this kind of dogged spiritual pursue, we sense the independence of Chinese intellectual in this era of changing urban culture.
– Yin Shuangxi (art critic)