Yue Minjun’s Untitled (Smile-ism No. 25) (2006) is a striking lithograph that embodies his signature satirical and surrealist style. Featuring three nearly identical, semi-nude male figures reclining on a white surface, their exaggerated grins stretch unnaturally across their faces. Their pinkish, almost sunburned skin contrasts starkly against the pale background, emphasizing the grotesque, almost mechanical nature of their laughter.
Minjun, a leading figure in China’s Cynical Realism movement, often uses self-portraiture to explore themes of identity, absurdity, and collective experience. The forced, almost unsettling laughter in Smile-ism No. 25 critiques societal pressures, mass conformity, and the contradictions within contemporary life. The piece, part of a limited edition of 45, captures Minjun’s ability to transform humor into a vehicle for deeper introspection and social commentary.
Yue Minjun (China, 1962) is a renowned contemporary artist celebrated for his satirical self-portraits featuring exaggerated laughter. His works, rooted in Cynical Realism, critique societal norms and political issues with humor and irony. Using bold colors and repetitive imagery, Yue’s paintings are iconic representations of post-Tiananmen Chinese art.
Lithograph Lithography is a printing method based on the principle that water and oil do not mix. It can be used to print artwork or text onto paper or other suitable materials. Traditionally, an image was drawn with wax, fat, or oil onto a lithographic limestone surface or plate. Today, metal plates and other surfaces are also used in lithographic printing.
Yue Minjun’s Untitled (Smile-ism No. 25) (2006) is a striking lithograph that embodies his signature satirical and surrealist style. Featuring three nearly identical, semi-nude male figures reclining on a white surface, their exaggerated grins stretch unnaturally across their faces. Their pinkish, almost sunburned skin contrasts starkly against the pale background, emphasizing the grotesque, almost mechanical nature of their laughter.
Minjun, a leading figure in China’s Cynical Realism movement, often uses self-portraiture to explore themes of identity, absurdity, and collective experience. The forced, almost unsettling laughter in Smile-ism No. 25 critiques societal pressures, mass conformity, and the contradictions within contemporary life. The piece, part of a limited edition of 45, captures Minjun’s ability to transform humor into a vehicle for deeper introspection and social commentary.
Yue Minjun (China, 1962) is a renowned contemporary artist celebrated for his satirical self-portraits featuring exaggerated laughter. His works, rooted in Cynical Realism, critique societal norms and political issues with humor and irony. Using bold colors and repetitive imagery, Yue’s paintings are iconic representations of post-Tiananmen Chinese art.
I’m actually trying to make sense of the world.
- Yue Minjun
Yue Minjun is a contemporary Chinese artist who works in Beijing. He is most widely known for his oil paintings that show himself laughing in a variety of different settings. He has also copied this image in watercolor, prints and sculpture. Critics have labeled him a part of the "Cynical Realism" movement in China, although he has distanced himself from that group personally. Yue Minjun takes his inspiration from the work of Geng Jianyi, who had used his own laughing visage as a central focus in his work. Yue studied painting from 1985 to 1989 at Hebei Normal University. Yue Minjun’s work has appeared in many galleries in Beijing, Hong Kong and Singapore. His work Executiondrew the highest price of any Chinese contemporary artwork ever when it went for US$5.9 million at Sotheby's in London. By 2007, 13 of his paintings had sold for more than US$1 million. His "Hat" series remains one of his most widely admired.
Political Pop was an art movement that emerged in China during the 1980s, blending the Pop Art style of Western countries with the socialist realism of China. This movement arose during a time of rapid social and political change in China, as artists sought to create works that questioned and critiqued these cultural shifts. Political Pop often juxtaposed iconic images from Chinese propaganda with Western consumer culture, highlighting the tensions between tradition and modernization.