The Gao Brothers, who are represented by Jux contributor Melanie Ouyang Lum were recently profiled in the NYT for their efforts to continue to produce art that provides political commentary in a modern China that still severely limits creative expression.

In a time where Chinese artists have increasingly stepped into the spotlight of the contemporary art world, and constraints on expression outwardly appear to be growing more lax, it is important to note that a fight for freedom of expression is still being waged.

"The Gao Brothers are one of the most important controversial artists in the Chinese contemporary art scene. Although their politically dissident work has made them blacklisted in China, they continue to speak their minds about the government, sexuality, and the complex problems associated with “New China”, writes Melani Ouyang Lum on her blog.

The censorship in China has such a presence that Melanie Ouyang Lum writes things on her blog like, “Unfortunately I cannot post the featured works from the event or their specific meanings because of the great fire-wall of China. If you are interested in seeing clear and focused pictures of the controversial works please send me an email”.

The recent New York Times article that profiled the artistic duo speaks about purposefully obscured meanings in works and underground exhibitions as a mode of circumnavigating censors in China.

One specific piece, pictured above, is a statue of Mao whose head is purposefully disattached from it's body. The New York Times reports, "Exhibitions by the Gao brothers, whose work the authorities find politically challenging, have been shut down in the past, and their studio has been raided. So they keep the head of Mao hidden in a separate location — reuniting it with its body only on special occasions to show friends and colleagues. Normally, the body of the statue remains headless, unidentifiable and nonthreatening."

The story continues, “Still, the Gaos are a reminder that, especially as China celebrates the 60th anniversary of the Communist revolution, limits to expression remain: although artists are increasingly free to deal with social and political topics, works that explicitly criticize Chinese leaders or symbols of China are still out of bounds.”

Read the entire NYT story here.
 

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