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Guo Jian (; born in Guizhou China in 1962〔China Radio International (3 March 2011) http://english.cri.cn/8706/2011/03/03/2422s623805.htm by Zheng Yunfeng, Retrieved 14 February 2014〕) is a Chinese Australian artist.〔New York Times (22 June 2011). http://www.nytimes.com/2011/06/23/world/asia/23iht-letter23.html?pagewanted=all&_r=1& By Didi Kirsten Tatlow, Retrieved 14 February 2014〕 His work has been exhibited and collected in Germany, France, Belgium, Sweden, USA, Mexico, Australia, New Zealand, Hong Kong and China, including Musée de Picardie〔Art Speak China http://www.artspeakchina.org/mediawiki/Yuanmingyuan_%E5%9C%86%E6%98%8E%E5%9B%AD Retrieved 14 February 2014〕 in France, Brussels Art Festival, the Art Gallery Of New South Wales, the Queensland Gallery of Modern Art (GoMA)〔〔Queensland Gallery of Modern Art (GoMA), (2009) The China Project, Three Decades the Contemporary Chinese Collection: Guo Jian|http://www.qagoma.qld.gov.au/exhibitions/past/recently_archived/the_china_project/three_decades_the_contemporary_chinese_collection/guo_jian_the_day_before_i_went_away_2008 Brisbane, Australia〕〔Australian Broadcasting Commission (ABC) News (11 December 2009) http://www.abc.net.au/news/2009-12-11/art-imitates-politics/2597602 by Virginia Trioli, Retrieved 14 February 2014〕 and the National Gallery of Australia (NGA).〔 He has been featured in The New York Times,〔 CNN,〔CNN (26 June 2011). http://edition.cnn.com/2011/WORLD/asiapcf/06/26/china.dissidents/ by Steven Jiang, Retrieved 14 February 2014〕 the Sydney Morning Herald,〔Sydney Morning Herald (4 June 2009) http://www.smh.com.au/world/bloodshed-led-to-another-cultural-revolution-20090603-bvom.html by John Garnaut, Retrieved 14 February 2014〕 the Australian Broadcasting Commission (ABC),〔〔Australian Broadcasting Commission (ABC) Radio National (18 August 2011)http://www.abc.net.au/radionational/programs/latenightlive/artist-guo-jian/2931386 by Phillip Adams, Retrieved 14 February 2014〕〔Australian Broadcasting Commission (ABC) Radio National (5 December 2002) http://www.abc.net.au/radionational/programs/breakfast/china-art/3522986 by Fran Kelly, Retrieved 14 February 2014〕 ''Artist Profile'' magazine and on the cover of ''The Wall Street Journal Asia Weekend Magazine''.〔Wall Street Journal Asia (3 June 2010) http://online.wsj.com/news/articles/SB10001424052748703561604575283581607756148?mg=reno64-wsj&url=http%3A%2F%2Fonline.wsj.com%2Farticle%2FSB10001424052748703561604575283581607756148.html By Brendan Shanahan, Retrieved 14 February 2014〕 He is part of a movement of contemporary Chinese artists whose work is characterised as Cynical Realism, which began in the 1990s in Beijing. Born a year after the Great Leap Forward, his art is heavily influenced by the last fifty years of political upheaval and violence in China, a period that included the Great Proletarian Cultural Revolution in the 1960s and 70s, the Sino Vietnamese war in the early 1980s, and the Tiananmen Square massacre in 1989.〔World Socialist Web Site (21 November 1998) http://www.wsws.org/en/articles/1998/11/guji-n21.html, by Richard Phillips, Retrieved 14 February 2014〕 At age seventeen, he enlisted in China’s People’s Liberation Army (PLA) during a recruitment drive to support the Sino-Vietnamese war, initiated by the country’s then leader Deng Xiaoping. A central theme to Guo Jian’s art derives from his observations of the application of propaganda and the arts to both motivate soldiers and sway public opinion. His perspective comes from his experiences as a propaganda poster painter in the PLA and propaganda officer in a transport company, then later from the outside looking back in as a student demonstrator during the Tiananmen Square protests in the spring of 1989.〔〔 His art also explores common themes and approaches in both Chinese propaganda and Western propaganda. ==Art & Influences== Stylistically, Guo Jian’s work falls within the Cynical Realism grouping that has been attached to many contemporary Chinese artists who draw from their experiences over the last four decades in China. Their work is broadly a response to the dominant government driven form of propaganda-laden art known as Socialist Realism. While studying art at Minzu University of China〔 the ''85 New Wave Movement''〔Encyclopedia of Contemporary Chinese Culture, http://contemporary_chinese_culture.academic.ru/2/85_New_Wave__Movement Retrieved 14 February 2014〕〔School of Art Institute Chicago (2010) http://blogs.saic.edu/emerge/2010/05/18/the-values-and-policy-system/ in China Retrieved 14 February 2014〕 emerged, which also had a profound impact on his work. Guo Jian’s art focuses on the use of the female celebrity as a model patriot, a tool to motivate, influence, manipulate and ultimately serve as Ulyssean Siren.〔 His work looks at the commonalities between the purity of the Chinese army’s Entertainment Soldier 〔〔〔〔South China Morning Post (26 January 2014) http://www.scmp.com/news/china/article/1413685/pla-declares-war-fun-entertainment-troops-face-cutbacks, by Minnie Chan, Retrieved 14 February〕 (文艺兵 Pinyin: wényìbīng or文工团 Pinyin: wéngōngtuán) performers and their Western counterparts. In the book STUDIO, Australian Painters on the Nature of Creativity, author John McDonald noted: “A poster of two girls in army uniforms posed in front of the Great Wall shows how little Guo Jian actually makes up. His paintings may seem improbable but they are near reflections of Madam Mao’s Model Revolutionary Operas, and the over-the-top style of army propaganda. The message, to boys from the provinces like Guo Jian, was that beautiful girls love a man in uniform. Under capitalism or communism, sex sells.” 〔STUDIO, Australian Painters on the Nature of Creativity (p.79), John McDonald, ISBN 978-9810574666, Retrieved 14 February 2014〕 He highlights the implied innocence and the underlying eroticism of women used to manipulate and motivate men in uniform and in society as a whole.〔 He delves into the sexualisation of propaganda, heroism, patriotism and persuasion. What first appears as humour is a lament at the use of sex to seduce men to war. Guo’s continual references in his paintings to his time in the P.L.A. derive from the traumatic nature of the experience. Gou recalls: ‘I used to have nightmares all the time... Then in the library, I was looking at some pictures of China during the Cultural Revolution and I realized what was triggering these nightmares. Since coming to Australia ten years ago, I’d pushed memories of my years in the Chinese army, and of Tiananmen, out of my mind. But seeing these images triggered memories, and once I stated to use them in my paintings, I stopped having bad dreams.’” 〔Miami University Libraries (2007), Breakout : Chinese Art Outside China, p.191, by Melissa Chiu, ISBN 8881586398, Retrieved 14 February 2014〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Guo Jian」の詳細全文を読む スポンサード リンク
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