Ethical issues. Chinese artists, despite the impossibility of a frontal discourse that would open up and accompany the debates that modern China must have in order to consider its future, manage to make a disagreement by their artistic positioning that they occupy with rigor.
Zhang Zhenyu succeeded in making his seemingly abstract work into a reflection on the state of the world and the ecological fracture that the development of 20 years of growth imposes on the population. The reuse of air pollution allows him to create this worldly beauty that escapes us little by little. It reigns in the massive surfaces that confront us with a mineral density captivating to lawful dull revolt that inhabits the artist and his contemporaries. For his part, Liu Tao seems to prefer to flee. But it is rather by this poetic eulogy that he leads to the forms of an individual revolt. He revives in us what wants above all else to live unhindered by giving us a real insight into the Chinese reality.
Artists engaged physically in the creation of their work, Zhang Zhenyu risks his life in dust and pollution in an attempt to achieve this alchemy of a world capable of renewal, whereas Liu Tao, spirit of places, revives memories and the urgency of a leap into the unknown of our human nature at its best and its worst. These are the terms of a contract they sign with the duty of art. To testify, to make us understand what is disturbing in our ways of existence, what makes the anguish of our century and its resolutions, in silence, in view of a slow revolution of consciences.