Ambivalent Landscape

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© Courtesy of the artist & Pékin Fine Arts
Ambivalent Landscape

No.241 Cao Chang Di Village,Cui Ge Zhuang,Chaoyang District
100015 Beijing
September 1st, 2012 - October 29th, 2012
Opening: September 1st, 2012 2:00 PM - 6:00 PM

Tues - Sun : 10 am - 6 pm, Mon: Appointment Only


The fundamental questioning of what painting is capable of offering in
post-ideological and critical terms, must, so it seems when one considers
Nashunbatu’s art, also be treated on equivalent terms in the realm of the
figurative and of the evocative potential of painting.
– Frankfurt based curator Felix Ruhöfer

Pékin Fine Arts is pleased to present an exhibition of new works by
Nashun Nashunbatu. Spanning the gallery’s three exhibit spaces,

Ambivalent Landscape is Nashunbatu’s first exhibition after joining the

Nashun Nashunbatu, born in Inner Mongolia in 1969, graduated
from university in Ordos, and earned graduate degrees in Germany.
Today, he divides his time between his studios in Beijing and Frankfurt,

An ethnic Mongolian, Nashunbatu is fluent in the Mongolian language,
as well as Chinese, English and German, and is representative of the
latest artists from Mainland China emerging on to the international stage:
Polymaths, well studied and well travelled, and actively engaged with
both Western and Chinese (and Mongolian) art history, literature and
philosophical discussions; hence, deeply aware of current affairs on the
local as well as international stage. Nashun’s exhibit history, especially
in Europe and particularly in Germany, is extensive. He is currently
preparing works for exhibits both in China and abroad. In 2012 and 2013
Nashunbatu’s works will be shown in solo exhibitions in museums in his
native Inner Mongolia.

As an “Overseas Returnee” (part-time in China and full-time in
Germany), and like many of his generation, Nashunbatu, often finds
himself in the awkward position of being more familiar with the European
art scene than he is with China’s contemporary art world discourse. As
a relative outsider to the Chinese art scene, Nashunbatu, both ethnically
and by virtue of his pursuits, is naturally more cosmopolitan and more
prone to deviation from China’s established social order in his artistic
practice. As such, his successes and failures as an artist in China are
particularly representative of the diversity and unpredictability that
typifies the group of highly individualized avant-garde artists working in
and around Beijing. This lack of adherence to one dominant aesthetic
or philosophical approach liberates his creative impulses and pursuits,
while at the same time creating obstacles to easy understanding and
categorization of his artistic practice.