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Born in 1974, Chen Hangfeng belongs to the fourth generation of Chinese artists after the Cultural Revolution. A generation of artists who were born after the Maoist era and grew up during the years of modernisation and opening up of the country. He is based in Shanghai where he was born and studied. Growing up and living in an increasingly westernized and permanently changing environment had a great impact on his work. His series of artworks seem to establish a confrontation between, on one side contemporary means of artistic expression or interpretation, and, on the other, forms of art which are considered to be traditional; namely between western “influences” and local “Chineseness”. Of interest is how the contact between those different forms is established. While the encounter seems to take the form of a dichotomy, it actually challenges the idea of a strict confrontation with two well-defined sides. The line where the contact is made is not a demarcation, it is neither definite, nor is it impermeable. The contact is not fixed or rigid. It is a moving, dynamic kind of encounter. The artworks consist of an intermingling set of practices, histories, memories, and even different temporalities. The now, the present of the image seems to contain the trace of the future along with that of the past.Ne en 1974 Chen Hangfeng appartient a la quatrieme generation d’artistes chinois apres la Revolution culturelle. Une generation d’artistes nes apres la periode Maoiste et ayant grandi durant les annees de modernisation et d’ouverture du pays. Il est aujourd’hui base a Shanghai, ville dans laquelle il est ne et a etudie. Vivre et avoir grandi dans cet environnement toujours plus occidentalise et en constante evolution a eu un impact notable sur son travail. Ses series artistiques semblent etablir une confrontation entre des media artistiques contemporains d’un cote et des pratiques considerees comme traditionnelles de l’autre ; entre des « influences » occidentales et une « sinite » locale. Il est toutefois interessant de se pencher sur la maniere dont le contact, la rencontre est mise en place. Si elle parait prendre la forme d’une dichotomie, elle defie en realite l’idee d’une stricte confrontation. La ligne de contact n’est pas une ligne de demarcation, elle n’est ni definie, ni impermeable. Le contact n’est pas fixe ou rigide. Il s’agit au contraire d’une rencontre dynamique et en mouvement. Les œuvres se composent d’un entremelement de pratiques, d’histoires et de souvenirs, ou les temporalites meme se melangent. Le maintenant, le present de l’image semble contenir des traces du passe aussi bien que du futur.

“It Is (Not) What It Looks Like”: Chen Hangfeng’s Liminality