岳敏君，1962生于黑龙江大庆， 1985 就读于河北师范大学美术系， 60年代初生于黑龙江大庆的岳敏君，从小跟著在石油零碎 工作的父母转换了很多的城市。高中毕业后，在天津海洋石油总公司做过两年的石油工人。由于从小对绘画有兴味 ，再加上四周 有几个同学和朋友也不断 在画画，就这么著彼此影响，到1985年考到了河北师范大学艺术系。1989年毕业当前 ，他被分配到了1 所石油学校做教师。

对“自我”的定义是90年代以来中国当代艺术的主题，对于中国艺术家个人来说，这类 “自我抽象 ”的崇拜性认定已 成为某种国际和国内认同的商标。岳敏君的抽象 (新偶像)广泛的被媒体和公众所接受，同时以其当代特有的自我认识满足了杂志对当代个人新英雄塑造的需求 。
2000年开始的“古代 兵马俑”试图把某种历史的能量吸纳进对“自我抽象 ”的制造上，而 “兵马俑”这1 对当代来说所具有的文明 旅游性质的意向则会普遍的引导出外界对“古代 兵马俑”制造者个人文明 英雄主义者的期望。这不同于象Damian Hirst, Marc Quinn那样的艺术家，他们通过个人的、具体的对当今物资 世界疯狂认识，构成 了特有的处理这类 感觉的方法。外界把这类 洞察力和感觉力作为他们个人文明 英雄主义者的标志。在岳敏君这样的艺术家这儿，“传统”却成为理解当代中国艺术家的个人文明 英雄主义的1 个重要方法。

1994年他搬到了宋庄，以后 不久圆明园中的艺术家也全部离开了。如今他在宋庄有很好的工作室，与在圆明园时租住的村民平房自然不可同日而语。他的创作和他说话的态度1 样，不徐不疾，1 个系列接1 个系列地画上去 ，有了“场景”、“处理”、“迷宫”等多个系列。他最新的系列是“迷宫”，已 画了有十多幅。采用系列的情势 ，他别有意图 ，“由于 我把每1 个想法都变成1 个观念，所以就需求 1 个系列、1 个系列地来画，这样观众也能看得清楚1 点，明白我要表达的是个什么样的观念，比较好诉说1 些。其他的模式需求 更好的创作节奏，得慢慢再说，每1 个想法都用1 个很长的时间，来表现得充分1 点。”在今日美术馆展览现场，最有目共睹 的就是“迷宫”系列的最新作品《毛杏兰》，画面上诸多元素在迷宫中并置，却没有那个标志小岛笑脸。“毛杏兰是我母亲的名字，我觉得她的终身 ，就像1 个迷宫，她终身 的迷宫和我们如今 的形态 差不多，我想表达的是1 个中国人的探索的过程。”岳敏君如此解释本身 的初衷。
以岳敏君本身 的脸为原型，紧闭双眼，张嘴大笑，甚至有些痉挛的笑脸，如今 已 是他的招牌主题了。每每有记者采访的时候，要求他面带画中的愁容 和作品合影，但要作出那样的表情其实也并非易事，岳敏君认为这副笑脸和人生1 样，“都是痛苦和喜悦交织。”“每1 天都是痛苦的，每1 天也都是开心的，人生可能不是能够完全遗忘 自我的快乐，笑脸也是这样，又快乐又很紧张，而且他很恐惧，他闭着眼睛是不愿看这个世界。”而他选择本身 的脸作为原型，则是由于 觉得自嘲是1 种更好的选择。

岳敏君认为他关注的是绘画的情势 ，绘画怎样从添加转变减少，从而挑战绘画的规则。其实，绘画的添加并非物的添加，而是技术的添加，通过必然 的技术实现再现的真实性，导致对真实的认可。《渔港新医》这样的作品正是由于其技术性而在当时引发 广泛的留意 。抽象 、外光、笔触与结构等不仅构成1 个和谐灿烂的画面，也是中国油画技法的1 个历史性突破。这类 突破意味着前在技法的匮乏和文明 独裁 所带来的普遍的压制 。然而，也正是技法掩盖了事实的本相 ，在那个年代，谁也不会去诘问 再现的真实性，这是政治宣扬 还是真实写照。在1 个表象背后隐藏着多少严酷，普遍的贫困、缺医少药、知识分子迫害、理想 的捏造 ，等等。文革当前 ，当真实反思理想 的《父亲》这样的作品出来以后 ，文革的绘画仍被归结为1 个情势 的概念“红光亮”，而历史从未被清算，可能是由于 政治宣扬 的体制本身没有被清算。人不能两次趟过同1 条河流，当历史再度重现的时候，如在古代 艺术史的写作中，在艺术市场的疯狂价位中，历史被美化了，“1 切过去了的都会成为美好的回忆”。岳敏君的作品就是让历史以特殊的方式重现出来，他复制的只是历史的局部，去掉了中心人物，如同历史在记忆中的变形。人物是政治的载体，被遗忘的正是表象后面隐藏的政治的严酷，留下的场景似乎失去了意义，就像1 幅普通的风景画，即使这类 风景是为主题特定的。
确实，看岳敏君的作品，需求 的是记忆与思考，我们如何识别与诘问 历史，他把残缺的历史呈现给我们，是由于 历史被遗忘得太多。他的呈如今 实质上也不是1 种款式 的跟随 ，而也是1 种复制，是对复活历史的复制。历史的正剧在悲剧 中复活，不是历史的责任，而是今天的需求 ，有些是自愿的，有些则是无法 。

Yue Minjun was born in Heilongjiang, 1962 in Daqing, 1985 enrolled in the Department of fine arts of Hebei Normal University, Yue Minjun was born in Heilongjiang in Daqing in the early 60s, grew up with a lot of city transformation in the oil system for working parents. After graduating from high school, the Tianjin Offshore Oil Corporation has done two years of oil workers. As a result of childhood interest in painting, coupled with a few classmates and friends around have been painting, so with each other's influence, by 1985 admitted to the Department of art, Hebei Normal University. After graduating in 1989, he was assigned to an oil school as a teacher.
On the "self" is defined as the theme China contemporary art since 90s, for Chinese artists personally, the worship of the cognizance of "self image" has become a trademark of international and national identity. Yue Minjun's image (new idol) is widely accepted by the media and the public, and at the same time satisfies the magazine's need for the creation of contemporary new personal heroes with its contemporary unique self-awareness.
The 2000 start of the "modern Terracotta Army" trying to put some energy into the history of "self image" and "Terracotta Army" production, this is the nature of contemporary cultural tourism intention will generally lead to the outside of the "modern Terracotta Army" manufacturing personal heroism cultural expectations. This is different from artists like Damian Hirst, Marc Quinn, who, through their individual and specific knowledge of the physical world today, form a unique way of dealing with this feeling. The outside world this insight and perception as a symbol of their personal heroism of culture. The artist like Yue Minjun here, "traditional" has become an important method of personal heroism culture understanding of contemporary artists China.

In 1994 he moved to Songzhuang, shortly after the Old Summer Palace artists are all gone. He has a good studio in Songzhuang now, and rented in Old Summer Palace villagers cottage nature cannot be mention in the same breath. His creation and he spoke in the same manner, a series of connected neither fast nor slow, a series of pictures, the "Scene" and "treatment", "labyrinth" and other series. His latest series is the maze, has drawn more than and 10. A series of forms, he do not have the intention, "because I put every idea into a concept, so we need a series, a series of pictures, so that the audience can see clearly, understand what I want to express what is good about the concept of some. Other models need to create a better rhythm, have to say slowly, each idea with a very long time to show a little more fully." At the exhibition, Today Art Museum, the most notable is the "maze" series of the latest works of "Mao Xinglan", and many other elements on the screen in the maze without juxtaposition, the sign face island. "Mao Xinglan is my mother's name, I think her life, like a maze, the maze of her life and we are now almost the same state, I want to express is a Chinese exploration process." Yue Minjun so explained his original intention.
Yue Minjun's own face as a prototype, closed his eyes, mouth laugh, and even some of the spasm of the smiling face, is now his signature theme. I have an interview with reporters, he said with a smile and asked the work group, but to make that face actually is not easy, Yue Minjun think this smile and life, "are all the pain and joy intertwined." "Every day is painful, every day is happy, life may not be able to completely forget yourself happy, smile is so happy and very nervous, but he was scared, he closed his eyes to see the world." And he chose his own face as a prototype, it is because that self is a better choice.
Yue Minjun thought he was concerned with the form of painting, how to reduce the painting from the addition of change, thereby challenging the rules of painting. In fact, the addition of painting is not the addition of things, but the addition of technology, through a certain technology to achieve the authenticity of reproduction, resulting in real recognition. "Fishing" new such works because of its technology and caused widespread attention at the time. Image, external light, strokes and structure not only constitute a harmonious and splendid picture, but also a historical breakthrough of Chinese oil painting techniques. This kind of breakthrough means the lack of technique and the universal repression brought by cultural autocracy. However, it is the technique to cover up the truth, in that era, who will not ask the authenticity of reproduction, which is political propaganda or a true portrayal. In a number of hidden behind the appearance of severe, widespread poverty and persecution, the reality of the intellectuals, and forgery, etc.. After the cultural revolution, when true to reflect the reality of the "father" of such works, the Cultural Revolution was attributed to the concept of "painting is a form of red light", but history has never been liquidated, probably because of political propaganda system itself is not cleared. Two people can not go through the same river, when history again, as in the history of modern art in the art of writing, the crazy market price, the history is beautified. "All the past will become good memories". Yue Minjun's work is to make history reproduce in a special way, he copied only part of the history, removed the central figure, as the history of deformation in memory. Character is the carrier of politics, forgotten is behind the hidden political grim, leaving the scene seems to lose meaning, like a common landscape, even if the landscape is for the theme specific.
Indeed, look at Yue Minjun's works, need is memory and thinking, how we identify and ask history, he presented the incomplete history to us, because history is forgotten too much. His presentation in essence is not a style to follow, but also a copy, is a copy of the resurrection of history. The history of drama resurrection in comedy, not a historical responsibility, but today, some are voluntary, others are helpless.