Reproducción impresa UV de alta calidad sobre tela resistente de algodón natural. Este material está tratado para recibir las tintas sin alterar los colores. Archivos tratados y mejorados para su producción.

Montado sobre bastidor de madera listo para colgar y con durabilidad de años en tus paredes.


SKU d1c398243b56 Categoría Etiquetas ,

Peso N/D
Dimensiones 70 × 50 cm
Medida (CM)



Violeta / Rosa


(1962 – actual)






Yue Minjun

Preguntas frecuentes


Entrega / despacho: 15 a 20 días corridos desde el momento de la compra.
Paquete protegido y garantizado. para que lleguen en perfecto estado.
Las medidas finales pueden variar entre +/- 3 a 6 cm según proporciones originales de la obra.


10% de descuento en transferencias directas (bancarias, cuenta DNI o desde MercadoPago).
Pago adelantado del 100% o 50% adelanto, y el 50% restante  contra entrega.
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3 Cuotas iguales (35% de recargo vía Mercado Pago)

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Yue Minjun (Chinese: ???; born 1962) is a contemporary Chinese artist based in Beijing, China. He is best known for oil paintings depicting himself in various settings, frozen in laughter. He has also reproduced this signature image in sculpture, watercolour and prints. While Yue is often classified as part of the Chinese Cynical Realist art movement developed in 1989, Yue rejects this label, but also «doesn’t concern himself about what people call him.»1 Yue Minjun’s style can be traced back to the work of Geng Jianyi,5 who first inspired Yue with his work of his own laughing face. Over the years, Yue Minjun’s style has also rapidly developed. He often challenges social and cultural conventions by depicting objects and even political issues in a radical and abstract manner. He has also shifted his focus from the technical aspects to the «whole concept of creation». ‘Massacre of Chios’, one of his most known works, shares its name with a painting of the same name, by Eugène Delacroix, depicting the 1822 event in Greek history. As of 2007 thirteen of his paintings had sold for over a million dollars. One of his most popular series was his «Hat» collection. This series, pictures Yue’s grinning head wearing a variety of hats—a chef’s hat, a Special Forces beret, the helmet of a British policeman, Catwoman’s mask, and so on. The artist tells us that the series is about a «sense of the absurdity of the ideas that govern the sociopolitical protocol surrounding hats.» The series nicely illustrates the way that Yue’s character is universally adaptable, a sort of logo that can be attached to any setting to add value. When asked to participate in the Venice Biennale in 1999, Yue opted to begin fabricating bronze sculptural versions6 of his signature self-portrait paintings, playing off China’s famous Qin Dynasty army of terracotta warriors. While the ancient sculptures are known for the subtle individuality of each of the warriors, his cackling modern-day version are relentlessly identical, cast from the same mold. In Noah’s Ark, six of Yue’s self-portraits sit in a small rowboat on a blue sea, squatting together, gripping their knees and screaming in silent laughter. In Solar System, three identical Yues are cackling at the bottom of the canvas, each clad only in underwear, giant planets wheeling behind them in outer space.

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