Contemporary Chinese artist Zhang Xiaogang, long known for his ethereal family portraits, has moved into uncharted territory with his newest exhibition, "The Records," running from September 27 to November 15 at Pace Beijing. The show, which showcases more sculpture and less painting, is a move in a completely new direction for Zhang. As he pulls away from the portrait painting which launched him into the international spotlight, does this show give us an indication that top Chinese contemporary artists are developing works for a more domestic audience?
One of the major shifts we've seen among major Chinese artists in the last year or two is a stronger effort to reach mainland Chinese viewers and less of a reliance on the "traditional" symbols and icons that initally drew the attention of Western collectors and art lovers. Zhang Xiaogang's newest exhibition, which is less Cultural Revolution and more 21st century than his early '90s output, definitely marks a new chapter in the artist's work. Does this indicate that he's finished with traditional canvas-and-oil work? Or is it just an artistic master flexing some new muscles?
According to Pace Beijing, the show presents the artist's newest works from 2008 and 2009, including prints on steel plates, sculptures and installations:
Since his earlier works, Zhang Xiaogang never ceased the traces left by history in one's soul and memory. In this new works, Zhang through employing some unique materials join together "landscape", "object", "self", and scars, collective icons, as well as journal entries, which all carried historical and memorial meanings. He uses new artistic forms to further deepen the subject of "history and contemporary". In other new works, Zhang creatively combines thoughts and form, continuing the tradition of writing poems on paintings.
Several photos of the exhibition are posted on Chinese contemporary art forum Art Ba-Ba.