{"id":11594,"date":"2013-01-01T11:14:00","date_gmt":"2013-01-01T11:14:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=11594"},"modified":"2023-04-26T11:23:34","modified_gmt":"2023-04-26T11:23:34","slug":"the-enigma-of-zhang-xiaogang","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/the-enigma-of-zhang-xiaogang\/","title":{"rendered":"The Enigma of Zhang Xiaogang"},"content":{"rendered":"\n<p><strong>\u201c<a href=\"https:\/\/www.randian-online.com\/np_event\/beijing-voice\/\">Beijing Voice: Zhang Xiaogang<\/a>,\u201d solo exhbition by Zhang Xiaogang<\/strong><\/p>\n\n\n\n<p><a href=\"https:\/\/www.randian-online.com\/np_space\/pace-gallery-beijing-2\/\"><strong>Pace Beijing<\/strong><\/a>&nbsp;(798 Art District, No. 2 Jiuxianqiao Road Chaoyang District, Beijing).&nbsp;<strong>Dec 13, 2012 \u2013 Feb 28, 2013<\/strong><\/p>\n\n\n\n<p>Contemplating Zhang Xiaogang\u2019s works always leads us down two paths. The first is artistic: &nbsp;you hear the name Zhang Xiaogang, and immediately think \u2014&nbsp;<em>The Big Family<\/em>&nbsp;series, collective consciousness and national psyche; the second drifts to the realm of pure commercialism \u2014 Zhang Xiaogang, auctions, record bids, private collections. However you think of it, neither path negates the link between Zhang and his classic works \u2014 the standard Cultural Revolution portraits of individuals without any defining individuality, with their ubiquitous bright black pupils, red scarves and armbands, and the geometric red lines on the lower sections of his compositions. Of course, more essential are the flares of light in nearly every one of Zhang\u2019s works. Though the pieces exhibited in his current solo show at Pace Beijing appear to differ from his signature works, their inextricable links to his past works can be picked up at a mere glance. Modern art criticism has interpreted \u2014 or rather, over-interpreted \u2014 Zhang\u2019s patches of light and his red spots to such a degree it seems they could reflect or symbolize virtually anything, and thus their meaning become exceedingly obscure. Fortunately, we can attempt to use the pieces in&nbsp;<em>Beijing Voice<\/em>&nbsp;as a sort of \u201cdecoder\u201d to the twin mysteries of Zhang\u2019s light refractions and the ever-present red lines, though we might soon find ourselves standing at the entrance of a new labyrinth.<\/p>\n\n\n\n<p>This new labyrinth sits within a temporary room at the center of Pace Beijing\u2019s exhibition space, \u00a0since Zhang\u2019s six featured works cannot fill up the massive exhibition hall at Pace. The walls of the exhibition room are spray-painted with quotes from Zhang Xiaogang which only serve to veil the meaning of the pieces in mystery.<\/p>\n\n\n\n<p>Overall, Zhang cannot exorcise\u00a0<em>The Big Family\u00a0<\/em>from his mind, and seems unable to relinquish the trappings of his \u201cpictorial identity.\u201d The rays of light shining from the flashlight in \u201cFour Sons\u201d (2012) satisfy his desire for flares of light. While an extension cord plugged into the lower left-hand corner of the painting recalls the use of red lines. This method of conversion is equally deployed in the remaining five pieces: the electrical wires found in \u201cBig Woman and Little Man\u201d (2012), \u201cMy Father\u201d (2012), and \u201cWhite Shirt and Blue Trousers\u201d, and the sprig of plum blossoms seen in \u201cthe Book of Amnesia.\u201d From a representational perspective, these are different incarnations of his red lines. Though they are an exception to his usual themes, the significance of the aforementioned plum blossoms goes far beyond any association with revolutionary romanticism. Additionally, the physical images in these paintings reference the objects found in\u00a0<em>The Big Family<\/em>\u00a0series. An old-fashioned double bed, a Soviet-style sofa set, a porcelain spittoon, a miniature pine tree Bonsai, or a waist-high section of wall painted green \u2014 each of these elements tugs at the collective memory of several generations of people. We associate this with\u00a0<em>The Big Family\u00a0<\/em>series, with its iconic images of the Cultural Revolution embodying the collective atmosphere of the time \u2014 not to mention the familiar yellow child seen again in \u201cBig Woman and Little Man.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"440\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-240.png\" alt=\"\" class=\"wp-image-11595\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-240-300x200.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-240-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-240-450x300.png 450w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-240.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\"><strong>Installation View of Zhang Xiaogang<\/strong><\/figcaption><\/figure>\n\n\n\n<p>Those familiar with Zhang\u2019s body of work will feel a slight shock when they view these new works. We see some different features: the entire forms of his human figures are depicted; rooms are even devoid of people. But soon, we sense he has been able to reinvent the images from his 1993-1994 works. He confers both the presence and absence of his human figures through the use of standardized clothing in \u201cWhite Shirt and Blue Trousers\u201d (2012), using the clothing as a sort of metonymic device. As Zhang explained in a 2007 interview with\u00a0<em>Oriental Art<\/em>, \u201cWhen I was working on\u00a0<em>The Big Family<\/em>, I endeavored to create a minimalist effect on the canvas, but what I truly focused on was inclusiveness. I wanted it to be inclusive in all aspects \u2014 graphic, linguistic, cultural, and informational.\u201d\u00a0 Consequently, by no means should these paintings be seen as \u201cde-Zhang-Xiaogang-ed\u201d by the artist; it is more fitting to see them as a variation and natural progression of\u00a0<em>The Big Family<\/em>\u00a0series. He has kept the essential elements: the smudges of light, the geometric lines, the standard cultural revolutionary style (including clothing and facial expressions), but he has found a way to reincarnate all of these elements within the graphic environment of the paintings. But the question remains: what does it mean? Suddenly, we find ourselves retracing the familiar grooves of the critical discourse of the 90s.<\/p>\n\n\n\n<p>Certainly, whether in terms of influence, critical literature, or scale of exposure, Zhang Xiaogang enters the annals of art history as a matter of course \u2014 at the very least, he has a firm footing in Chinese art history. But what if we perform an audacious thought experiment and project ourselves far into the future? What would the generations in the distant future think \u201carcheologically\u201d of the works we have in the present? How would they describe the art of our times? How would they explain Zhang\u2019s depiction and reflection of his past and our collective history? How would they explain his commercial success? When the majority of the texts and interpretations related to his work fades with the erosion of time, perhaps Zhang Xiaogang will become truly as enigmatic as those meandering red threads and intermittent flashes of light.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u201cBeijing Voice: Zhang Xiaogang,\u201d solo ex &hellip; <a href=\"http:\/\/www.randian.art\/zh-hant\/the-enigma-of-zhang-xiaogang\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":11599,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[7402,7404,7403,7405,7406,7407,105,7400,106,7401,295,38,6492,7409,7408,7410,7411,7412,7413,7414],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.8 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>The Enigma of Zhang Xiaogang - \u71c3\u70b9 Ran Dian<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/www.randian.art\/the-enigma-of-zhang-xiaogang\/\" \/>\n<meta property=\"og:locale\" content=\"zh_TW\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Enigma of Zhang Xiaogang - 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