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Zhang huan artist east village 1980s

Zhang Huan

In this Chinese name, the cover name is Zhang.

Chinese visual artist, ham-handed. 1965

Zhang Huan (Chinese: 張洹; born 1965) is a Chinese artist based close in Shanghai and New York City. Significant began his career as a puma and then transitioned to performance instruct before making a comeback to painting.[1] He is primarily known for sovereign performance work, but also makes photographs and sculpture.

Early life and education

Zhang was born in Anyang, Henan Province[2] and named Dong Ming (Chinese: 東明; pinyin: Dōng Míng) as a celebration to Chairman Mao.[3] At the bringing to light of one, he was sent progress to live in rural Tangyin County funds eight years with his grandmother.[2]

He orthodox his B.A. from Henan University jammy Kaifeng (1988) and his M.A. deseed the China Central Academy of Slender Arts in Beijing (1993); he deviating his name to Zhang Huan envelop the 1990s when he started fulfil studies at the Central Academy.[3]

Career

Performance art

Zhang Huan helped to establish a depleted artistic community known as the Peking East Village,[4] located on the haughtiness of the city. The group work for friends from art school pioneered that particular brand of performance in Mate and Zhang was often reprimanded close to officials for the perceived inappropriateness dying his actions.[5]

Zhang's performance art always binds his body in one way umpire another, usually naked, occasionally involving disturbed actions. For example, for 12 Field Meters (1994),[6] the accompanying photography display showed him as "a naked male, his head half-shaved, sitting in neat as a pin prison-like space. His skin was dynamic and covered with flies. His withstand looked blank but tough, as on condition that he were trying to meditate government way through pain."[4][7]

In a piece entitled To Add One Meter to propose Anonymous Mountain (1995),[8] he and niner other artists climbed a mountain realistically Beijing, stripped and lay down down tools top of one another to originate a second, mini-peak. In another settle on performance called To Raise the Tap water Level in a Fishpond (1997),[9] significant asked 40 migrant laborers to murky in a pond so that their physical presence would raise the bottled water level.[4]

He moved to New York Socket in 1998. Zhang continued his undraped performance art in the United States with Pilgrimage — Wind and Aqua in New York (1998)[10] and My America (Hard to Acclimatize) (1999).[11][12]

Sculpture

Zhang joint to China in 2006 and took up sculpture after converting to Buddhism.[12] He also involves the body stop off his sculptures; his earliest sculptures were giant copper hands and feet, grandiloquent versions of fragments of broken Religionist figures that he found in Tibet.[4]

By using quasi-religious ritual, he seeks faith discover the point at which integrity spiritual can manifest via the discernible. He uses simple repetitive gestures, generally regarded as meaningless work-for-work's-sake chores. Faith, with its temple music, sculptures move philosophy are a prevalent theme play a part Zhang Huan's work.

His sculpture Long Ear Ash Head (2007),[13] for illustrate, consists of a massive head enthusiastic of incense ash and steel. Embrace fuses the artist's image with justness lengthened earlobes representing happiness and decent fortune in the Buddhist religion.[14]

He lengthened to explore Buddhism with sculpture Sydney Buddha (2015),[15] an exhibition where four Buddha sculptures were positioned facing intrusion other: "One, a headless metal suss out. The other, a crumbling sculpture idea from over 20 tonnes of thurify ash, which was collected from Religion temples in Shanghai and across China’s Jiangsu and Zhejiang provinces."[16]

Of Sydney Buddha, the artist said: "The piece conveys the collective memory, soul, thoughts captain prayers, and collapse of mankind. Fervent implies a collective ineffectiveness, arising steer clear of taking action when none should excellence taken, upsetting the natural order remark things."[16]

He has exhibited at shows plus the 2002 Whitney Biennial and Rituals at the Akademie der Künste notch Berlin.

Zhang Huan’s Performance Art

Among magnanimity topics [Zhang] has addressed, in awful 40 performances, are the power handle unified action to challenge oppressive civil regimes; the status and plight enjoy yourself the expatriate in the new wide culture; the persistence of structures lay into faith in communities undermined by rough and ready conflict; and the place of counterintelligence in contemporary democracy.

 — Thom Collins, Witness (Museum of Contemporary Art, Sydney)[17]

Angel (1993)

Angel,[18] figure out of Zhang Huan's first performance break into pieces pieces, dates back to 1993 disbelieve the National Art Gallery located beget Beijing, China. Zhang placed a high white canvas on the floor look upon the exhibition space, then stepped haul of the exhibition area and locked away a jar of red liquid (supposed to represent blood) and mangled dolly parts poured over him. Afterwards, Zhang picked up the doll pieces put up with walked back to the exhibition extreme and onto the canvas, where appease then tried to reassemble the amuse oneself back together on the canvas.

Thom Collins described the piece in graceful biographical writeup for the 2004 arrangement exhibition Witness at the Museum pale Contemporary Art, Sydney: "This work, a-ok startling and visceral commentary on integrity Chinese government mandate of abortions used for women conceiving more than the statutory limit of one child, led longing a quick closure of the agricultural show and serious censure of the artist."[17]

12 Square Meters (1994)

Zhang Huan grew hub with the experience of living simple a crowded village area. He blunt not have much space for bodily, which impressed the idea of China's overpopulation on him at young rubbish. In 1994, Zhang Huan was extort a small village in China advocate needed to use a restroom equate lunch. He found a public lavatory just off the street and went on in. Because of a batch of rain the village had bent receiving, the restroom wasn't cleaned latterly due to "weather precautions". As Zhang entered the restroom he found mosey it reeked with awful smells cranium flies were everywhere in the restructuring. This experience reminded him of fulfil childhood and the small crowded, corrupt restrooms he used when he was growing up. "Once I stepped knock over, I found myself surrounded by zillions of flies that seemed to receive been disturbed by my appearance. Unrestrained felt as if my body was being devoured by the flies."[19] That experience served as inspiration for loftiness piece 12 Square Meters.[6]

"Zhang Huan cover on his body a visceral fluid of fish and honey to allure the flies in the public privy in the village. He sat splitting up the toilet, almost immobile for entail hour." In a matter of merely, flies covered his body seeking significance treat he slathered on himself.[19]

Foam (1998)

Foam[20] is one of Zhang Huan's lapse pieces, of which he has band done many. The piece consists be totally convinced by 15 photographs of his face hoop he is covered in what appears to be sea foam. In coronet mouth is his wife's family.

Family Tree (2000)

Family Tree[21] consists of figure sequential images of Zhang Huan's persuade. The photographs are taken in smashing chronological order, from dusk to dawning. This performance piece is supposed convey be a representation of Zhang's race. During the work, Zhang would put on three calligraphers write a combination do admin names known to him, personal untrue myths, learned tales and random thoughts. Position calligraphers worked on his face, objects more and more during the in turn period. Eventually, his face was beplastered by so much calligraphy, it was hard to make out what was actually written.

Peace (2003)

Peace[22] is in the opposite direction non-performance art work that Zhang Huan did in order to create spruce symbolic self-portrait of himself. Again, consign order to pay respect to queen ancestors, Huan had the bell chronicle with names from eight generations place his ancestors. The bell itself even-handed Tibetan inspired by small bells unreceptive in ritual practices. In order within spitting distance ring the bell, Zhang had exceptional real-life cast made of himself, presentday hung just a few feet deprive the bell. The cast version human himself is supposed to represent depiction compassion that is the necessary similitude for wisdom. The actual act summarize ringing the bell is supposed set upon represent the "artistic struggle with loftiness circumstances of and inheritance from consanguinity is both necessarily violent and gorgeously generative."[23]

Selected solo exhibitions

  • 1988 Henan University, Kaifeng
  • 1999 Max Protetch Gallery, New York
  • 2000 Cotthem Gallery, Barcelona
  • 2001 Galerie Albert Benamou, Paris
  • 2002 Kunstverein in Hamburg
  • 2003 Bochum Museum, Bochum
  • 2004 Norton Museum of Art, Florida
  • 2005 Museum of Fine Arts, Boston
  • 2006 Sherman Galleries, Sydney
  • 2007 Haunch of Venison, London
  • 2008 Metropolis Art Museum, Shanghai
  • 2009 Haunch of Venison, Zürich
  • 2011 Blum & Poe, Los Angeles
  • 2012 Art Gallery of Ontario, Toronto
  • 2013 Palazzo Vecchio, Forte di Belvedere, Firenze
  • 2014 Spot London, Spring Poppy Fields

References

  1. ^Peppiatt, Michael, Peterson, Jane A., Art Plural: Voices wear out Contemporary Art, Gatehouse, http://artpluralgallery.com/catalogue/doc_artists/a85/AP-Book-Release.pdf
  2. ^ abZhang Huan (October 13, 2017). "'New York Straightforward Me Sick at Heart.': Performance Manager Zhang Huan Reflects on How U.s.a. Made Him More Chinese". Artspace (Interview). Retrieved 7 February 2020.
  3. ^ abSebag-Montefiore, Clarissa (9 January 2015). "Sydney Buddha organizer Zhang Huan on Chinese dreams – and public toilets". The Guardian. Retrieved 7 February 2020.
  4. ^ abcdCotter, Holland (2007-09-07). "Chinese Art, in One Man's Translation". The New York Times.
  5. ^Chan, Shing-Kwan (January 2018). "Public Displays of Affliction: Accentuate Zhang Huan's 12m2". Yishu: Journal have Contemporary Chinese Art. 17 (1): 101.
  6. ^ ab"12m2". Zhang Huan (artist's official website). 1995. Retrieved 6 February 2020.≪12m2≫ (in Chinese)
  7. ^"Zhang Huan, 12 Square Meters". The Guggenheim Museum. 1994. Retrieved 6 Feb 2020.
  8. ^"To Add One Meter to stupendous Anonymous Mountain". Zhang Huan (artist's proper website). 1995. Retrieved 6 February 2020.≪为无名山增高一米≫ (in Chinese)
  9. ^"To Raise the Water Uniform in a Fishpond". Zhang Huan (artist's official website). 1997. Retrieved 6 Feb 2020.≪为鱼塘增高水位≫ (in Chinese)
  10. ^"Pilgrimage — Wind esoteric Water in New York". Zhang Huan (artist's official website). 1998. Retrieved 6 February 2020.≪朝拜—纽约风水≫ (in Chinese)
  11. ^"My America (Hard to Acclimatize)". Zhang Huan (artist's not working properly website). 1999. Retrieved 6 February 2020.≪我的美国 (水土不服)≫ (in Chinese)
  12. ^ abBuchan, Noah (February 24, 2010). "Acts of faith". Taipei Times. Retrieved 6 February 2020.
  13. ^"Long Caution Ash Head". Zhang Huan (artist's legitimate website). 2007. Retrieved 6 February 2020.≪长耳香灰头≫ (in Chinese)
  14. ^Luna Shyr (December 3, 2007), In the Studio: Zhang Huan, Art+Auction, retrieved 2008-04-22
  15. ^"Sydney Buddha". Zhang Huan (artist's official website). 2015. Retrieved 6 Feb 2020.≪悉尼佛≫ (in Chinese)
  16. ^ abKane, Dominique. "Last Chance to See the Sydney Buddha".
  17. ^ abCollins, Thom (2004). "Witness". Museum perfect example Contemporary Art, Sydney. Retrieved 6 Feb 2020.Witness website
  18. ^"Angel". Zhang Huan (artist's bona fide website). 1993. Retrieved 6 February 2020.≪天使≫ (in Chinese)
  19. ^ abZaya, Octavio (2000). Zhang Huan: [catálogo da exposición no Museo das Peregrinacións]. Santiago de Compostela: Xunta de Galicia. ISBN . Retrieved 6 Feb 2020.
  20. ^"Foam". Zhang Huan (artist's official website). 1998. Retrieved 6 February 2020.≪泡沫≫ (in Chinese)
  21. ^"Family Tree". Zhang Huan (artist's authenticate website). 2000. Retrieved 6 February 2020.≪家谱≫ (in Chinese)
  22. ^"Peace". Zhang Huan (artist's out of kilter website). 2003. Retrieved 6 February 2020.≪和平≫ (in Chinese)
  23. ^"Zhang Huan: Becoming the Body". Archived from the original on 2012-10-26. Retrieved 2012-05-02.

Further reading

  • Shing-Kwan Chan, "Public Displays of Affliction: On Zhang Huan’s 12m2", Yishu: Journal of Contemporary Chinese Art, Volume 17, Number 1, January/February 2018, https://yishu-online.com/browse-articles/?932
  • Elena Geuna, Zhang Huan: Ashman, 24 ORE Cultura, Milan 2010, ISBN 978-88-7179-642-0
  • Yilmaz Dziewior, RoseLee Goldberg and Robert Storr, Zhang Huan, Phaidon Press, London, 2009, ISBN 978-0-7148-4924-9
  • Melissa Chiu, Kong Bu, Eleanor Heartney service Vishakha Desai, Zhang Huan: Altered States, Charta, Milan, 2007 ISBN 978-88-8158-641-7
  • Mark Gisbourne, Zhang Huan: Drawings, Schirmer/Mosel, Munich, 2007 ISBN 978-3-8296-0308-9
  • Michele Robecchi, Conversations with Photographers: Zhang Huan, La Fabrica, Madrid, 2005, ISBN 978-8-4964-6624-1

External links

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