Zhang Haiying, Anti-Vice Campaign, Series 001, 2005, Oil on canvas, 300 x 400cm.
Cang Xin, Communication, 2006, Silica gel, Length: 172 cm.
Zhang Dali, Chinese Offspring, 2003-2005, Mixed media: resin mixed with fibreglass, 15 life size cast figures, Average height 170 cm each.
Duke of York's HQ
+ 020 8968 9331
The Revolution Continues:
New Chinese Art
October 9, 2008-January 18, 2009
Since the post-Mao reform era began in 1979, China has seen the emergence of an extremely diverse and dynamic art scene, a development that has taken place within a short space of time and in spite of the continuing difficulties faced by those involved in independent art production. In recent years, contemporary art from China has also been attracting great interest in the West.
Chinese artists have quickly found their place in the international art scene, and skilfully employ media, techniques and forms of expression that were developed in the West. Nevertheless, their specifically Chinese roots - pre-modern tradition on the one hand, the requirements of the Socialist Realist style prescribed by the Communist Party until the late 1970s on the other — are evident in many of the artists' works; in comparison to Western art, for example, greater emphasis is placed on figurative painting.
The scene of the greatest economic and cultural metamorphosis of our time, China is not only at the center of the world's attention but has arguably the most vital, imaginative, and uncontainable art scene in the world.
Chinese artists have gained international recognition for their powerful works capturing the social and aesthetic confusion created in a rapidly changing society. To the Chinese avant-garde, materialism is all pervasive, and the dominant consumer culture has altered people's mentalities. Interestingly, their work, influenced by Western ideals and art practice, remains distinctly Chinese in its content and aesthetic.
Produced in the dual context of globalization and urbanization, much of the work examines the collision between the present and the future, and the confusion and ambiguity that characterize the new China. Their work is often a stunned attempt to deal with the dynamic and tectonic forces transforming China.
The Saatchi Gallery re-opens in the 70,000 sq. ft. Duke of York’s HQ building on King’s Road, Chelsea, London on the 9th of October.
The inaugural exhibition will be The Revolution Continues: New Art from China. This show will bring together the work of 24 of China’s leading artists in a survey of recent painting, sculpture and installation.
Artists featured in the inaugural exhibit include: Zhang Dali, Zeng Fanzhi, Wang Guangyi, Zheng Guogu, Zhang Hongtu, Zhang Huan, Qiu Jie, Xiang Jing, Shi Jinsong, Fang Lijun, Yue Minjun, Li Qing, Wu Shanzhuan, Shen Shaomin, Li Songsong, Zhan Wang, Liu Wei, Zhang Xiaogang, Cang Xin, Shi Xinning, Sun Yuan & Peng Yu, Bai Yiluo, and Feng Zhengjie.
Saatchi Gallery is the only completely free entry contemporary art museum of its size in the world. Open daily from 10am to 6pm, the Saatchi Gallery will have free admission to all shows, including temporary, curated exhibitions, as part of the Saatchi Gallery’s aim to bring contemporary art to the widest audience possible.
Free admission has been enabled through the Gallery’s corporate partnership with the leading contemporary art auction house, Phillips de Pury & Company.
Phillips de Pury & Company will have their own Gallery Room to present art environments; the first show will present new work by the artist and film maker, Julian Schnabel.
The Project Room will serve as a platform to present work by an artist in the collection outside of the galleries main exhibition program. The first exhibition in the Project Room will be Aleksandra Mir: Newsroom Cops and Teens, showcasing 21 drawings inspired by the NYC tabloids; New York Daily News and the New York Post.
The Revolution Continues: New Art from China book is published by Jonathan Cape (£30) to coincide with the gallery opening. The extensive Saatchi collection of new Chinese art is presented here in conjunction with Jiang Jiehong’s examination of the use of the colour red, the iconography of Mao, the sense of the collective and the use of textual language that derives from the calligraphy of the propaganda poster. Jiang Jiehong is a curator from Shanghai who is now director of the Centre for Chinese Visual Arts at the UCE Birmingham Institute of Art and Design.