LEGAL STATEMENT | PRIVACY POLICY

Zhang Xiaogang 2009-07-09
Zhang Xiaogang's Studio,
Beijing

Conducted in Mandarin

"At the time, we had another special characteristic: we liked to listen to music. Getting a tape cassette was like receiving a treasure, which had to be copied for all. I had a great recorder then; it was a stereo. On the weekends, friends would come to my house to listen to music. This might also be different from artists in other places. As long as we thought it was modern, we listened to it—everything from symphonies to pop music. It was all about perception. I think Southwestern artists are all rather subjective in their approach, so they later called us the Flow of Life movement. Shu Qun criticized us, saying that we were concerned with the concrete, while they represented the metaphysical. This was actually very interesting and led many of us to follow different artistic paths. This was directly related to our reading and the environment in the ’80s."
Photograph of Zhang Xiaogang, taken in 1986.
Photograph of Zhang Xiaogang at his studio in Chongqing, taken in 1986.

Biography:

Zhang Xiaogang (b. 1958, Kunming, Yunnan Province) is an artist and currently lives and works in Beijing.

Zhang studied oil painting at the Sichuan Fine Arts Institute (SFAI) between 1978 and 1982. In 1985, Zhang collaborated with Mao Xuhui, Pan Dehai, Hou Wenyi, Zhang Long and others to organize the ‘New Concrete Image' exhibition in Shanghai and Nanjing, one of the earliest self-financed exhibitions of the ’85 New Wave. Zhang also helped to establish the Southwestern Art Research Group with friends in Kunming, and lectured at SFAI. In 1989, his work was exhibited in the ‘China/Avant-Garde Exhibition’ at the National Art Museum of China in Beijing. In the early '90s, Zhang began to develop his painting series The Big Family, which referenced photographs taken during the Cultural Revolution.

Zhang’s works have been collected by museums, galleries and private collectors, and are exhibited widely. Selected exhibitions include the Guangzhou Biennial (1992), ‘China’s New Art, Post-1989’ (Hong Kong, 1993), the 22nd Sao Paulo Biennial (Brazil, 1994) and the 46th Venice Biennale (1995), to name a few.

<i>Forgotten Dreams 17: Beautiful Creatures</i>, Zhang Xiaogang, 1987, oil on cardboard, 28.5 x 26 cm.
<i>Open to Page 135</i>, Zhang Xiaogang, 1989, oil on paper, 70 x 54 cm