Beschreibung:

32 Zhang Xiaogang Amnesia and Memory (One Week) 《失憶與記憶 (一星期)》 2003-2004 (i), (iii), (v)-(vii) signed and dated ‘Zhang Xiaogang [in Chinese] 2004/11' lower right (ii), (iv) signed and dated ‘Zhang Xiaogang [in Chinese] 2003/4' lower right oil on canvas, in 7 parts each 109.8 x 130 cm. (43 1/4 x 51 1/8 in.) (ii), (iv) Painted in 2003. (i), (iii), (v)-(vii) Painted in 2004.
Provenance Shanghai Gallery of Art, Shanghai Private Collection Acquired from the above by the present owner Exhibited Shanghai, Shanghai Gallery of Art, Three worlds: Group Exhibition by Wang Guangyi, Zhang Xiaogang and Zeng Hao, 10 December, 2004 – 9 January, 2005 Catalogue Essay The Diary It was how my life was originally. At night when I didn’t have a TV, I would write letters or write in my diary to pass the time. It’s a very isolated lifestyle. (Zhang Xiaogang interview with Anjali Rao, CNN Talk Asia) The Light Bulb The light bulb draws a long line of reference from Artschwager and Johns. In Zhang’s work the bulb represents an aborted or dormant potential – the bulbs are frequently unplugged but radiant with potential energy. The Face Zhang’s portraits of anonymous portraits sitters gained worldwide acclaim for their haunted stares and random and coloured patches: 'it’s like a light hitting the person’s face, and slowly it becomes a scar that time leaves behind.' (Anjali Rao, CNN Talk Asia) The Television Set The television set in Zhang’s work broadcasts both information and propaganda, metaphors for amnesia and memory. It is also a symbol of economic progress in China: ownership of a television was a prized dream not so long ago for many families, and sometimes that set would serve as the information lifeline for an entire village. On the other hand, the lion’s share of content is state-controlled, but its significance cannot be underestimated in the age of mass media. The Red Baby The red baby has been a central symbol of Zhang's work since 1993. He put all his secrets into it. All the memories of his childhood, buried for nearly two decades, came flooding back. (Michel Nuridsany, China Art Now, Paris 2003, p. 112). The infant symbolises several contradictory elements of modern China: the political overtones of Communist Red versus the colour of Confucian blood ties, and the harsh one-child policy versus an affirmative symbol of life. Fist and Light Bulb A clenched fist typically represents a resolute gesture of rebellion and was a popular symbol in socialist propaganda art. Within Zhang's art the political connotation is less obvious, but the strength of the sinewy arm clenching the unplugged lightbulb imparts a purposeful bent. Like the diary and television set, the unplugged bulb represents both potential energy and its imminent interruption. The Loudspeaker The loudspeaker shows up in several paintings in the Amnesia and Memory series. Zhang remembers these as an integral part of his childhood years, exiled to a village where loudspeakers bellowing out music and state propaganda were the only entertainment. There was nothing else to hear, no other choice. (Zhang Xiaogang quoted in Jane McCartney, 'Meet Zhang Xiaogang China's Hottest Artist') Zhang Xiaogang is internationally celebrated for his artistic commentary on the individual and collective character of contemporary Chinese memory. Born in 1958 in the province of Sichuan, he was an early progenitor of the 'Sichuan school' of painters. His 'Bloodlines' and 'Amnesia and Memory' series invoke traditional forms of twentieth-century Chinese studio portraiture, undercut with subtly harrowing stains and fissuring bloodlines that symbolise the random, underlying pressures of reality. Amnesia and Memory (One Week) is a monumental work that comprises seven panels, one correlating to each day of the week. It is the first and only work of Zhang's to date that unites every important symbol of his art: the lightbulb, the haunting face with lustrous eyes, a hand inscribing an unseen text, the infant, the unplugged television set, a lone loudspeaker in a landscape, the disembodied hand grasping an unplugged lightbulb. The elements of this work extend beyond human portraiture to incorporate a medley of quotidian objects that summon up a surreal, half-remembered life. The work presents complete facets of the critical transition between Bloodlines and his later works, incorpo