CHINESE ANIMAL INSTALLATION ART REVIEW
Zhang Huan is known for his performance acts of physical and psychological endurance. This time, however, he left that act up to a couple of pigs.
Zhang Huan’s first show at White Cube
Zhang’s first exhibition Zhu Gangqiang at the White Cube Gallery in London (to October 3rd 2009) featured two live pigs in a make shift pigpen. The pig duo were intended by Zhang to stand in for a remarkable pig in China that survived for 49 days under debris after the 2008 Sichuan earthquake that killed more than 60,000 people. Now known as the “Zhu Gangqiang” or “Cast-Iron Pig”, the rescued pig has subsequently achieved celebrity status in China for its miraculous tale of survival.
Zhang’s exhibition was to pay homage to the remarkable Cast-Iron Pig; critics, however, found the exhibition wanting. For some, the live pig production was far less impressive than Zhang’s portraits of human skulls and the Cast-Iron Pig that comprised the rest of the exhibition. Here is a selection of their reviews:
Just a headline grabber
Mark Hudson, writing in The London Daily Telegraph, speaking on behalf of London audiences, declared that large-scale ‘playful’ exhibitions like Zhang’s are no longer inspiring to local audiences: “We’ve grown so used to headline-grabbing fun-art installations,” he writes, “that Zhang’s pigs feel like just another addition to a list that includes Carsten Holler’s slides in Tate Modern and Antony Gormley’s plinth project in Trafalgar Square.”
For Hudson, the highlight of the show was Zhang’s depictions of the rescued pig made out of burnt incense rather than the live pigs in the pigpen-utopia (where the pigs appear to have plenty of straw, a football and tire to play with, and exotic plants to eat).
The pig portraits demonstrate the most interesting aspect of Zhang’s work to the Western audience, which is, according to Hudson, his “ambivalence with which he blurs Eastern and Western traditions. The way he offsets strategies borrowed — apparently — from Western operator-artists such as Joseph Beuys and Jeff Koons with scarcely fathomable Oriental philosophy is refreshing in a contemporary art scene in which much has become painfully predictable.”
Hudson concludes the review by cautioning Zhang not to fall into the trend of artists who have exhibited at the White Cube (such as artist Damien Hirst) and have since become “brand over content.” According to Hudson, the current prices and high profile of Zhang’s exhibition demonstrates that he “may already be in danger of losing his value as a voice from elsewhere.”
The London Evening Standard’s Brian Sewell, however, disagrees: “I think him [Zhang Huan] a better, wiser and more contemplative artist than…these Western models.”
Tate Modern berated
Sewell’s review describes Zhang’s remarkable and prolific history of performance art works and details the symbolic force they have had on audiences. He emphasizes Zhang’s mystical mastery of his work and goes so far as to berate the Tate Modern for not yet having acquired any of Zhang’s work for their permanent collection.
Unfortunately, the glowing description of Zhang’s oeuvre to date ends with his exhibition at the White Cube Gallery. Sewell highlights the element of the exhibition that troubled most critics: the insincere relationship between the live pigs and their audience. “Visitors are invited to lean on the fence,” he writes, “and like Lord Emsworth in the PG Wodehouse novels and Jay Jopling’s father (once Minister of Agriculture, Fisheries and Food), admire these little Blandings beauties and contemplate. But contemplate what? The leap from the amusing comforts of the urban farm to the tragedy of Sichuan is far too great for me to see in it pathetic fallacy.”
For the London Times’ art critic, Waldemar Januszczak, it is a similar story of incongruity. He admits that Zhang’s live pigs were “lovely,” but continues that they were, in fact, “too lovely.”
Trite “Greenpeace story”?
After looking at the exhibition in its entirety, Januszczak found himself troubled by how trite and shallow the exhibition’s “contemporary Greenpeace story” seemed to be: “How dare this pampered modern artist, showing in the plushest gallery in the plushest corner of London’s Mayfair, toy so glibly with Buddhism and death, with human survival and the real meaning of the Sichuan earthquake? Even the accompanying video, in which Zhang retells the pig’s story, is so badly shot that it constitutes a disgrace.”
Human skulls better than live pigs
Zhang’s portraits of human skulls were more favourably received. Januszczak described them as “just about haunting enough to survive their awful familiarity…Zhang’s skulls…are particularly bare and vulnerable.” This positive reaction to the portraits led Januszczak to conclude that Zhang “is a better artist than this show suggests.”
Links: Zhang Huan website
- Liquidity propels prices, Chinese Political Pop is back- Sotheby’s Contemporary Asian Art Auction 2009 Hong Kong – Oct 2009 – Many of Zhang Huan’s works failed to sell
- What inspires Zhang Huan and why he is taking a break from performance art – video – Feb 2009
- Zhang Huan’s first show in Russia – Moscow Times – Dec 2008
- Which Asian artists are in the Pompidou collection? – Dec 2008
- Zhang Huan’s spectacle at Pace Wildenstein gallery New York – June 2008