“Differential Eroticism – Zhang Xudong’s Works”

Organized by the Whitebox Art Center, curated by Feng Boyi, co-curated by Cao Maochao and Shen Mo ,the exhibition “Differential Eroticism – Zhang Xudong’s Works” will open on December 17, 2016 at the Beijing Whitebox Art Center. His 18 recent oil paintings will be on display.

Zhang Xudong graduated from the Shenyang Luxun Art Academy in 1988, is currently working and living in Beijing and Liaoning Province. Zhang’s new works primarily adopt the expressionist vernacular of oil painting, who vividly painted the emotional “void” and the erotic “mistakes” – in one, a few, or a group of “them”, their various facial expressions and demeanors on large-dimension canvas, that provide the viewer a startling and unique “differential eroticism”.

The so-called “differential eroticism” refers to “unusual colors, outstanding beauty”, where “differential” refers to heresy and madness; and “eros” is the hormone-induced blindness from splendor and insolence. In Zhang Xudong’s new works, the embodiment of such “differential eroticism” is realized through the depiction of distorted figures or even fragmented kitsch; they are also the facial expressions, the exaggerated body movements and the state of eroticism invested in these works, as Zhang “liberally” spread onto the canvas, visualizing them dexterously, as he disperses an atmosphere of gorgeous, absurd and plagued impression. In particular, such renditions bridge with the analysis on the confusion and reflections of life and death, the spiritual and the physical body, ethics and desires. These works have a distinctive revelation on the “confusion beyond the eroticism”, scrutinizing the specificities of reality. At the same time, the texture revealed from the vernacular of his oil painting is highlighted, especially the emphasis on viscosity has replaced his interests in the figures and scenarios of the image.

This exhibition marks Zhang Xudong’s third solo exhibition since 1995 and 2008, and will continue until January 3^, 2017. 

Spreading out “differential eroticism” – On Zhang Xudong’s recent works

FengBoyi

Zhang Xudong’s new works primarily adopt expressionist vernacular of oil painting.Zhang vividly painted the emotional “void” and the erotic “mistakes” – in one, a few, a group of “them”, their various facial expressions and demeanors on large-dimension canvas, to provide a startling and unique “differential eroticism”. The so-called “differential eroticism” refers to “unusual colors, outstanding beauty”, where “differential” refers to heresy and madness; and “Eros” is the hormone-induced blindness from splendor and insolence. In Zhang Xudong’s new works, the embodiment of such “differential erotism” is realized through the depiction of distorted figures or even fragmentedkitsch. They are also the facial expressions, the exaggerated body movements and the state of eroticism invested in these works, as Zhang “liberally” spread onto the canvas, visualizing them dexterously, dispersing an atmosphere of gorgeous, absurd and plagued impression. In particular, such renditions bridge with the analysis on the confusion and reflections of life and death, the spiritual and the physical body, ethics and desires.

If prior to 2008, Zhang Xudonglived in Hulu Island of Liaoning Province, unflinchingly devotes his time to painting. He painted a series of multiple, uniform figures, whatlooks like wizards with eyes wide open in fear and doubt as they stare into the absurd and clamorous reality. In recent years, as his living environment underwent transformation and his attitude matured, his new paintings step up to a literal representation of scenarios on the subject of “loss beyond eroticism” and focusing on reality, while these new works are independent of specific scenarios or theatricality, embodying a pure visual effect. Although, to scrutinize, to reveal and to criticize various artistic language, medium and materialism of the present lingers continuously. I noticed that Zhang Xudong did not adopt a simple realistic mode of expression, neither did he fall into the common sociological survey, nor like kitsch art where the lack of “kitschness” in reality transcended the metaphysical experience and the artist’s unique visual translation and elevation, rather he unfolded and confronted the plagued state of being through painting, projecting the present society has lost a sense of security for the living, anxiety, frustrations, guilty conscience and a sense of void in spite of fulfilling their desires and pleasures. Thus the appeal in Zhang Xudong’snew works lies in its infatuation with sensory stimulation and his direct and passionate catharsis, presenting frivolous freedom and differentiated inclinations, at times displaying bizarre extrodinaires that suffice to move us with such unexpected shock, in symbolizingthe condemnation and perseveration. Although Zhang Xudong does not simply or directly represent the complexity of reality, which in the contrary has perhaps contributed to his success. Being away from the noisy urban life, his art is able to sustain the emotional tentacles, highlighting the texture of his artistic vernacular, or even an interest in the viscosity of the medium that has replaced the interest in figures and scenarios of the image.

When we are confronted with Zhang Xudong’s expressive works, his satirical vernacular constitutes the realistic focus in his artistic practice – in questioning and criticizing desires. China at present, its traditional culture hangs in mid-air, fervent and sensible political agenda was on the decline. The everyday experience of the Chinese is becoming increasingly westernized, yet whose spiritual life lacks beliefs and sustenance, their pursuit of materialism and entertainment occupy their entire space in their daily lives. Thus, Zhang Xudong adopted the metaphorical meanings of the visual icons to create colorful and rich sensual figures, whereby the desire bantered by the artist is no longer limited to wealth, physical desires, but has become the formless desire of those who live for it; the desires of grandeur and opulence, success and elitism become and impact people’s everyday imaginations and their pursuit for fashionable lifestyles. Thus, the consumer culture emanated by desire is unquestionably a way of life in the contemporary consumer society.In other words, specific set of values such as individual development, instant gratification, pursuing change and etc., are being legitimized as freedom of choice in an individual’s life, it led to constant flow of desires, drawing similarity to the revelation in the history and logic of the social populist development of the 20^th Century of China at the present. The reason for Zhang Xudong to have adopted such visual mode is definitely related to the sudden rise of popular culture since China’s economic reform. In other words, he has sensibly and dexterously adopted the characteristics of popular culture as the basic resource of his artistic practice, whereby to expand and extend his probing and representation of the distorted and aberration state of being, in order to suggest his revelation of frivolous desires and a sign of warning.

The plague of every era has its own uniqueness, this is what Zhang Xudong strives to reveal, like a mirror, reflecting the façade and truth of this time. In fact, the diseasedis not only certain individuals but, the circumstances of the era people are confined to, only that they cannot be accepted by their time. The differences are shown in the emphasis of the narrators of different eras, as well as pertinent to the transformation of an individual in that era. In the past, you can blame someone for your misfortune; whereas now, one has to assume one’s own responsibilities. You have earned more freedom, in turn, a privilege that also makes you feel more insecure and falls into confusion. If people have been plagued in the past, they have often been transcended by the time; then, those plagued in this era have often been abandoned by the time. From this perspective, Zhang Xudong’s new works bear witness to the slow process of self-destruction, their inner struggles, madness and void in a seemingly splendid, even debauched life. In my view, that’s the temptation of  “gradually charmed from squandering”, as well as, a self-flagellating process of appreciation.

Once this differential eroticism passes, one is left with madness, and an inconsolable helplessness in the despair of ephemerality.