Zhang Xiaotao
Zhang Xiaotao, is a Chinese painter based in Beijing and Chengdu.
He graduated from the Oil Painting Department of Sichuan Academy of Fine Arts in 1996.
He then became a teacher in the Southwest Jiaotong University, Chengdu from 1996 to 2009. In 2010, Xiaotao taught in the New Media Department of the Sichuan Fine Arts Institute. He now lives and works in Beijing and Chongqing.
Zhang makes paintings with sexual imagery often involving small animals such as frogs and snakes, and incorporating images of putrefaction and pollution.
His work Condom Series: Enlarged Props – Crystal And Fishes 2 sold for US$64,500 at Sotheby's Hong Kong in 2007.
Near death experiences
When Xiaotao was seven, he visited the shore of the Yangtze River to play with his friends. His brother's friend pulled young Xiaotao into the current, just messing around, but soon lost control and had to swim ashore. Xiaotao remained out in the water and almost drowned before an adult who could brave the current came to his rescue. That tentative, struggling moment between life and death influences the artist's work expansively. His watery paint-strokes summon additional, related junctures of mortal existence: the point between conception and life, the limbo between death and afterlife, the suspension of time during coital climax. Xiaotao had an additional swimming accident, that too at the age of 7. Xiaotao now has frequently recurring dreams about drowning which, coupled with his accidents, most likely accounts for all the water imagery in his work."Joyful Time" display
This display took place in Oakland, California at the Pacific Bridge Gallery.Zhang Xiaotao's "A Joyful Time," displays huge oil and watercolor paintings inviting viewers into a bright underwater world of copulating frogs and intertwined human forms, the reaction "elated and free" may come to mind. In the display amphibious creatures float unencumbered in washes of blue, green, and orange paint, with their outlines making whimsical, eye-pleasing shapes. Perhaps this is a reflection of Xiaotao's background. Xiaotao nearly drowned as a child and is afraid of water and he comes from a country whose reproductive policies are heavy-handed and punitive.
In Zhang's opinion, oil paint is made to reflect the character of an ancient culture while embracing modern themes and colors. Fish, snakes, human faces, beer mugs, and condoms are repeating elements used by Xiaotao which appear in intricate layers of paint that defy opacity. The creatures' hues are often the blues and greens of the traditional Chinese pottery and carvings that can be found in jade markets, but placed in front of or behind the animals' outlines are shapes and symbols that would challenge, if not startle, any unsuspecting market regular.
In more than one painting, a pair of frogs hug blissfully, doggie-style. They are free-falling, not anchored to anything except each other-getting ready, perhaps, for their parachutes to open. On one canvas, they look skyward against a backdrop of floating clouds. On another surface, their background is a motif of human couplings taken from an ancient Chinese "pillow book" of how-to positions for adults.
The repetitiveness of the pillow-book images evokes pop art. But where Andy Warhol used a checkerboard of soup cans or Marilyn's head, here the repeated element is always erotic: trios and couples in sexual play, sprinkled lightly across the backdrop. They make the canvas, from a distance, look like a textile, like a bed sheet.
While pop artists of the '50s and '60s were paying homage to postwar consumerism and icons of mass-production, China was still in the throes of the Cultural Revolution. But here Zhang turns to his artistic predecessors and, as if making up for lost time, incorporates their method. Even the vibrant sheen that some of his paintings seem to give off is reminiscent of silk screening, a mass-production technique that Warhol adopted in the early 1960s.
Some of the largest works, at the back of the gallery, are also the most provocative. In dark gray-green hazes float huge, rubbery shapes. They are transparent sheaths with reservoir tips, and faces peer from behind, or inside. Tiny bubbles are suspended within the wrinkled tubes, and here and there a splattered dollop of red paint contrasts with the green. The faces glisten as if behind a windowpane, and their wide-eyed constraint elicits sadness.
Everywhere in Zhang's work one finds splotches of the red paint. It appears to be mixed with something that won't quite blend with it, and the effect is that of a potato stamp made from a bumpy, many-eyed spud. In the context of sex and birth, though, these bubbles and deep-red blotches are semen and blood. They are the repeating threads of humanity: liquids that transmit life, inheritance, and the most essential fluids of ancestry-containing not only DNA, but also the ways in which we need each other and hurt each other. In their aqueous environment, the drops, smears, and splotches also remind one of amoebas seen under a microscope, like beads of a primordial sea.
The sensation of water is hard to shake. The oil paint itself has a liquid quality-it has been thinned enough to resemble watercolour from a short distance -and layered images often appear soaked, suspended, or dripped on. Zhang's frequently recurring dreams about drowning presumably account for all the water imagery in his work; his preoccupation stems from two swimming accidents when he was seven years old: one happened at the shore of the powerful Yangtze River, where he was playing with his companions. His brother's friend had pulled him into the current, teasingly, but soon lost control and had to swim ashore. Zhang remained out in the water and was almost dead before an adult who could brave the current came to his rescue. That tentative, struggling moment between life and death informs the artist's work expansively. His watery paint-strokes summon additional, related junctures of mortal existence: the point between conception and life, the limbo between death and afterlife, the suspension of time during coital climax.
If every one of Zhang's paintings, as he claims, is a glimpse into his dreams about drowning, then it would seem his nightmares have faded over time and produced aesthetic remnants. Yet new demons, universal ones, have popped out of his work while he processed his fears. The underwater trauma that transformed itself into beauty via paint and repetition reinvents itself here with new sociological and psychological overtones. Something new is displacing his original memories, overlaying passion upon experience, and revealing the intersection of childhood and adulthood.
Awards
;2012The Best Technology Award of Asian Youth Animation Contest 2012, Guiyang, China;2011The Best Technology Award of Asian Youth Animation Contest 2011, Guiyang, China
;2010Nomination of Reshaping History: China Art 2000-2009, Beijing, China
;2009Prize of Excellent Works of Chongqing Youth Art Biennial, Chongqing, China
;2008Young Artists Award of 2nd Critics Annual Exhibition, Beijing, China
;19961st Prize of Mei Yuan Cup, Lu Xun Academy of Fine Arts, Shenyang, China
Solo exhibitions
;2016Zhang Xiaotao: The Spring of Huangjueping, Pékin Fine Arts, Beijing, China;2014Worlds of the Trichiliocosm, Wilfrid Israel Asian Art Museum, Wilfrid, IsraelIn The Realm of Microcosmic, Pekin Fine Arts, Beijing, ChinaPlum Flower Patterns, white box art center, Beijing, ChinaEmpty Shadow, Jin Ji Hu art, Museum, Suzhou, China
;2013Transition, Museum Of Contemporary Art Chengdu, Chengdu, China
;2012Spiritual Encoding, Kuandu Museum of Fine Arts, Taipei, China
;2011Sakya, White Box Museum of Art, Beijing, China
;2010Epidemiology，Guangdong Museum of Art, Guangzhou, China
;2008Microscopic Narration，Iberia Center for Contemporary Art, Beijing, China
;2007Rebirth, Arthur M. Sackler Museum of Art and Archaeology of Beijing University, Beijing, ChinaDesires without Limits, Dolores de Sierra Galería de Arte, Madrid, SpainNight, Shanghai e-Arts, Shanghai, China
;2006Beautiful Imbroglio, He Xiangning Art Museum, Shenzhen, China
;2005Dreamscapes, International Art Foundation 3.14 Bergen, NorwayDream Factory · Rubbish Heap, Tokyo Gallery, JapanDreamscapes, M.K.Ciulionis Nat. Museum of Art, Kaunas, Lithuania
;2004Dream Factory ﹒Rubbish Heap, Beijing Tokyo Art Projects, China
;2003Materialistic Decay, Akie Aricchi Art Contemporary Gallery, Paris, France
;2002Desire, Kunst Akademie Muenster, Germany
;2001Zhang Xiaotao solo exhibition, Tokyo Gallery, Japan
;2000Fabricated Images, Pacific Bridge Gallery, Oakland, U.S.A
Group exhibitions
;2015Point to Asia- 6th Moscow Biennale of Contemporary Art, Moscow, RussiaChinese Contemporary Art Invitational Exhibition 2015, Ming Yuan Art Gallery, Shanghai, ChinaChang Jiang International Image Biennale, Chang Jiang Art & Culture Club, Chongqing, ChinaAsian Media Art Festival, Art Gallery of Chung-Ang University, Soul, KoreaNew Era – Created in China, Arhus Kunstmuseum, Aarhus, Denmark;2014Liquid Culture- China & Korea New Media Art Exhibition, Seoul Museum of Art, Seoul, KoreaThe Visible and The Invisible - Video and Photography from China Today, John and Mable Ringling Museum of Art in Florida, USAEcho – Multidimensional Traditions of Chinese Contemporary Art Exhibition, Hamburg Art Museum, Hamburg, GermanyTranslated Concussion—Chinese New Media Art Techniques and Practice since 2000, MOCA, Chengdu, China
;2013 China Pavilion at the 55th Venice Biennale, Arsenal, Venice, ItalyPure Views: New Painting from China, St. Monica Arts Center, Barcelona, Spain
;2012 Chinese animation since the 1930S，7th Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery, :Queensland, Australia Holland International Animation Film Festival, Holland Animation Film Foundation, Amsterdam, the NetherlandsRoaming the World—Zhang xiaotao and Pierre Exhibition, Chengdu Contemporary Art Museum, Chengdu, ChinaInward Gazes—Performance Art Documenta of China 2012, Macao Art Museum, Macao, China
;2011Mountains and Rivers – Speechless Poem, Berne Art Museum, Berne, Switzerland New Age: Australia-China International New Media Arts Exhibition, QUT Art Museum，Australia Relationship: New Chinese Construction Art, Museum of Art for the XXI Century, Rome, Italy
;2010Material and Code: Disciplinary Crossings of Cinema Studies and New Media, Chicago University, Chicago, USABeijing Time, Santiago de Compostela, Santiago, SpainHeart—Forefront of Contemporary Architecture in China Exhibition, Vitra Design Museum, Weimar, GermanyArena: A Post Boom in Beijing, Hazelhurst Regional Gallery & Arts Centre, Hazelhurst, AustraliaThe Big Bang, White Rabbit Museum, Sydney, AustraliaPure Views: China New paintings, Louise Blouin Foundation, London, UK
;2009Beijing Time, Casa Asia Matadero Madrid, Madrid, SpainInk Not Ink—Chinese Contemporary Ink Painting Exhibition, Drexel University Art Museum, Philadelphia, USAContemporary Art Rebirth of China, Palazzo Reale Museum, Milan, Italy
;200855 Days in Valencia, Valencia Museum of Modern Art, Valencia, SpainTransgressive Body, TAPE Art Center, Berlin, GermanyThe Revolution Continues, Saatchi Gallery, London, UKPoetic Realism—A Reinterpretation to South of Yangtze River, Francisco Tomásy Valiente Art Center, Madrid, Spain
;2007Starting From Southwest, Guangdong Art Museum, Guangzhou, ChinaChinese Whisper, Osage kwun tong, Hong KongNew Painting from Southwest China, K gallery, Chengdu, ChinaFrom New Figurative image to New Painting, Tang Contemporary Art, Beijing, China 3 Langue 3 Colors, UM Gallery, Seoul, Korean3rd Guiyang Art Biennale, Guiyang Art Museum, Guizhou, ChinaThe Art of Seduction—From Schiele to Warhol, Minoritenkloster Tulln, Austria
;2006Jiang Hu, Jack Tilton Gallery, New YorkCity Skin, Shenzhen Art Museum, ShenzhenInternal injuries, Marella arte contemporanea, BeijingPoetic Realism: A reinterpretation of Jiangnan, RCM Art Museum, NanjingEnchanting Images of a Changing World, Vienna Essl Museum, AustriaUnclear and Cleamess, Heyri Art Foundation, KoreanThe Road map of Painting 2, Beijing Tokyo Art Projects BeijingVaried Images, Shanghai art museum
;2005China Contemporary painting, Fondazione Carisbo, Italy2nd Prague Biennial, Prague, National Gallery Veletrzni Palac, Prague2nd Triennial of Chinese Arts, Nanjing Art Museum Nanjing2nd Chengdu Biennial, the Modern Art Museum, ChengduYoung Chinese Contemporary art, Hangar-7, AustriaChina Contemporary Painting, APalazzo Bricherasio, Torino, Italy
;2004Forbidden Senses ? – Sensuality In Contemporary Chinese ArtEspace Culturel François Mitterrand, Périgueux, FranceChina Today Painting, Infeld-Haus der Kulturen, Vienna, AustriaChina's photographic painting, China Art seasons, BeijingOfficina Asia, Galleria d’Arte Modema, Bologna, ItalyNew Perspectives in Chinese Painting, Marella arte contemporanea, Milano, ItalyArtificial Happiness, RMIT Museum Melbourne, AustraliaLive in Chengdu, Shenzhen Art Museum, Shenzhen
;2003left hand -right Hand, 798 Space BeijingComposite picture of Asian, Hong Kong Art MuseumImage of image, Shenzhen Art Museum. ShenzhenIllusory, Museun63, Hong Kong. Guangdong art Museumlinks between two points, Tokyo gallery Japan
;2002Dream, Chinese contemporary Art, CAC. ManchesterKorean Contemporary Art Festival, Seoul Art Center, KoreaTriennial of Chinese Arts, Guangzhou Art MuseumBeijing Afloat, Beijing Tokyo Art Projects Beijing
;2001Up-Down-Right-Left, -the Feminism etc., the Modern Art Museum, ChengduDream, Chinese contemporary art, Atlantic's Gallery, LondonYouth in transition, He xiangning Art Museum Shenzhen
;2000Time of Reviving, 2000 Contemporary Art Exhibition of China, Upriver Gallery, ChengduBetween the Dreams and the Picturesque Meaning, Vienna Between 1900 And 2000, Schloss Cappenberg, Germany
;1999'99 Academic Exhibition, Upriver Gallery, Chengdu, China
;1997Urban Personality and Contemporary Art, Southwest Jiaotong University, Chengdu, China
;1996Personal Experience Show, Art Museum of Sichuan Fine Arts Institute, Chongqing, China
Selected exhibitions
;2007Three Languages Three Colors, UM Gallery, Korea;2006Jiang Hu, Jack Tilton Gallery, New York, U.S.A.Unclear and Cleanness, Heyri Art Foundation, KoreaBeautiful Imbroglio, He Xiang Ning Art Museum, Shenzhen, China
;2005Dreamscapes, Foundation3, 14 Bergen, Norway Dream Factory - Rubbish heap, Tokyo Gallery, Japan 2nd Prague Biennial, Prague, National Gallery Veletrzni Palac, Prague, Czech Republic2nd Triennial of Chinese Arts, Nanjing Art Museum, Nanjing, China
;2004Officinal Asia, Galleria d’Arte Modema, Bologna, ItalyNew Perspectives in Chinese Painting, Marella arte contemporanea, Milan, Italy
;2003Materialistic Decay, Gallery Akie Aricchi Art Contemporary, Paris, France
;2002Desire, Kunstakademie Muenster, Germany Triennial of Chinese Arts, Guangzhou Art Museum, China
;2001Flowers in the dream, Tokyo Gallery, Japan
;2000Joyful Time, Gallery Akie Aricchi Art Contemporary, Paris, France Fabricated Images, Pacific Bridge Gallery, Oakland, U.S.A Joyful Time, Gallery Hartmann, Munich, Germany
Individual pieces of work
- Xiaotao's painting titled "Enlarged prop - Bird," which is a dreamy looking painting of an emaciated looking bird attempting to feed or analyzing some sort of nest looking thing. Xiaotao emphasises lose detail here which invokes the dreamy feel. This painting is estimated to be priced around US$250,000.
- Another painting called "Fictioned Images No. 2" by Xiaotao, which is priced in the range of US$100,000, is a painting of a man looking through a glass mug. The glass mug distorts the man's face as he analyzes the glass. This painting also has Xiaotao's signature red splotches.
- Xiaotao's painting named "Crystal Condom" shows a yellow and a purple condom almost floating in the air in front of a blue background. This painting's price is estimated to be worth about US$85,000.