Zhongguo 2185 (China 2185) is an exhibition of ten young artists from China, whose works address the shifting cultural contexts of China – past, present, and future – while also moving far beyond those social and geographical confines. The exhibition draws its title from Liu Cixin’s 1989 ‘critical utopian’ Science Fiction novel, ‘Zhongguo 2185’, which was written during the rapid socio-political reforms of the 1980s, and remains unpublished to this day – circulating only on the internet. The exhibition harnesses the ‘critical openness’ that early Chinese Science Fiction utilised and advocated in the face of authoritarian rule. It gestures towards potential futures while also constructing a critical vision of the past and present.
Curated by Victor Wang 王宗孚, Zhongguo 2185 examines a new lexicon of Chinese contemporary art – presenting a cross- section of work that complicates and disrupts the premise of a unified visual form and national aesthetic that has often been attached to Chinese ‘contemporaneity’. Bringing together new, existing and site-specific commissions and artworks, this exhibition – comprised solely of artists born after the Cultural Revolution of 1966-76 – uses the literary mode of Science Fiction (often deployed as a guise for political and personal concerns) as an entry point for exploring the frameworks that underpin contemporary art in China, and its current accelerated production.
XUZHEN Supermarket (2007/2017)
XUZHEN Supermarket (2007/2017)
XU ZHEN Supermarket in this way constructs a space which accelerates and parodies the consumerism prevalent in China – a phenomenon which has frequently eclipsed historical and cultural contexts and traditions. The original food markets of Shanghai, for example, were public spaces for social interaction and entertainment, often visited by families once a day for fresh produce. In recent decades, these traditional markets have been transformed into supermarkets and fast-food dining outlets (first introduced in China in the 1980s to cater for foreigners) – and drained of their historical significance. The customs of community, diet and trade which were ingrained in these social spaces have been exchanged for the mass commoditisation and ‘international aesthetic’ of global chains and franchises. The empty simulacra of Xu Zhen’s store – available for purchase, if not for consumption – express a comic yet mordant critique of this evacuation of history.
Visitors to the store, located in the ground-floor ‘Shop’ space at Sadie Coles HQ, are invited to buy from continually-restocked rows of packaged goods from China – all of them completely authentic, and all completely empty.
Playing out the artist’s interest in capitalist products and processes, XUZHEN Supermarket occupies an unlikely space between installation art and commercial food production. Inviting viewers to invest in empty shells – containers bereft of substance or use value – the venture offers a critique of the often-destructive nature of global capitalism – its relentless cycles of supply and demand, brute logistics and mass consumption, and the aesthetic guises it assumes through branding and packaging. There is also a satirical metaphor, in the hollow vessels, for the international art market and its arbitrary ascriptions of value.
Initiated in 2007, the project embodies many of the characteristics that artist Richard Hamilton identified as defining Pop Art: popular (designed for a mass audience), transient (short-term), expendable (easily forgotten) and low-cost (mass-produced). The stacked, identical commodities of Xu’s supermarket invite numerous parallels with Pop Art’s mergers of art and life, while also implicating viewers as participants – placing them in the role of active consumers.
Zhongguo 2185 with Tianzhuo Chen, Tang Dixin, Yu Ji, Nabuqi, Lu Pingyuan, Xu Qu, Zhang Ruyi, Sun Xun, Lu Yang, Chen Zhe XUZHEN Supermarket (2007/2017) Curated by Victor Wang 王宗孚 Sadie Coles, London Through November 4
The show is comprised of new series of sculptural and wall hanging works, in a variety of mediums, tied together by Anderson’s mediation and archiving of objects and images that carry the narratives of unfulfilled histories. The show will explore motifs of possibility, loss and obsolescence across historical, artistic and personal boundaries. Galerie Maria Bernheim, Zurich