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Zheng Jiang

(1972)

A graduate from the Central

Academy of Fine Arts in Beijing,

Zheng was taught by well-known

avant-garde artist, Liu Xiaodong,

whose influence can be seen in

Zheng's painting technique.

Breaking away from the

conventional way of viewing, the

subjects in Zheng's paintings

become increasingly clear the

further away the viewer stands.

The work in this collection is part of

the ""Begonia Patterned Glass""

series - inspired by Zheng's

childhood memories of watching

his family through the patterned

glass, which was found in almost

every home in China during the

1970s and 80s. Sadly, most of

these old houses have been

demolished and replaced with

modern high rises. As with his first

Sudden Ego series, Zheng's works

represent his quest for self-identity

and security in this rapidly

changing, chaotic world.

Zhou Ming

(1961)

Zhou's work is a critique of

China’s New Middle Class’s

tasteless manners. The New

Middle Class in China have

attempted to use “good taste” as

a means of distinguishing

themselves from the masses.

However, that “good taste” has

been usually associated with

certain status symbols, in

particular famous Western brands

and popular leisure activities.

China’s New Middle Class would

blindly mimic things from the West

in order to present themselves as

members of the middle class.

Meanwhile, they would pay no

attention to the deeper, spiritual

aspects of our traditional Chinese

culture. Rather than simply

satirising the New Middle Class

with exaggerated, kitsch

references, Zhou's work attempts

to expose the difference in tastes,

manners and values across the

Western and Chinese cultures.

Zhou Tao

(1976)

Zhou graduated from Guangzhou

Academy of Fine Arts with an

MFA degree in 2006. He works

with video and mixed media. One

of Zhou's best known works is

Mutual Exercise, in which he

carries, performs with and is

carried by an identically dressed

friend around Guangzhou.

Interacting with the people in the

streets, the audience enters into a

doppelganger situation exposing

the binary nature of living in a city.

Zhou Tiehai

(1966)

Zhou's conceptual projects

represent the artist’s vengeance

and attitude towards the self-

absorbed art market. His work’s

power to amaze and provoke is the

result of a host of strategies that

mix antagonism with sincerity. The

key ingredients that drive Zhou’s

unsettling yet amusing practice

includes appropriating classical

imagery, generating ironic

projections, proclaiming laconic yet

heartfelt discourse and actively

subverting painterly craft. He takes

on the role of both artist and patron

since many of his airbrush

paintings are rendered by

assistants under his supervision.

He permits himself to ‘play’ with

art’s historical baggage by making

paintings that are simultaneously

self-aware and self-abnegating,

virtuosic and pop all within a single

canvas. He manipulates acclaimed

magazine covers for his own

purposes and articulates the notion

of ‘artistic agency’ within current

conditions of the art world and

global economy. Using iconic

works by da Vinci, Goya and

Ingres as well as contemporary

stars like Jeff Koons, Richard

Prince and Maurizio Cattelan as his

models., Zhou makes self-

promotional images that subvert

the established notion of how

artists should look and behave.

Zhu Fadong

(1960)

Zhu's works question the relation

between men and consumer

society and what is possibly left of

our own identity. Inspired by the

feeling of having lost in his identity

to urbanization and

modernization, he created

“Looking for a Missing Person”

(1993), in which Zhu’s ID photo

and words, cut out from

magazines, are printed on

commercial posters and hung on

walls in Kunming, expanding the

piece from himself to society. The

work helped Zhu establish his

reputation after its inclusion in The

1st Biennial Exhibition of Chinese

Art in Guangzhou (1992). In his

latest series 'Celebrities', Zhu has

decided to break multinational

logos into minuscule fragments –

a technique reminiscent of

embroidery.

Zhu Jia

(1963)

As one of earliest video artists in

China, Zhu has always tried to

record the ordinary things through

different ways. His photography

and video works emerged at a

time when China was entering a

sensitive period of transition, after

the idealism of social

transformation at the end of

1980s, marked by events like the

China Avant Garde exhibition in

Beijing’s National Art Museum of

China and Tiananmen student

movement in 1989. Over the

years, he has developed an

outstanding personal language –

minimalist but intense, oscillating

between dazzling movements and

silent static-ness – to confront,

testify and intervene the

constantly agitating and mutating

reality. In his work, there are two

distinct but organically related and

complementary systems of

recording and presenting images

that manifest the very particular

relationship between the beholder

and the world.

Zhu Xinyu

(1980)

Graduated from LuXun Academy

of Fine Art in 2004, Zhu belongs

to the new generation of artists

who has never experienced any

dramatic social changes and life

has been generally peaceful.

Paradoxically, the mature

sensitivity and inner turbulence of

his paintings might suggest

otherwise. With a delicate and

evocative painting style, Zhu

creates scenes that are

deceptively tranquil but are

actually layered with intense

emotions. Drawing from personal

feelings and memories, Zhu's

works challenge conventional

perceptions while advocating the

importance of authenticity.

Zou Tao

(1984)

Graduated from the Luxun Art

College in 2009, Zou mainly

works with easel painting. In

2007, he obtained the Chinese

New Star Art Prize and in 2010,

he was awarded the John Moores

Contemporary Painting Prize.