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| Year Two Thousand, Another Two Thousand Years to Rust by Zheng Guogu. Photograph © Saatchi Gallery |
| "There weren’t any formaldehyde jobs or anything shocking like that. Oh, but hang on… there was one dead donkey humping a wooden tower sculpture." |
Words by Zarina Holmes
Typical. That’s my opinion about The New Chinese Arts exhibition, showcased at the stunning new venue in Chelsea.
The Saatchi Gallery had not disappoint, in fact it delivered what it does best: sensational, thought-provoking modern arts that are digestible enough for Joe public – that is you and me – to appreciate.
There weren’t any formaldehyde jobs or anything shocking like that. Oh, but hang on… there was one dead donkey humping a wooden tower sculpture.
“Donkey” by Zhang Huan, is a comment on Shanghai's rapid urban development.
I was intrigued by Zheng Guogu’s installation of 23 hand made and rusty iron wine and beer bottles called “Year Two Thousand, Another Two Thousand Years to Rust.”
Zheng used iron for its connotations as primitive, industrial and militaristic material, making reference to China's fast expanding economy in relation to its millennia-old history.
Despite the stellar presentations and high impact deliveries from the 24 artists involved, I was left feeling unwarmed, not taken and without questions.
I was served a dish of many flavours to choose from.
The New Chinese Arts, within this context, were not disclosing what China really think.
Is it possible at all to discuss Chinese arts without the “Revolution” and the Chairman? Or see a Saatchi show without the “sensational” pieces?
I’m sure someday it will happen.
www.saatchi-gallery.co.uk |
