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Lot Essay
In 2001, Zhang made his first widely recognized sculpture, Rubens (Lot 146) which grew out of a performance piece of the same title. Zhang drew his inspiration from the infamous painting by Peter Paul Rubens, The Rape of the Daughters of Leucippus (fig.1), and the resulting performance, which took place in a church in Ghent, Belgium, hometown of the painter with whom Zhang felt an affinity. Sixty people, including collectors of his works, were invited by Zhang to participate in the performance to enact scenes inspired by the painting, dressed in period costume and enacting a kind of crude violence on the literal body of the artist. In Rubens, Zhang takes on the feminized role of the victim, subject to the machinations, desires, and cruelty of the art world audience. The artist closed the performance after the course of an hour with a poem by Li Shangyin, a poet from the late Tang Dynasty: "Sunset so beautiful, but it is close to dusk," about which Zhang commented that it "is about getting older, about beautiful things ending."
Rubens marked a turning point in Zhang's art practice as he chose to make his first sculpture as a self-portrait that would later become a characteristic in his body of work, in which he "concretized the performance", and in this concretization adds new and additional layers to the work. A life-sized bronze sculpture with gold patina in the cast of Zhang's nude body stands rigid with firsts formed, similar to the posture of the Chinese terracotta warriors. Amassed by twenty or so hands cast from the participants of the original performance, they swarm around and grope the golden figure, pushing him forward, blinding him, or cheating him-pronouncing the body's obligation in conflicting social conditions that is analogous to his use of his own body in performances. The implicit references of the hand gestures is an ironic commentary on the artist's and individual's relationship to a larger society, and also on Zhang's position as an internationally-acclaimed artist, as he himself drolly remarked, "Everyone loves the artist now, transformed into a Buddha." As one of the earliest and significant sculptures from Zhang, Rubens embodies the heart of Zhang's own evolution from performance artist to the material manifestation in of his concepts into spectacular, provocative sculptures and installations.
Rubens marked a turning point in Zhang's art practice as he chose to make his first sculpture as a self-portrait that would later become a characteristic in his body of work, in which he "concretized the performance", and in this concretization adds new and additional layers to the work. A life-sized bronze sculpture with gold patina in the cast of Zhang's nude body stands rigid with firsts formed, similar to the posture of the Chinese terracotta warriors. Amassed by twenty or so hands cast from the participants of the original performance, they swarm around and grope the golden figure, pushing him forward, blinding him, or cheating him-pronouncing the body's obligation in conflicting social conditions that is analogous to his use of his own body in performances. The implicit references of the hand gestures is an ironic commentary on the artist's and individual's relationship to a larger society, and also on Zhang's position as an internationally-acclaimed artist, as he himself drolly remarked, "Everyone loves the artist now, transformed into a Buddha." As one of the earliest and significant sculptures from Zhang, Rubens embodies the heart of Zhang's own evolution from performance artist to the material manifestation in of his concepts into spectacular, provocative sculptures and installations.