WANG QINGSONG (CHINA, B. 1966)
PROPERTY FROM THE CHANEY FAMILY COLLECTION
WANG QINGSONG (CHINA, B. 1966)
signed and dated in Chinese, signed, numbered, and dated '4/10. Wang Qingsong. 2003.' (lower right)
120 x 650 cm. (47½ x 256 in.)
Executed in 2003
Please note this lot is the property of a private consignor.
Courtyard Gallery, Beijing, China
Acquired from the above by the present owner
The Museum of Fine Arts, Red Hot: Asian Art Today From the Chaney Family Collection, Houston, USA, 2007 (illustrated in color, p. 108-109)
Houston, USA, The Museum of Fine Arts, Red Hot: Asian Art Today From the Chaney Family Collection, 22 July – 21 October 2007.
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Please note this lot is the property of a private individual.
The condition of lots can vary widely and the nature of the lots sold means that they are unlikely to be in a perfect condition. Lots are sold in the condition they are in at the time of sale.
Please note, this work is oversize. The work is not framed but is mounted on foam board and a metal frame. There is a crease and slightly raised area near the upper right corner. There are a few areas on the upper and lower edge where the edge of the work is slightly pressed. There are a few small raised bumps left of center (1/3 and 1/4 from the left edge). There is a minute dark mark one third from the left side close to the top edge. There are faint scratches close to the top edge in the center of the work, visible under raking light. There is a dark minute accretion in the center of the work. There is a small area in which the surface of the work is distorted one third of the way in from the right side.
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Wang Qingsong depicts the contradictions that exist in Chinese contemporary society. With his monumental staged photographs, he wittily represents a transformed, globalized China and all its social, economic and cultural tensions.
Romantique makes the viewer enter what looks like both the Western representation of heaven and a Chinese garden. The photograph includes a Chinese Buddha and men posing as famous works by Botticelli, Raphael, and Matisse. The fake plastic green leaves in the background hint at the artificiality of this confusing grouping of Western and Chinese elements. Hence, this work highlights the chaotic and ambiguous results of China’s embrace of Western culture.
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