Art Hag

Pace Wildenstein's West 22nd Street location just opened Zhang Huan's second solo show with the gallery, Neither Coming Nor Going. Zhang, perhaps the most prominent Chinese contemporary artist, successfully works in many mediums to create very personal works. One of his early performance pieces featured the artist sitting in a filthy, outdoor latrine in China, covered in oil allowing flies to swarm his body (12 Square Meters) and another featured him parading around in front of the Whitney Museum wearing a suit he made of meat. According to the exhibit's press release, in September, Zhang premiered Semele, "a new production of George Frideric Handel's opera directed and designed by Zhang and presented to audiences at The National Opera of Belgium in Brussels (scheduled to tour China in 2010)." Staging an opera may sound like an intimidating feat, but it clearly did not hinder Zhang's work for his current gallery show. Neither Coming Nor Going features beautiful, large-scale works on paper as well as a gigantic Buddha made from ash.

Upon stepping into the gallery, you are immediately met by the faint smell of incense. "The compacted ash surface of Rulai, supported by an internal metal frame, is heavily embedded with miniature porcelain Buddha relics, copper offering dishes, miniature skulls and unburned joss sticks. The strikingly beautiful grisaille palette of the sculpture is sharply contrasted with blood red paper wrappers" (from the press release). If I remember correctly from Zhang's terrific 2007-2008 Asia Society exhibition, Altered States, the artist often works with ash and collects it from Buddhist temples near his studio in Shanghai. Rulai is a massive, magnificent piece which requires several walks around to fully examine.

Referencing the Communist party-banned, 7th-century, Tang Dynasty prophecy book, Tui Bei Tu, which "offered an alternative to traditional Eastern and Western systems and presented insight into China's future, utilizing drawings and poems to prophesize a sequence of sixty events," Zhang created works on paper using "ink, paper handmade from the bark of Mulberry trees" and in a few instances, feathers "to build up the surface" of these simple, lovely, and elegant works. I particularly loved the pieces that incorporated feathers because they have a soft, rhythmic, wavy texture and a tactile yet delicate air to them.

The works in Neither Coming Nor Going are indicative of "the artist's continuing investigation of humanity through tradition, historical associations, and personal experiences." I couldn't help but feel a sense of reverence and calm when amongst these works. Definitely check out this show if you can. Learn more at Pacewildenstein.com. Through January 30, 2010.

Rulai (center), 2008-2009; Tui Bei Tu No. 52 (left), 2007; and Tui Bei Tu No. 53 (right), 2007