Zhang Xiaotao (born 1970 in Hechuan, Chongqing, China), is a Chinese painter based in Beijing and Chengdu.
He graduated from the Oil Painting Department of Sichuan Academy of Fine Arts in 1996. He then became a teacher in the Southwest Jiaotong University, Chengdu from 1996 to 2009. In 2010, Xiaotao taught in the New Media Department of the Sichuan Fine Arts Institute. He now lives and works in Beijing and Chongqing.
Zhang makes paintings with sexual imagery often involving small animals such as frogs and snakes,Coleman, S, Zhang Xiao Tao, from AsiaArtNow.com and incorporating images of putrefaction and pollution.Franklin, J, An Entropic Vision , Shine Art Space , Shanghai
His work Condom Series: Enlarged Props – Crystal And Fishes 2 sold for US$64,500 at Sotheby's Hong Kong in 2007. Auction results from AskArt.com
Near death experiences
When Xiaotao was seven, he visited the shore of the Yangtze River to play with his friends. His brother's friend pulled young Xiaotao into the current, just messing around, but soon lost control and had to swim ashore. Xiaotao remained out in the water and almost drowned before an adult who could brave the current came to his rescue. That tentative, struggling moment between life and death influences the artist's work expansively. His watery paint-strokes summon additional, related junctures of mortal existence: the point between conception and life, the limbo between death and afterlife, the suspension of time during coital climax. Xiaotao had an additional swimming accident, that too at the age of 7. Xiaotao now has frequently recurring dreams about drowning which, coupled with his accidents, most likely accounts for all the water imagery in his work.
"Joyful Time" display This display took place in Oakland, California at the Pacific Bridge Gallery.
Zhang Xiaotao's "A Joyful Time," displays huge oil and watercolor paintings inviting viewers into a bright underwater world of copulating frogs and intertwined human forms, the reaction "elated and free" may come to mind. In the display amphibious creatures float unencumbered in washes of blue, green, and orange paint, with their outlines making whimsical, eye-pleasing shapes. Perhaps this is a reflection of Xiaotao's background. Xiaotao nearly drowned as a child and is afraid of water and he comes from a country whose reproductive policies are heavy-handed and punitive.
In Zhang's opinion, oil paint is made to reflect the character of an ancient culture while embracing modern themes and colors. Fish, snakes, human faces, beer mugs, and condoms are repeating elements used by Xiaotao which appear in intricate layers of paint that defy opacity. The creatures' hues are often the blues and greens of the traditional Chinese pottery and carvings that can be found in jade markets, but placed in front of or behind the animals' outlines are shapes and symbols that would challenge, if not startle, any unsuspecting market regular.
In more than one painting, a pair of frogs hug blissfully, doggie-style. They are free-falling, not anchored to anything except each other-getting ready, perhaps, for their parachutes to open. On one canvas, they look skyward against a backdrop of floating clouds. On another surface, their background is a motif of human couplings taken from an ancient Chinese "pillow book" of how-to positions for adults.
The repetitiveness of the pillow-book images evokes pop art. Where Andy Warhol used a checkerboard of soup cans or Marilyn's head, here the repeated element is erotic: trios and couples in sexual play, sprinkled across the backdrop. From a distance, the canvas can look like a textile, such as a bed sheet.
While pop artists of the '50s and '60s were paying homage to postwar consumerism and icons of mass-production, China was still in the throes of the Cultural Revolution. But here Zhang turns to his artistic predecessors and, as if making up for lost time, incorporates their method. Even the vibrant sheen that some of his paintings seem to give off is reminiscent of silk screening, a mass-production technique that Warhol adopted in the early 1960s.
Some of the largest works, at the back of the gallery, are also the most provocative. In dark gray-green hazes float huge, rubbery shapes. They are transparent sheaths with reservoir tips, and faces peer from behind, or inside. Tiny bubbles are suspended within the wrinkled tubes, and here and there a splattered dollop of red paint contrasts with the green. The faces glisten as if behind a windowpane, and their wide-eyed constraint elicits sadness.
Everywhere in Zhang's work one finds splotches of the red paint. It appears to be mixed with something that won't quite blend with it, and the effect is that of a potato stamp made from a bumpy, many-eyed spud. In the context of sex and birth, though, these bubbles and deep-red blotches are semen and blood. They are the repeating threads of humanity: liquids that transmit life, inheritance, and the most essential fluids of ancestry-containing not only DNA, but also the ways in which we (both animals and humans) need each other and hurt each other. In their aqueous environment, the drops, smears, and splotches also remind one of amoebas seen under a microscope, like beads of a primordial sea.
The sensation of water is hard to shake. The oil paint itself has a liquid quality-it has been thinned enough to resemble watercolour from a short distance -and layered images often appear soaked, suspended, or dripped on. Zhang's frequently recurring dreams about drowning presumably account for all the water imagery in his work; his preoccupation stems from two swimming accidents when he was seven years old: one happened at the shore of the powerful Yangtze River, where he was playing with his companions. His brother's friend had pulled him into the current, teasingly, but soon lost control and had to swim ashore. Zhang remained out in the water and was almost dead before an adult who could brave the current came to his rescue. That tentative, struggling moment between life and death informs the artist's work expansively. His watery paint-strokes summon additional, related junctures of mortal existence: the point between conception and life, the limbo between death and afterlife, the suspension of time during coital climax.
If every one of Zhang's paintings, as he claims, is a glimpse into his dreams about drowning, then it would seem his nightmares have faded over time and produced aesthetic remnants. Yet new demons, universal ones, have popped out of his work while he processed his fears. The underwater trauma that transformed itself into beauty via paint and repetition reinvents itself here with new sociological and psychological overtones. Something new is displacing his original memories, overlaying passion upon experience, and revealing the intersection of childhood and adulthood.
Awards 2012 The Best Technology Award of Asian Youth Animation Contest 2012, Guiyang, China 2011 The Best Technology Award of Asian Youth Animation Contest 2011, Guiyang, China 2010 Nomination of Reshaping History: China Art 2000-2009, Beijing, China 2009 Prize of Excellent Works of Chongqing Youth Art Biennial, Chongqing, China 2008 Young Artists Award of 2nd Critics Annual Exhibition, Beijing, China 1996 1st Prize of Mei Yuan Cup, Lu Xun Academy of Fine Arts, Shenyang, China
Solo exhibitions
2016 Zhang Xiaotao: The Spring of Huangjueping, Pékin Fine Arts, Beijing, China 2014 Worlds of the Trichiliocosm, Wilfrid Israel Asian Art Museum, Wilfrid, Israel In The Realm of Microcosmic, Pekin Fine Arts (Beijing), Beijing, China Plum Flower Patterns, white box art center, Beijing, China Empty Shadow, Jin Ji Hu art, Museum, Suzhou, China 2013 Transition, Museum Of Contemporary Art Chengdu, Chengdu, China 2012 Spiritual Encoding, Kuandu Museum of Fine Arts, Taipei, China 2011 Sakya, White Box Museum of Art, Beijing, China 2010 Epidemiology，Guangdong Museum of Art, Guangzhou, China 2008 Microscopic Narration，Iberia Center for Contemporary Art, Beijing, China 2007 Rebirth, Arthur M. Sackler Museum of Art and Archaeology of Beijing University, Beijing, China Desires without Limits, Dolores de Sierra Galería de Arte, Madrid, Spain Night, Shanghai e-Arts, Shanghai, China 2006 Beautiful Imbroglio, He Xiangning Art Museum, Shenzhen, China 2005 Dreamscapes, International Art Foundation 3.14 Bergen, Norway Dream Factory · Rubbish Heap, Tokyo Gallery, Japan Dreamscapes, M.K.Ciulionis Nat. Museum of Art, Kaunas, Lithuania 2004 Dream Factory ﹒Rubbish Heap, Beijing Tokyo Art Projects, China 2003 Materialistic Decay, Akie Aricchi Art Contemporary Gallery, Paris, France 2002 Desire, Kunst Akademie Muenster, Germany 2001 Zhang Xiaotao solo exhibition, Tokyo Gallery, Japan 2000 Fabricated Images, Pacific Bridge Gallery, Oakland, U.S.A
Group exhibitions
2015 Point to Asia- 6th Moscow Biennale of Contemporary Art, Moscow, Russia Chinese Contemporary Art Invitational Exhibition 2015, Ming Yuan Art Gallery, Shanghai, China Chang Jiang International Image Biennale, Chang Jiang Art & Culture Club, Chongqing, China Asian Media Art Festival, Art Gallery of Chung-Ang University, Soul, Korea New Era – Created in China, Arhus Kunstmuseum, Aarhus, Denmark
2014 Liquid Culture- China & Korea New Media Art Exhibition, Seoul Museum of Art, Seoul, Korea The Visible and The Invisible - Video and Photography from China Today, John and Mable Ringling Museum of Art in Florida, USA Echo – Multidimensional Traditions of Chinese Contemporary Art Exhibition, Hamburg Art Museum, Hamburg, Germany Translated Concussion—Chinese New Media Art Techniques and Practice since 2000, MOCA, Chengdu, China
2013 China Pavilion at the 55th Venice Biennale, Arsenal, Venice, Italy Pure Views: New Painting from China, St. Monica Arts Center, Barcelona, Spain
2012 Chinese animation since the 1930S，7th Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery, :Queensland, Australia Holland International Animation Film Festival, Holland Animation Film Foundation, Amsterdam, the Netherlands Roaming the World—Zhang xiaotao and Pierre Exhibition, Chengdu Contemporary Art Museum, Chengdu, China Inward Gazes—Performance Art Documenta of China 2012, Macao Art Museum, Macao, China
2011 Mountains and Rivers – Speechless Poem, Berne Art Museum, Berne, Switzerland New Age: Australia-China International New Media Arts Exhibition, QUT Art Museum，Australia Relationship: New Chinese Construction Art, Museum of Art for the XXI Century, Rome, Italy
2010 Material and Code: Disciplinary Crossings of Cinema Studies and New Media, Chicago University, Chicago, USA Beijing Time, Santiago de Compostela, Santiago, Spain Heart—Forefront of Contemporary Architecture in China Exhibition, Vitra Design Museum, Weimar, Germany Arena: A Post Boom in Beijing, Hazelhurst Regional Gallery & Arts Centre, Hazelhurst, Australia The Big Bang, White Rabbit Museum, Sydney, Australia Pure Views: China New paintings, Louise Blouin Foundation, London, UK
2009 Beijing Time, Casa Asia Matadero Madrid, Madrid, Spain Ink Not Ink—Chinese Contemporary Ink Painting Exhibition, Drexel University Art Museum, Philadelphia, USA Contemporary Art Rebirth of China, Palazzo Reale Museum, Milan, Italy
2008 55 Days in Valencia, Valencia Museum of Modern Art, Valencia, Spain Transgressive Body, TAPE Art Center, Berlin, Germany The Revolution Continues, Saatchi Gallery, London, UK Poetic Realism—A Reinterpretation to South of Yangtze River, Francisco Tomásy Valiente Art Center, Madrid, Spain
2007 Starting From Southwest, Guangdong Art Museum, Guangzhou, China Chinese Whisper, Osage kwun tong, Hong Kong New Painting from Southwest China, K gallery, Chengdu, China From New Figurative image to New Painting, Tang Contemporary Art, Beijing, China 3 Langue 3 Colors, UM Gallery, Seoul, Korean