Wang Guangyi

signed in Pinyin and dated 91.1.7

Acquired directly from the artist
Private European Collection
Sotheby's, London, 16 October, 2009, lot 149
Acquired by the present owner from the above sale

Wang Guangyi: Works and Thoughts 1985-2012, Skira Editore, Milano, Italy, 2013, p. 320

This work is generally in fair condition. There are areas of hairline craquelures concentrated on the top left edge and along the left edge. There are stretcher marks and staple marks on the left edge. There is also paint loss on the bottom left edge. Please note it was not examined under ultraviolet light.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

As a main driving force behind the Chinese avant-garde art movement, Wang Guangyi is an artist whose importance to Contemporary Asian Art is unquestionable. The piece on offer, Made in China is a powerful and representative work that was produced alongside the acclaimed Great Criticism series, acting as a way to understand Wang’s oeuvre. In many ways, Made in China pre-empts the trends in the Great Criticism series, and was instrumental in helping the artist develop his distinctive style.

In 1985, Wang formed, along with contemporaries, the “Northern Art Group”, and went on to participate in the “China/ Avant Garde” show, where he exhibited his seminal triptych Mao Zedong: AO. Gradually, Wang’s art edged closer and closer towards political undercurrents, thus creating the Great Criticism series.

Wang Guangyi was no stranger to the bold, propagandist styles inherent to his works; not unlike those that can also be seen in the current piece. As a Red Guard poster painter during the Cultural Revolution, the artist was constantly exposed to nationalistic images of smiling figures amidst scenes of pastoral bliss. The development of this style has its roots in the late eighties, when China opened its doors to the West. During this time, the country experienced a brief episode of political liberalisation, as well as a huge influx in imported literature, films, and goods. Painting in this climate, Wang began to combine his previous sharp renderings of workers with the logos of well-known commercial brands, such as Coca-Cola and Rolex. By portraying these amalgamations as “corrections” of the politically charged slogans he painted in his youth, Wang sought to fuse the “propaganda” of two diametrically opposed systems: capitalism and communism, anticipating the intertwining of the two systems, highlighting their co-dependency and coexistence.   

The current Made in China brilliantly exemplifies this. Set against a solid black background, the ordinary bottle of Head & Shoulders—an ostensibly American brand—is captioned by the words “Made in China”, as well as the sensationalist “New”. A smiling young girl, depicted in iconic colours of red and yellow, replaces the American branding. The bottle itself, painted in blue, is reminiscent of Head & Shoulders only in shape and form. This method of transforming icons into near unrecognisable, amorphous forms, harks back to Wang’s works of the late eighties, where the artist aimed to destabilise meaning and symbology. In such a way, Made in China is a strong, characteristic piece, situated between epochs within the artist’s journey: both looking forward and backward, it serves as a valid and unique specimen within Wang’s great body of works.