Sheng Qi: Post-Mao

Sheng Qi: Post-Mao

my left hand	 by sheng qi

Sheng Qi

My Left Hand , 2004

empty chair	 by sheng qi

Sheng Qi

Empty Chair , 2012

blue mao by sheng qi

Sheng Qi

Blue Mao, 2011

Tuesday, November 6, 2012Thursday, December 20, 2012

London, United Kingdom

Hua Gallery is honoured to announce the first ever solo exhibition in London of the famed Chinese artist, Sheng Qi.

Established in 2011, Hua Gallery specializes in the exciting space that is Chinese contemporary art. Hua Gallery represents and exhibits cutting edge, stimulating works by established contemporary Chinese artists, as well as emerging contemporary Chinese artists who are not as yet discovered internationally. Situated on the Albion Riverside, Hua Gallery is London’s only Chinese contemporary art gallery with a permanent exhibition space of this size and scale.

Duration: 6 November – 20 December 2012 (Mon-Fri: 9.30 am – 6 pm, Sat: 11am – 6pm)
Location: Unit 7B, G/F, Albion Riverside, 8 Hester Road, Battersea, London, SW11 4AX

My art speaks about history, contemporary politics and economics, and propaganda. It is influenced by Pop style; it is both satirical and critical at the same time.”

Sheng Qi

London-based artist Sheng Qi is probably best known for his act of personal defiance following the events in Tiananmen Square in June 1989: he cut off the little finger of his left hand.

Since then, he has incorporated the image and concept of this self-mutilation into his work, which includes photography, painting, sculpture, and performance art. His recent work continues in the vein of subtle but firm subversion and quiet political protest.

No informed conversation about the development of Chinese performance art can bypass Sheng Qi, whose work remains unusual, brave and adventurous. By 1986 he had already thrown himself into a pioneering practice, working in symbolic locations including Peking University (1986), the Yuanmingyuan (1987) and on the Great Wall (1988).

Those seminal events were important contributions to a young field, and looking back at their documentation, readers will feel Sheng Qi’s passion for art and for the intense cultural transgression his works represented in their time. More recently, he has begun with portraits of children in a rigorous academic painting style, and through their "destruction" and "revision," constructed a painting language that explores the aesthetics of violence and criticism, and their commonalities.