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XIN HAIZHOU (China, B. 1966)
THE BREAKING DAWN: EARLY CHINESE CONTEMPORARY ART - THE JOHNSON CHANG COLLECTION
XIN HAIZHOU (China, B. 1966)

Rule of the Game No. 2

Details
XIN HAIZHOU (China, B. 1966)
Rule of the Game No. 2
signed, titled and inscribed in Chinese; dated '1992.'; inscribed '200 x 180 cm.' (on the reverse)
oil on canvas
198 x 178 cm. (78 x 70 1/8 in.)
Painted in 1992

15% of the hammer price of this lot will be donated to Moonchu Foundation
Provenance
Acquired directly from the artist by the present owner
Literature
Asian Art Archive, China's New Art, Post-1989, Hong Kong, 2001 (illustrated, pp. 98-99).
Beijing Now Gallery, Xin Haizhou 1987-2005, Beijing, China, 2005 (illustrated, pp. 22-23).
Lu Peng, A History of Art in Twentieth-Century China (Revised Edition), Peking University Press, Beijing, China, 2009 (illustrated, p. 802).
Lu Peng, Zhu Zhu, Kao Chienhui (ed.), Thirty Years of Adventures: Art and Artists Post 1979, Timezone 8 Limited, Beijing, China, 2010 (illustrated, p. 377).
Exhibited
Hong Kong, Hong Kong Arts Centre; & Hong Kong City Hall, China's New Art, Post-1989, 30 January-28 February 1993.
Sydney, Australia, Museum of Contemporary Art, Mao Goes Pop, 2 June-15 August 1993.
Melbourne, Australia, Melbourne Arts Festival, China's New Art, Post-1989, Summer 1993.
Vancouver, Canada, Vancouver Art Gallery, China's New Art, Post-1989, 12 April-28 May 1995.
Eugene, USA, University of Oregon Art Museum, China's New Art, Post-1989, 17 December 1995-28 February 1996.
Fort Wayne, USA, Fort Wayne Museum of Art, China's New Art, Post-1989, 23 March-11 May 1996.
Salina, USA, Salina Arts Centre, China's New Art, Post-1989, 14 March-11 May 1997.
Chicago, USA, Chicago Cultural Centre, China's New Art, Post-1989, 7 June-8 August 1997.
San Jose, USA, San Jose Museum of Art, China's New Art, Post-1989, 2 September-2 November 1997.

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Eric Chang
Eric Chang

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Lot Essay

Xin Haizhou graduated from the Sichuan Fine Arts Institute. Because of his geographic location, it was unavoidable that he was deeply influenced by the Scar Art movement early in his career. Beginning in 1992, he started to take on the perspective of a game to rethink reality and the artistic language. Rule of the Game No. 2 (Lot 159) uses the game of pool as a metaphor for the state of existence. The artist once explained, “I chose the subject matter of the “game of pool” because it embodies the consumerism culture of our times. A covert sense of gameplay and absurdity is ubiquitous in contemporary life. We are thrown into a pre-fabricated stage set where monitors surround us. Karaoke and Hong Kong martial arts movies stroll down the street together. We jump from one box, which we call an apartment, to another box, which we call a bus, to encounter a bunch of strangers in an tightly confined space. We do not know what will happen today, and we spend the day curiously anticipating. We are like the billiard balls that roll around on the pool table, waiting for our chance to strike.”

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