Oil on canvas

65×53 cm. 25 5/8×20 7/8 in.

Signed in initial on upper left; dated on upper right; signed in Chinese and pinyin, dated on the reverse
PROVENANCE
6 Dec 2016, Council Beijing Autumn Auction, Lot 2756
Acquired directly by present important private Asian collector from the above

Daytime Does Not Understand the Darkness of Night
Wang Xingwei's Darkly Humourous Theater

"The true victory of art is not in the present moment, but in its ability to transcend time"
——Wang Xingwei

Born in 1969 in Shenyang, Wang Xingwei is a leading figure in the field of Chinese contemporary art, frequently making headlines at auctions with record prices. His works have been collected by numerous prestigious institutions, including the Erlenmeyer Foundation in Switzerland, the Ullens Center for Contemporary Art, M+ in Hong Kong, Long Museum, and Minsheng Modern Art Museum in Shanghai. Over his 30-year artistic journey, Wang has explored a diverse range of themes and forms, using a playful and humorous approach to address serious social issues. Through maximum degree of freedom and innovation, his works expressed a distinctive culture and lively spirit and character.

Absurd Devotion: The Fascinating Topic of Gender Relations

Untitled resembles a captivating scene from a theatrical stage, with bright light illuminating the faces of the two main characters, heightening the immersive atmosphere. Interestingly, in contrast to traditional religious or royal themes that often worship male figures, this artwork is driven by a female-centric narrative. The bare-backed man willingly becomes a subordinate, wrapping his arms around the woman before him, his face betraying a carefree glee and satisfaction. The woman's expression is remarkably indifferent; the layers of paint seem to mask her, and her upward-turned gaze, along with her languid smoking pose, exudes a memory reminiscent of Hollywood star Marlene Dietrich. Her cool demeanour, coupled with the hand she is about to push away from the man, deepens the sense of alienation.

Throughout his distinguished oeuvre, Wang Xingwei has masterfully explored the nuances of gender identity and representation. This includes his 1994 satirical piece Happy Families Are All Alike, which critiques marriage, Dawn, depicting himself and his wife from behind, and the 1999 parody The Awakening Conscience, which references Pre-Raphaelite masterpieces. His series The Big Rowing, created after 2006, dives into the emotions of urban young men and women, culminating in the renowned Untitled (Watering Flowers) in 2013. In contrast, the artwork Untitled from the turn of the millennium is filled with reflections on the dynamics between men and women in the new century, layered with a playful melancholy reminiscent of "the falling flower has intentions, while the flowing water is heartless." The smoking woman reflects a contemporary image of independence and confidence. Viewed from the perspective of 2025, this piece connects to the modern internet slang "Simp" , which expresses admiration for unrequited love, showcasing Wang Xingwei's enduring humour and relevance.

The Artist Is Present: An Unwavering Declaration

Even more intriguing is that the male protagonist, depicted in an embrace and seen in a side profile is none other than Wang Xingwei himself. He embodies both performer and creator, transforming into an object of observation and discourse. From this angle, the woman in the painting may also symbolise the Muse, passionately embraced by Wang, who conveys a touch of self-deprecation. Even amidst indifference and cruelty, he expresses an unwavering commitment to art and ideals, making a profound declaration of devotion. Viewers find in this scene a narrative of relationships, truths, humour, and the complexities of love and desire, as well as the interplay between theater and real life. Through his painted theatre and satirical brush, Wang Xingwei seeks the essence of existence.

Price estimate:
HKD 100,000 – 150,000
USD 12,800 – 19,200