Swiss collector Uli Sigg, has spent the last few decades acquiring the world's largest collection of Chinese contemporary art. His collection includes works from Ai Weiwei, Cao Fei, Zhang Xiaogang, Liu Wei, Wang Guangle, and other famous Chinese artists. This piece, "To Add One Meter to an Anonymous Mountain" (1995) is by Zhang Huan.
M+ Sigg Collection: Four Decades of Chinese Contemporary Art —
Swiss collector Uli Sigg, has spent the last few decades acquiring the world's largest collection of Chinese contemporary art. His collection includes works from Ai Weiwei, Cao Fei, Zhang Xiaogang, Liu Wei, Wang Guangle, and other famous Chinese artists. This piece, "To Add One Meter to an Anonymous Mountain" (1995) is by Zhang Huan.
Courtesy of the artist and West Kowloon Cultural District Authority
His collection includes works from Ai Weiwei, Cao Fei, Zhang Xiaogang, Liu Wei, Wang Guangle, and other famous Chinese artists.<br /><br />In 2012, Sigg donated 1,510 Chinese contemporary works of art to M+, Hong Kong's new museum for visual culture, scheduled to open in 2019. Of the collection Sigg says: "The M+ Sigg Collection invites a critical reflection on the short history of contemporary art in China and cultivates lucid insights into Chinese society in a historical period that in retrospect will be considered very important."
"Untitled" (1995) by Fang Lijun —
His collection includes works from Ai Weiwei, Cao Fei, Zhang Xiaogang, Liu Wei, Wang Guangle, and other famous Chinese artists.

In 2012, Sigg donated 1,510 Chinese contemporary works of art to M+, Hong Kong's new museum for visual culture, scheduled to open in 2019. Of the collection Sigg says: "The M+ Sigg Collection invites a critical reflection on the short history of contemporary art in China and cultivates lucid insights into Chinese society in a historical period that in retrospect will be considered very important."
Courtesy of the artist and West Kowloon Cultural District Authority
80 of these artworks feature at a new exhibition, <em>M+ Sigg exhibit: "Four Decades of Chinese Contemporary Art" </em>in Hong Kong. Dr. Pi Li, Sigg Senior Curator of Visual Arts at M+ says: "Chinese artists have constantly navigated between domestic and global artistic, social and political tensions in their pursuit of artistic freedom." The exhibition, he explains, "traces and illustrates the robust output of Chinese art through historical artistic movements from the late 1970s to present day, presenting a fascinating story of the development of Chinese contemporary art."
"Fusuijing Building" (1975) by Zhang Wei —
80 of these artworks feature at a new exhibition, M+ Sigg exhibit: "Four Decades of Chinese Contemporary Art" in Hong Kong. Dr. Pi Li, Sigg Senior Curator of Visual Arts at M+ says: "Chinese artists have constantly navigated between domestic and global artistic, social and political tensions in their pursuit of artistic freedom." The exhibition, he explains, "traces and illustrates the robust output of Chinese art through historical artistic movements from the late 1970s to present day, presenting a fascinating story of the development of Chinese contemporary art."
Courtesy of the artist and West Kowloon Cultural District Authority
Organized into three chapters, works are featured from the time periods: 1974 to 1989, 1990 to 1999 and 2000 to the present. <br /><br />The first chapter introduces work from 1974 to 1989 -- a time of underground artistic experimentation from artists of the No Name Group and Stars Group.
"X? Series No.4" (1987) by Zhang Peili —
Organized into three chapters, works are featured from the time periods: 1974 to 1989, 1990 to 1999 and 2000 to the present.

The first chapter introduces work from 1974 to 1989 -- a time of underground artistic experimentation from artists of the No Name Group and Stars Group.
Courtesy of the artist and West Kowloon Cultural District Authority
The section shows how artists exercised self-expression and autonomous thinking. Artists during this time, demonstrated critical attitudes towards the political environment.
"The Second Situation" (1987) by Geng Jianyi —
The section shows how artists exercised self-expression and autonomous thinking. Artists during this time, demonstrated critical attitudes towards the political environment.
Courtesy of the artist and West Kowloon Cultural District Authority
The second chapter features work produced between 1990-1999, and artistic practices during the post-Cold War era in China. Artists started to express cultural anxiety and began to explore more radical themes and techniques.
"Bloodline Series—Big Family No. 17-1998" (1998) by Zhang Xiaogang —
The second chapter features work produced between 1990-1999, and artistic practices during the post-Cold War era in China. Artists started to express cultural anxiety and began to explore more radical themes and techniques.
Courtesy of the artist and West Kowloon Cultural District Authority
During this time period, the government began to encourage urbanization and consumerism, and Chinese artists began to create their own identity within the art world and on the international scale.
"Me and My Teacher" (1993) by Zheng Guogu —
During this time period, the government began to encourage urbanization and consumerism, and Chinese artists began to create their own identity within the art world and on the international scale.
Courtesy of the artist and West Kowloon Cultural District Authority
The final chapter covers work from the year 2000 to present day. One of its focuses is artistic interest in the 2008 Beijing Olympics, as artists responded to rapid changes to their environment.
"Whose Utopia" (2006) by Cao Fei —
The final chapter covers work from the year 2000 to present day. One of its focuses is artistic interest in the 2008 Beijing Olympics, as artists responded to rapid changes to their environment.
Courtesy of the artist and West Kowloon Cultural District Authority