• Z-AC1762, 2017, oil on linen, 150x200cm
  • Dark Boat, 1980, oil on paper, 21x34cm
  • June, 1974, oil on paper, 18.5x20.5cm
  • ABS1, 2014, oil on steel shovel, 40x24cm
  • Z-AC1754, 2017, oil on watercolor paper, 56x76cm
  • Z-AC1781, 2017, oil on linen, 150x200cm
  • Fusuijing Building, 1973, oil on paper, 20x15.5cm

Born in 1952.

Currently lives and works in Beijing

Zhang Wei was one of the first abstract painters in contemporary China. He joined a self-organized group of young painters to be known as the “No Name Group” in the early 1970s, and began to explore abstraction in the early 1980s until today.

Zhang Wei, born in 1952 in Beijing. Zhang Wei began painting en-plein-air in the early 1970s with a group of artists later to be known as the “No Name Group”. Still at the heat of the Cultural Revolution, these artists sought out means to channel their creative energy on canvas by venturing on clandestine trips in the parks or on the outskirts of the city. Without having received any formal art education, in Zhang Wei’s early phase of artistic practice, he aimed at rendering the impression of an object, figure or the landscape. The guidance he received from the older members of the group, Zhao Wenliang and Yang Yushu inspired him to discover his own visual language. His interest and knowledge in traditional Chinese painting, and his job at the Beijing Kunqu Opera Troupe further contributed to the artist’s inclination of drawing from his own impressionist elements and translating them onto canvas. 

In the early 1980s, a traveling exhibition of American art presented at the National Art Gallery, in which the works of Franz Klein, Jackson Pollock and Helen Frankenthaler opened the eyes of the artist, an experience that provided him with firm belief and determination to experiment with abstraction.As of the early 1980s, Zhang Wei’s imageries became gradually reduced to executions of brushworks that created tension on canvas. Various visual elements are introduced into his practice over time, for example the notion in Daoism, in which, Zhang Wei applies a caustic logic of one leading to the next in the way he applied colors, others engage painting techniques of “water leakage” where the application of the oil and paint differentiate the texture on canvas, in other works, the notion of calligraphy, in particular, of the cursive style that emphasized on the energy of the calligrapher. On the one hand, Zhang Wei’s painting draws formal affinity to “action painting” in expanding the scale of a brush mark, while the energy executed remains aesthetically Chinese. The pertinent reason for the artist to have chosen oil painting as a medium of his art practice is that, in spite of techniques, visual cues or even notional guidelines in the making of these paintings, the aim of the artist is to give his own subjectivity a visual expression, a subjectivity that esteems freedom, which is largely absent in Chinese traditional culture.

Zhang Wei’s works have been the subject of major international exhibitions, M+ Sigg Collection: Four Decades of Chinese Contemporary Art, ArtisTree, Hong Kong; Blooming in the Shadows: Unofficial Chinese Art, 1974-1985, China Institute Gallery, New York, USA. His works have been acquired by art institutions such as The Chicago Art Institute;the M+ Museum and other reputable private collections.


Selected Solo Exhibitions 



Zhang Wei, Galerie Max Hetzler, Berlin

Zhang Wei: New Paintings 2014-2016, Boers-Li Gallery, Beijing

Zhang Wei: Taxi Driver, The Space of DRC No.12



Zhang Wei: The Abstract Paintings 1979-2012, Boers-Li Gallery, Beijing



Zhang Wei, Z Gallery, NYC, New York, USA



Zhang Wei, Carolyn Hill Gallery, NYC, New York, USA



Selected Group Exhibitions 


Brush and Beyond,  Boers-Li Gallery, New York, USA



Uncharted Waters, Boers-Li Gallery, New York, USA
Salon Salon: Fine Art Practices from 1972 to 1982 in Profile – A Beijing Perspective, Inside-Out Art Museum, Beijing



M+ Sigg Collection: Four Decades of Chinese Contemporary Art, ArtisTree, HK, China



The Civil Power, Beijing Minsheng Art Museum Opening Exhibition, Beijing, China



Secret Signs: Calligraphy in Chinese Contemporary Art, DeichtorHallen, Hamburg, Germany

Right is Wrong / Four Decades of Chinese Art from the M+ Sigg Collection, Bildmuseet Umeå University, Umeå, Sweden

The Un-officials | Art before 85, Boers-Li Gallery, Beijing



Light before Dawn: Unofficial Chinese Art 1974-1985, Asia Society Hong Kong Center, Hong Kong



Blooming in the Shadows: Unofficial Chinese Art, 1974-1985, China Institute Gallery, New York, USA

Breaking Away – an Abstract Art Exhibition, Boers-Li Gallery, Beijing



Crossroads, Opera Gallery Singapore, Singapore

Art and China's Revolution, Asia Society Museum, New York, USA

Moving On: Chinese Contemporary Art in London & St. Moritz", Riccardo Rossi, London, UK

Yi School: Thirty Years of Chinese Abstraction, CaixaForum Barcelona, Barcelona, Spain



Global Roots: Chinese Artists Working in New York", Stewart Center Gallery, Purdue University,West Lafayette, Indiana, USA



Graffiti Exhibition of Ten Artists, Chaoyang Theater, Beijing (closed down by police)