Seven Questions with First Time Collectors
ZIRUI ZHUANG
Meet (Rui) Ziruri Zhuang
Zirui Zhuang is the Gallery Director of Art+ Shanghai Gallery. He is also a curator, and author, based in Shanghai and in London and is a Young Patron of the Tate Gallery, UK. He recently published the book 'The Descendants from the East - Blake and India’, which has been pre-ordered for permanent collection by major libraries including the British Library, the Bodleian Libraries at Oxford University, Cambridge University Library, and the National Library of Scotland. Zirui graduated from the Courtauld Institute of Art with a Master's in Art History and from Sotheby's Institute of Art with a Master's in Art Business. Graduated from Nottingham Trent University with a Bachelor's in Product Design.
Pictured Above: Lin Fanglu, Middle: Wang Weijue, Right: Zirui Zhuang
Q: How did you first become involved in the art world?
A: My initial foray into the world of art was actually inspired by my grandfather. He was the chief engineer of China's first nuclear submarine, a profession that seems entirely unrelated to art. However, due to his family background, he was exposed to traditional Chinese art from a young age. He had a particular fondness for collecting inkstones, which are used in traditional Chinese calligraphy to grind ink. His collection was vast, ranging from the Song to the Qing dynasties, encompassing nearly every type of inkstone you could think of. He had already retired by the time I was born. As far back as I can remember, he would write every day, experimenting with various calligraphy styles, which I found incredibly cool. Later, he showed me many of his hand-drawn industrial blueprints. I believe that was also a form of art, possessing a stark, weapon-like beauty. This influenced my decision to study product design for my academic degree. He had many collector friends, and naturally, they all collected traditional Chinese art, including landscape paintings. These experiences laid the foundation for my earliest understanding of art.
Q: Did you have any mentors or individuals you looked up to in your career so far?
A: I must mention the two founders of the gallery where I currently work, Art+ Shanghai Gallery: Ana Gonzalez and Agnes Cohade. Our gallery was established in 2007, focusing on both emerging and established Asian artists. Both founders have lived in China for nearly two decades, making them among the early pioneers in the contemporary art scene in China. They are very dedicated in their work, sincere in their dealings, and have a unique vision, having nurtured batch after batch of Chinese artists. I deeply admire them because, as Europeans, they have a profound understanding of Chinese culture and artists. They generously bring these artists to the international stage, helping Chinese artists advance further. I hope to become someone like them, and I also hope that my nearly a decade of experience in the UK can help Chinese artists gain more visibility and attention in the international market.
Work on right: Hope Turnbull, On The Bed, a work from Zirui’s collection.
Q: What emerging artists are on your radar right now?
A: My recent favorite artist is Lin Fanglu from China, whose works I have already collected. This young artist studies the tying and dyeing techniques of the Bai minority, a minority ethnic group from southern China. When we purchase tie- dyed fabrics, what we're really buying is a flat piece of textile. However, local female artisans spend months, sometimes longer, creating these tie-dye designs. The tightness of their ties affects how the dye colors the fabric. When the ties are cut open, no one notices the effort of these female artisans, similar to how the contributions of women in Chinese society and families often go unrecognized and undervalued.
So, she decided to extract this process and turn it into sculptures. I think her approach is particularly commendable. She's not just exploring feminism – that term is too superficial to define her work. She is leading people to trace back to the roots, to consider the origins of the problems in our patriarchal society. Her new works feature many pillars of tie-dye craftsmanship, which are my favorites. She transforms the beauty of tie-dye into ancient civilization-like totems, giving the pieces a divine quality. I appreciate how she combines traditional Chinese beauty with social issues in her creations.
Work Above: Lin Fanglu, She’s Tree No.3, cotton cloth, cotton thread, wood, 75x70cm, 2022, a work from Zirui’s collection.
Q: What advice do you have for young professionals who may just be starting to think about collecting art?
A: As I always tell my friends who love art, there is no hierarchy of taste in aesthetics. Aesthetic preferences are shaped by one's identity, educational background, and living environment. Moreover, unlike other financial products, I believe that when investing in a piece of art, you must first love it. Only then, purchasing it will come without any hesitation. Many of my friends worry about not dressing appropriately or ask me how to 'play the part' of a collector when attending art fairs. I think that's unnecessary. Being true to oneself and experiencing and appreciating art is what matters most. I never believe that in contemporary art, a piece is complete just because an artist has finished it. I think a work is truly complete when a viewer's interpretation is added to it. So, it goes back to what I said at the beginning: there is no high or low in aesthetics, and it's normal to have different understandings. There are a thousand Hamlets in a thousand people's eyes. Trusting your own judgment, finding what you love, and passionately engaging with art is what's most important.
Work Above: Teresa Murta, Full Moon, oil and acrylic on wood panel, 24 x 18 cm, 2023, a work from Zirui’s collection.
Q: If you could own any work of art by a living artist, who would it be and why?
A: I would choose the work 'A Book from the Sky' by Xu Bing. I think it's incredibly cool. At first glance, the characters in 'A Book from the Sky' appear to be traditional Chinese calligraphy, but upon closer inspection, they are actually English letters, with each square character being spellable. I believe this work breaks the shackles of language, ingeniously blending traditional Chinese techniques with an international language. I appreciate works that have strong academic roots and can be traced back to their origins. You can continuously study its details, and every time it feels like discovering new treasures.
Q: What aspects of the art world do you hope to see change or grow in the near future?
A: I think the biggest problem in the art industry is the abundance of pretentious and judgmental people. Too many people create a false image for themselves, and even more judge others based on their appearance. I find this very unfortunate. I often dress casually when visiting exhibitions and feel that the staff treat me dismissively because of my attire. However, everyone who loves art deserves respect. If someone has a question about an artwork, a sincere answer is all that’s needed. Yes, sincerity - I believe this is sorely lacking in the industry. Everyone seems focused on making money and climbing the ladder, and I increasingly feel a lack of passion for art among them.
Work Above: Ye Hongxing, Number 3, mixed media on canvas, 100 x 100 cm, 2021, a work from Zirui’s collection.
Q: What guidelines do you follow, if any, when evaluating what makes a smart investment when it comes to buying art?
A: Although I have previously said that liking art is more important than money, art is also an investment, and investing requires knowledge. I usually look at an artist's resume, such as what types of solo exhibitions they've had and which institutions have collected their work. I also check their secondary market on websites like Artprice, to see their auction records — of course, this is for artists who are gradually becoming famous. For younger artists, liking their work is still the most important aspect.