➔ Sauce, Anthony Key, 1999 Feb 22 - 1999 Mar 26

Sauce, Anthony Key, 1999 Feb 22 - 1999 Mar 26

Type: Exhibition



exhibition Lunar New Year Event


Programme ➔ Main Programme ➔ Edge Street Programme (1997-2003)


1999 Feb 22 (is beginning date)
1999 Apr 02 (has end date)


First exhibition after the reopening the Chinese Arts Centre after the refurbishment due to an arson attack in 1998.

Sauce brought together a selection of existing and new sculptural works by London-based artist Anthony Key which subverted the objects of our weekly shop in the supermarket and take-away experience. 

Soy/Ketchup was a 'self-portrait of the artist. The work featured a bottle which initially looked like a traditional bottle of tomato ketchup which was actually a bottle of soy sauce. The work, featuring foreign contents within a Western body, represented a 'integrated body comfortable with itself' and was an analogy for the artist's cultural personality as both a Chinese and British person. 

Bread/Noodles featured a nests of dried noodles in packaging which mimic how loaves of bread are sold in UK shops. The work brought the staple ingredient of wheat and combined the way it was primarily used in Chinese and British culture into a single statement: what you see isn't always what you get. 

Wok/Satellite Dish featured a sculpture which appear to be a satellite dish but was actually created from a wok. The piece was about the sadness of loss to progress and people's aspirations. It represented the desire for electronic devices over basic cooking utensils; feeding people's minds over stomachs; the foreign over tradition. 

Chopsticks/Knife Fork was a piece about migration and mutation, and how a foreign body had to adapt to its new environment. The piece comprised traditional lacquer chopsticks which had the shape of a knife and fork on the terminus of the sticks. 

McNapkin featured rendered a disposable McDonalds napkin in Chinese red silk. 

Pekin Duck, featured three take-way cartons of the dish which rose diagonally on a wall. The work was a play on the ceramic ducks which were a clichéd and nostalgic image of English domesticity. The work implied that the 'ducks' were making a journey 'west' with impulses to migrate 'home' but were destined for literal and metaphorical consumption. 

Stir-fry-Sounds and Stir-fry with the sounds of its own making, featured audio cassettes featuring audio recorded by the artist while preparing various dishes and a single take-away carton from which emanates sounds of cooking. The works represented how hidden labour can mimic the self-reflexivity of the post modern artist, an introspection in which the economies of culinary and fine arts are combined. 

Three lions on a shirt featured what appeared to be a shirt worn by members of  the English football team which on closer inspection the crest featured traditional Chinese representations of lions. The work questioned where the allegiance of English citizens lay in relation to sport, the teams of their adopted country or their country or birth/heritage. 

Hong Kong Shanghai Bank was a representation of the headquarter of the HSBC building in Canary Wharf, London, in foil takeaway trays. 

Gaan Sam (or Golden Mountain) featuring golden take-away trays which were arranged into a sculpture representing a pile of gold bullion. The work was inspired by migration of Chinese people to San Francisco (referred to as Gann Sam) to find their fortune during the gold rush. The migrants did not find gold but began to produce another type of currency, the Chinese takeaway. The work combined the two ideas which defined British Chinese consumers in the 1990s, gold and takeaway. 

Windows 96 was one of the artist's earliest works on immigration which was inspired by his time having to annually renew his UK visa. The work comprised thousands of Home Office tickets place in rows to resemble wallpaper. 

Related Information

Related People and Organisations

Key, Anthony, (b. 1949), artist ()

Related Places

Manchester ()

Related Catalogue records