麥勒畫廊榮幸地宣布，我們將在蘇黎世畫廊空間推出中國(guó)藝術(shù)家張雪瑞（1979年生于山西）的個(gè)展“物靜光時(shí) II”。此次展覽延續(xù)了藝術(shù)家2019年在麥勒畫廊盧塞恩空間展示的獨(dú)特抽象繪畫脈絡(luò)，對(duì)她近年來(lái)圍繞“時(shí)間”和“物”的主題的創(chuàng)作進(jìn)行了反思性總結(jié)。同時(shí)，這也是她2023年在北京空間展覽的續(xù)篇和深化。以繪畫和裝置為媒介，張雪瑞展開(kāi)了一場(chǎng)涵蓋個(gè)體經(jīng)驗(yàn)、家族歷史、時(shí)間流逝、記憶更迭與情感變遷的對(duì)話。
Galerie Urs Meile is pleased to announce In Search of Lost Time II, the solo exhibition by Chinese artist Zhang Xuerui (b. 1979, Shanxi, China) at its Zurich gallery. This exhibition follows the thread of the artist's unique abstract painting showcased at the Galerie Urs Meile in Lucerne in 2019, providing a reflective summary of her recent works centered around the themes of "time" and "object." It is also a sequel and further extension of her 2023 exhibition at the gallery space in Beijing. Employing painting and installation as her mediums, Zhang Xuerui engages in a dialogue that encompasses her personal experiences, family history, the passage of time, memory, and emotion.
“在生活中難以實(shí)現(xiàn)的親密關(guān)系，我希望能在繪畫中得以體現(xiàn)?！?/span>
"In life, it is difficult to achieve intimacy, and I hope to express it through painting."
張雪瑞 Zhang Xuerui
張雪瑞的繪畫是循序漸進(jìn)的。她早期的純抽象繪畫通常捕捉自然中人類生存的本質(zhì)，或通過(guò)時(shí)間的透鏡對(duì)自然環(huán)境進(jìn)行個(gè)人化詮釋。那些不斷變化的網(wǎng)格，承載著隨歲月推移而更迭的體驗(yàn)與感悟，并逐漸凝聚成鮮明的元素和生動(dòng)的畫面，邀請(qǐng)觀者進(jìn)入她獨(dú)特的內(nèi)心世界。近年來(lái)，她的創(chuàng)作逐漸轉(zhuǎn)向敘事性表達(dá)，使作品成為其傳達(dá)個(gè)體與集體經(jīng)驗(yàn)的重要載體。
Zhang Xuerui's paintings unfold a progressive course. Her early pure abstract paintings often capture the essence of human existence in nature, or offer the artist's personal interpretation of her natural surroundings through the lens of time. The evolving grid embodies shifting experiences over time, gradually giving rise to discernible elements that coalesce into a vivid tableau, drawing viewers into the artist's own domain. Her recent works shift to a narrative-driven approach, wherein the artwork becomes a significant vehicle for articulating her individuality and the collective experience.
本次展覽的核心之一是她最新的“物格 · 沙發(fā)”系列作品。該系列則聚焦于一張單人沙發(fā)。童年時(shí)，家中有一張專屬于父親的沙發(fā)，他在家時(shí)無(wú)人可以染指。這在藝術(shù)家的記憶中象征著不可撼動(dòng)的權(quán)威，因此給她留下了深刻的印象。由于父親重男輕女的態(tài)度，張雪瑞一直對(duì)父親懷著敬畏與疏離之心。雙親離婚以后，父親再婚，父女間的聯(lián)系愈漸淡漠。直到近年父親的健康狀況惡化，他才試圖修復(fù)與女兒的關(guān)系。這種修復(fù)既源于情感需求，更出于對(duì)照料的實(shí)際渴望。面對(duì)父親，張雪瑞難以完全原諒，也無(wú)法徹底忽視，因此她的回應(yīng)有限而疏離。這種復(fù)雜的現(xiàn)實(shí)困境正是她想通過(guò)繪畫表達(dá)的。反復(fù)出現(xiàn)在作品中的沙發(fā)象征著父親或權(quán)威本身，時(shí)而清晰，時(shí)而朦朧，交替映射著她內(nèi)心記憶與情感的起伏流轉(zhuǎn)。
A key component of this exhibition is Zhang Xuerui's latest series Investigation Grid · Sofa，which features a single armchair. In the artist's childhood, there was a sofa that belonged exclusively to her father, who forbade anyone from sitting on it while he was home. For the artist, this sofa symbolizes power, leaving a profound impression in her memory. Due to her father's preference for sons over daughters, Zhang Xuerui has long harbored fear towards him, leading to a distant father-daughter relationship. After her parents divorced, her father remarried, and their contact diminished until his health declined a few years ago, prompting him to reach out to the artist in hopes of mending their relationship. This repair is driven by both emotional needs and, more importantly, the practical need for care. Zhang Xuerui finds it challenging to fully forgive or ignore her father, offering limited responses while maintaining distance. This real-life dilemma is something the artist aims to express through her paintings. The recurring image of the sofa symbolizes her father or authority itself—sometimes clear, sometimes blurred—mirroring the flow of her memory and emotion.
在另一系列“靜物 · 箱子”作品中，打開(kāi)的箱子被置于微妙的色彩之中，呈現(xiàn)出一種懸而未決的狀態(tài)。它們是受家族傳說(shuō)啟發(fā)的想象性構(gòu)造，是承載關(guān)系動(dòng)態(tài)、社會(huì)背景和歷史記憶的容器。其中箱子原本由她外祖父為一位朋友保存，內(nèi)藏珍貴古董瓷器。然而，在六十年代末期，這些藝術(shù)品慘遭銷毀，外祖父也不幸失聰。多年后，那位朋友的后人來(lái)索要這只箱子，卻在得知真相后黯然離去，只留下這只箱子作為家族歷史的見(jiàn)證。箱子龐大而沉重，投射出藝術(shù)家細(xì)微的情感，其中既有對(duì)過(guò)去單純美好的人際關(guān)系的懷念，也有與殘酷的歷史真相和解后余下的五味雜陳。
The series Still Life · Chest presents the open chest in a state of suspension within vibrant colors. These chests are imaginative constructs inspired by family lore, serving as vessels that embody relational dynamics, social context, and historical memory. One such chest was preserved by her grandfather for a family friend who fled away and once contained cherished antiquities and porcelain. Yet, in the late 1960s, these artworks were either boiled or destroyed. The grandfather suffered persecution during this period, resulting in a loss of hearing. The descendant of that friend later came to seek the chest but returned disheartened upon learning the truth, leaving the box as a remnant of the family history. In her mother's recollection, the box was large and heavy, projecting the artist's nuanced emotions, both the nostalgia for simple and beautiful interpersonal connections of the past, and lingering sentiment that remain after reconciling with harsh historical truths.
張雪瑞對(duì)色彩與生俱來(lái)的敏感使她得以憑此進(jìn)入一個(gè)獨(dú)特的感知領(lǐng)域。網(wǎng)格繪畫技法代表了她將復(fù)雜覺(jué)察簡(jiǎn)化為日常實(shí)踐的最自然的方式。通過(guò)這種勞動(dòng)， 她追求著感性與理性的完美融合，力圖在作品中凝練出純粹的精神本質(zhì)。畫面背景的顏色選取延續(xù)了以往藝術(shù)家繪畫創(chuàng)作中自我限定的方式，即在被方格分割的畫面上選定三個(gè)角，將其中填充的顏色設(shè)定為這幅畫的“三原色”——這些初始原色都在大自然中有跡可循——此后整個(gè)畫面的所有方格都有著三原色按不同配比調(diào)試出的顏色填充而成，迭代出微妙的色彩漸變。這種工作方法本質(zhì)上是理性的，因?yàn)檫@三種顏色決定了整體的色調(diào)。箱子和沙發(fā)的部分也遵循這個(gè)原則，不引入任何多余的色彩。藝術(shù)家的任務(wù)在于精心安排它們的分布與組合。
Zhang Xuerui possesses an innate sensitivity to color, enabling her to enter a unique experiential realm through it. The grid painting technique represents her most comfortable mean of simplifying complex perception into daily practice. Through this labor, she seeks perfection, aspiring for an exquisite blend of sensibility and rationality that culminates in a concentrated spiritual essence. The color palette in the background follows a self-imposed limitation wherein she designates three "primary colors" to three corners within the divided grid—these colors arise from internalized visual experiences expressed through unparalleled intuition. Subsequently, all the grids on the canvas are filled with shifting colors based on these three primary ones, creating subtle color gradations. This working method is inherently rational, as the three colors dictate the overall tone. The parts of the chests and sofas follow the rule as well, prohibiting the introduction of extraneous colors. The artist's task is to merely determine their distribution and arrangement.
裝置作品“某年某月某日 · 手書”也源于藝術(shù)家對(duì)“物”的獨(dú)特感知?！靶偶弊鳛橐环N私密的交流媒介，曾是她與密友溝通的珍貴方式。張雪瑞精心將布料裁剪成心形圖案，用大頭針固定在紙上，并根據(jù)創(chuàng)作時(shí)的心境和作品結(jié)構(gòu)對(duì)紙張和心進(jìn)行染色處理。她相信材料本身就蘊(yùn)含著的意義與情感，這件作品中使用的紙張和大頭針就喚起了一種痛感。
The installation Some Day Some Month Some Year · Handwritten Letter also draws upon the artist's perception of the "object". A "letter" serves as private medium for conveying information. Writing letters used to be a cherished method of communication with close friends for the artist. She meticulously cuts heart-shaped prints from fabric and pins them onto paper, dyeing both the paper and hearts in various colors based on her creative state and the construction of the work. She believes that materials inherently carry meanings and emotions, as seen in the use of paper and pins in her work, which evoke a sense of pain.
在張雪瑞對(duì)“時(shí)間”和“物”的探索中，箱子與沙發(fā)象征著重疊的時(shí)空。此次展出的系列作品恰創(chuàng)作于疫情隔離期，因而激發(fā)了對(duì)社會(huì)框架下人際關(guān)系、家庭聯(lián)結(jié)以及集體存在的深入反思。在展廳中，這些新作通過(guò)曖昧而朦朧的色調(diào)描繪出幽微的形象，以熟悉的形式向我們展示著其中蘊(yùn)含的歡愉與痛楚。
In Zhang Xuerui's explorations of "time" and "object," the chests and sofas represent overlapping temporalities. The creative processes of the work series on display coincided with the time of isolation during the pandemic, prompting reflections on interpersonal relationships, family ties, and collective existence within a societal framework. In the exhibition space, these recent works depict ghostly figures through subtle, hazy tones, presenting familiar forms that manifest the joy and pain imparts to us.
張雪瑞
Zhang Xuerui
張雪瑞（1979年生于山西），現(xiàn)工作、生活于北京，2004年畢業(yè)于中央美術(shù)學(xué)院。近期個(gè)展包括：“物靜光時(shí)”，麥勒畫廊，中國(guó)北京（2023）；“三個(gè)航標(biāo)的河流”，麥勒畫廊，中國(guó)北京（2020）；“作為本體的日?！?，麥勒畫廊，瑞士盧塞恩（2019）; “微物之神”，巴塞爾藝術(shù)展邁阿密海灘展會(huì)“策展角落”，邁阿密，美國(guó)（2018）；“色彩翩然而至”，獅語(yǔ)畫廊，中國(guó)香港（2017）；“張雪瑞新作”，今格空間，中國(guó)北京（2017）。群展包括：“廢墟之藍(lán)圖”，白兔美術(shù)館，澳大利亞新南威爾士州（2023）；“文明的印記：敦煌藝術(shù)大展”，北京民生美術(shù)館，中國(guó)北京（2022）；“余生記”，紅樹(shù)林畫廊，中國(guó)深圳（2022）；“北京書信”，光州市立美術(shù)館，韓國(guó)光州（2019）；“中國(guó)當(dāng)代藝術(shù)年鑒展2017”，北京民生現(xiàn)代美術(shù)館，中國(guó)北京（2018）；“相遇亞洲—多元化的青年藝術(shù)視覺(jué)”，四川美術(shù)學(xué)院美術(shù)館，中國(guó)重慶（2018）；“非形象—敘事的運(yùn)動(dòng)”，上海二十一世紀(jì)民生美術(shù)館，中國(guó)上海（2015）; “調(diào)節(jié)器：2010第二屆今日文獻(xiàn)展”，今日美術(shù)館，中國(guó)北京（2010）。2015年參加了奧地利維也納藝術(shù)家駐留項(xiàng)目“Kulturkontaka Austria”，其作品被白兔美術(shù)館以及Cruthers Art Foundation等機(jī)構(gòu)收藏。
Zhang Xuerui was born in 1979 in Shanxi, and currently lives and works in Beijing. She graduated from Central Academy of Fine Arts in Beijing in 2004. Her recent solo exhibitions include: In Search of Lost Time, Galerie Urs Meile, Beijing, China (2023); River with Three Buoys, Galerie Urs Meile, Beijing, China (2020); The Everyday as Ontology, Galerie Urs Meile, Lucerne, Switzerland (2019); The God of Small Things, Art Basel Miami Beach-Kabinett, Miami, USA (2018); Colours in A Breeze: Zhang Xuerui Solo Exhibition, Leo Gallery, Hong Kong, China (2017); Zhang Xuerui: Recent Works, Ginkgo Space, Beijing, China (2017). Recent group shows include: A Blueprint for Ruins, White Rabbit Gallery, Chippendale NSW, Australia (2023); The Trace of Civilization: The Great Art of Dunhuang, Beijing Minsheng Art Museum, Beijing, China (2022); A Descent into the Maelstrom, Mangrove Gallery, Shenzhen, China (2022); Letters from Beijing, Gwangju Museum of Art, Gwangju, Korea (2019); The Exhibition of Annual of Contemporary Art of China 2017, Minsheng Art Museum, Beijing, China (2018); Encounter Asia – Multi-vision of Youth Art, the Museum of Sichuan Fine Arts Institute, Chongqing, China (2018); Nonfigurative, Shanghai 21th Century Minsheng Art Museum, Shanghai, China (2015); Negotiations – The 2nd Today’s Documents 2010, Today Art Museum, Beijing, China (2010). She participated in Artist in Residence program "Kulturkontaka Austria" in Vienna in 2015. Her works have been collected by public collections including White Rabbit Gallery and Cruthers Art Foundation.
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