现场 | 乔空间 X 天线空间 | 张业兴个展：重来

张业兴：重来 Chong Lai! 

乔空间 QIAO SPACE 

  2019.06.08 – 2019.07.07  

天线联合乔空间于6月8日推出张业兴上海首个展“重来”，展览持续至7月7日。惯常的暖色调被完全剔除，甚至也将熟稔的堆砌颜料厚画技法搁置一边，张业兴最新个展“重来”整体呈深邃凝重的蓝绿色系，缄默，刺激，笨拙，光滑，压力，紧实，谙黑，每一个场景都密不透风又为我们保留了偷偷走神的出口。

张业兴长期的创作中善于营造空镜的空间景观，它们出自于这位在北方成长的艺术家对于周遭社会变迁与全球化的接纳这两种双重状态下的迷幻与个体的不知所措。对于此，艺术家的工作一开始或许是玩味的，强调冲突的，不羁和无所畏惧的；而“重来”中对餐桌，浴帘，路灯，沙发，甚至一朵花，对一切生活日常的凝视，真实世界如此静默沉重，令人怀疑。

顺白路广场的下午 The Afternoon of Shunbai Plaza, 2018, 

布面油画，Oil on Canvas

210 x 155 cm

《顺白路广场的下午》画幅高达两米多，画面中的逆光几乎扑面而来，那种夏日正午白花花烈日炙烤的温度依稀可感，与此同时它似乎也出自遥远的古典油画中那些神秘的天空，仿佛阴晴不定暴雨将至。尽管作品名称确凿——具体到了时间和地点，赤膊上身的男人肌肉紧绷、蒙着汗水，这场纠缠扭打似乎在下一瞬间将分出胜负，然而这一切纯属虚构。这种非暴力的扭打同时出现在《战》或是展览同名作品《重来！》等画面中，是艺术家内心世界的幻化，它们既实在又缥缈；既虚构也现实。“人”的形象出现在张业兴新作中，甚至包括艺术家自己和家人的形象。

张业兴用一种近乎恭敬虔诚的笔法绘制了一幅《自画像》，以自己十五年前初到北京时的照片为素材，与这清澈坦荡的青年面庞像对应的是《痛》系列中因头疼捂面的人物。历来画家生涯最硬核莫过于在生存的苦难中超越艺术的成就，这或许是张业兴“重来”的深意。又或许“重来”就是这展览中我们在每幅画面边缘所见的独特的张氏技法：在推敲画面的过程中，张业兴往往会用铲刀刮刀一类将未干的不满意的画面铲除重来，他直接将颜料剐蹭堆砌在画框边缘，反反复复这些颜料堆变成为画面的延伸被保留下来。

自画像 Self-portrait, 2018, 

布面油画，Oil on Canvas

50 x 40 cm

Qiao Space, in conjunction with Antenna Space, is presenting Zhang Yexing’s first solo exhibition in Shanghai from June 8th to July 7th. With both commonly applied warm tones and thick paint techniques of piles of paints in his paintings were abandoned, Zhang Yexing’s latest solo exhibition “Chong Lai” (Start Over) appears to have a deep and dignified blue-green tone.  It is silent, stimulating, clumsy, smooth, pressured, firm, and dark; every scene is extremely airtight yet leaving us an exit to sneak out and daydream.

Zhang Yexing's works have a celebrated history in creating spatial landscapes with empty shots. It comes from the northern raised artist’s psychedelic and overwhelmed individual experience of accepting both social changes of his surroundings and globalization. In reaction, his work started with a sense of playfulness, emphasizing conflict, inconsistency and fearlessness; yet his gaze on a table, a shower curtain, a street lamp, a sofa, or even a flower in “Chong Lai”, which is the gaze on the mundane life, has brought our suspicion on question the silence and heaviness of the real world. 

痛-1 Pain No.1, 2018, 

布面油画，Oil on Canvas

50 x 40 cm

In the 2-meters-high painting The Afternoon of Shunbai Plaza, the backlighting, along with the summer heat, is blowing out of the picture frame into viewer’s face. Meanwhile, it also seems to be the mysterious sky from an ancient classical oil painting, where weather can be unpredictable with storms coming in any second. Although the work is titled with specific time and venue, with the shirtless man’s tight and sweaty body seemingly implying a winner of such scuffle will be decided in any second, the whole scene is fictional. Such type of non-violent scuffle, which also appears in Battle as well as Chong Lai, is an illusion of the artist's inner world: it is real and dimly discernible, realistic and fictional. Human figures start to appear in Zhang Yexing's new works, including his family and himself.

Drawing out of a photo of the artist himself when he arrived in Beijing 15 years ago, Zhang Yexing painted a self-portrait with mostly religious brushworks. Corresponding to this simple and honest young face, there is the Pain series with portraits of figures covering their faces because of headache. The hardest core of a painter's career has always been to surpass the achievements of art in the suffering of survival. This may be the meaning of Zhang Yexing's "Chong Lai". Or maybe "Chong Lai" (start over) refers to the unique technique we can see on the edge of each painting in this exhibition: in the process of scrutinizing the picture, Zhang Yexing often uses a blade to scrape off the unsatisfactory image and start over again. He piles up the scraped paint on the edge of the frame repeatedly, where eventually such paint becomes an extension of the picture.