【展览随想】周彤：像这样细细地听

总想捕捉张雪瑞绘画的内涵，忽然有一天，读到俄罗斯著名诗人茨维塔耶娃的这首——《像这样细细地听》，一下子感受到了，原来雪瑞也一直在说着同一件事。

和许多艺术家用饱满情绪去感受缪斯不太一样，雪瑞无论语言，还是画画，都带着点天生木讷，甚至可以说是一种，只可意会的呆萌。各种小方格，顺序排列一起，好像中学生在操场做课间操，而每个格子都如同一个学生，看上去所有人都在做同样动作，可仔细去品味，又都各带自己的感受，越看越觉得，不那么整齐划一，哪怕都穿着同样式的运动服，伸手顿足都略带差异，可并不跳脱。似乎，在这个停顿的片段，大家都用独自理解，去展现同一个乐章，或者说，演奏着同一个旋律，从这个角度进入之后，逐渐会忘了呼吸，凝神观看，于是不仅视觉，其他听觉、嗅觉、味觉、感觉，乃至知觉都变得可有可无，最终完全消失。

张雪瑞创作中

Zhang Xuerui painting in her studio

我不知道雪瑞怎么规划自己的时间，要知道，画这么多张小格子，需要多少耐心和毅力，估计大部分人要是想到，这么多年都在涂抹小格子，都会选择放弃，毕竟这种创作方法，需要精神上强迫症的有力支撑。随着对雪瑞的了解，发现她身上天生的呆萌，让她居然从中找到乐趣，每一次绘画，都当成探索色彩关系的过程，而哪怕特别小的新发现，也成了心里填补苦闷的动力，好像重复和无聊，就不属于她思想的语言，如果不这么思考，我作为一个正常人，没法理解如此精神病般的创作方法，除非先把自己逼疯。

张雪瑞，《225 202003》，2020，布面丙烯，150 × 150 cm
Zhang Xuerui, 225 202003, 2020, acrylic on canvas, 150 × 150 cm

张雪瑞，《100 201912-4》，2019，布面丙烯，60 × 60 cm
Zhang Xuerui, 100 201912-4, 2019, acrylic on canvas, 60 × 60 cm

也许今天生活太快，也许吃饭味觉太浓，也许摇滚声音太响，总之，我们再也没法忍受农耕时代的那种平淡节奏，越高越快越猛，成了大家的日常，川菜的辣、鲁菜的黑、湘菜的香，都不断把我们味蕾刺激，推向更远的边缘，其实，绘画也是如此，刺激都不再依靠情绪，而变成调配的化学，有些画面，就跟摇头丸一样，传递着毒品般的抽搐痉挛，这个时候，确实需要一杯冰冷的泉水，才能重新感受幽缓的微风，嗅到那小小的野花，回到真正东方，人的世界。

每当回望倪瓒，最妙的部分，不在于折带皱如何高雅，是那份发自肺腑的悠闲，对于俯仰宇宙的自信，这份笔墨所以极致，是他千锤百炼后，缓慢化解胸中块垒的结果。雪瑞走的路，也差强相仿，用一种入境，寻找那刻的些微差异，去细细阐述其中的过程，分享点滴的感受，如此逐本溯源，回到热爱绘画的初心，不是什么伟大的哲学思辨，也不是深入灵魂的拷问，就是记录平平淡淡里，那点点滴滴的新感受，小心思，细细聆听内心，最终把时间消解，在一块块严谨的格子之中。

I’ve always been thinking about how to capture the import of Zhang Xuerui's painting. One day, I came across this poem by famous Russian poet Marina Tsvetaeva, As People Listening Intently, and suddenly realized Xuerui has been talking about the same thing all this time.

Unlike many artists, who use overflowing sentiments to perceive their muses, Xuerui is somewhat inarticulate, whether in her words or her painting, perhaps even a bit slow. All kinds of little squares, all laid out in rows, like middle school students doing calisthenics. Each square is like a student: each one appears to be doing the same movements, but if you look closely, they each have their own feel. The more you look, the less orderly they seem. They may all be wearing the same track suits, but they all stick out their arms and stamp their feet in different ways. And yet, none quite stand out from the rest. It is as if, in this moment of pause, everyone is using their own independent understanding to present the same movement of music, or to perform the same melody. Approaching from this perspective, one gradually forgets to breathe as they gaze into the picture, until not only vision, but all of the senses become superfluous, and gradually, disappear altogether.

张雪瑞创作中

Zhang Xuerui painting in her studio

Ido not know how Xuerui apportions her time, but it must take a great deal of patience and perseverance to paint so many little squares. Most people would have given up rather than spend so many years painting all these small squares. Such a creative approach needs the strong spiritual support of obsession. As I came to better understand Xuerui, I realized that she is able to take joy in her slowness. Every time she paints, she treats it as a process of the exploration of color relationships. Even a tiny discovery can become momentum for mending the dejection in her heart, as if repetition and boredom are not part of her conceptual vocabulary. As a normal person, if I didn’t think inthis way, I would be unable to understand this almost pathological creative approach, not without driving myself crazy.

张雪瑞创作中

Zhang Xuerui working in her studio

Maybe we live too fast these days, eating food with too much flavor, and listening to rock music too loud. In any case, we can no longer bear that unhurried pace of the agrarian era. Ever faster and more frenzied has become the tone of our everyday. The spiciness of Sichuan food, the saltiness of Shandong food, and the pungency of Hunan food have constantly bombarded our taste buds, pushing them further out to the edge. In fact, it is the same with painting, where stimulation no longer depends on sentiments, but has become a form of chemistry. Some paintings are like ecstasy, sending out drug-like twitches and convulsions. At this moment, we need a cold glass of spring water to be able to take in that gentle breeze, smell the wild flowers, and return to the true East, to the human world.

张雪瑞，《红白格布》，2019，宜家红白格布，棉线等，约150 × 150 cm
Zhang Xuerui, Red and White Checkered Cloth, 2019, Ikea red and white checkered cloth, cotton thread, approx. 150 × 150 cm

《红白格布》细节

Detail of Red and White Checkered Cloth

《竹拐杖》细节

detail of Bamboo Canes

Whenever I look back on Ni Zan, the most magical thing about his art is not the elegance of his folding brushwork, but the composure that comes from deep within, and that confidence to gaze up at the cosmos. The refinement of his ink painting is the result of slowly honing his skills and breaking down the sadness in his heart. The path taken by Xuerui is somewhat similar. She enters into the zone, seeking out those subtle differences, expounding on the process and sharing every last drip of perception, tracing back until she returns to that original joy of painting. This is not some great philosophical thinking, or deep probing of the soul, but the little bits of new perceptions and thoughts gained in there cording of the prosaic, listening intently to the heart, until finally dissolving time in those exacting squares.

张雪瑞个展“三个航标的河流”展览现场，麦勒画廊北京，2020
Exhibition view of Zhang Xuerui's solo exhibition River with Three Buoys, Galerie Urs Meile Beijing, 2020

麦勒画廊 北京

Galerie Urs Meile Beijing

地址：北京市朝阳区酒仙桥路2号798艺术区798东街D10，邮编100015

Add: D10, 798 East Street, 798 Art District, No. 2 Jiu Xianqiao Road, Chaoyang District, 100015 Beijing, China

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开放时间：周二至周日，上午11:00 – 下午6:30

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