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星空间将与CLC Gallery Venture共同代理张晖

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星空间荣幸宣布将与CLC Gallery Venture共同代理张晖，并将于本年度联合推出张晖的最新出版物。

Star Gallery is honored to announce its shared representation of Zhang Hui with CLC Gallery Venture, as well as joint launching of his latest publication this year.

星空间将与CLC Gallery Venture共同代理张晖张晖 Gallery 星空间 CLC Venture共同代理星空间荣幸出版物枝叶丙烯美能崇真艺客

张晖 Zhang Hui / 枝叶 2018-2020 Leaves and Branches 2018-2020 / 布面丙烯 Acrylic on canvas / 200x150cm / 2020

“只美简直是侮辱，但美能说很多” ——张晖

1968年，张晖出生于北京的一个演员家庭，父母分别从事民族音乐与舞蹈。1987年至1991年，他就读于中央美术学院壁画系，这是创办不久的新学科，在当时以材料研究与观念的开放为人瞩目。大学本科毕业后的几年他经历了中国当代艺术市场的萌芽期，1995年张晖在题为“入境”的展览中展出了一组以北京黄昏景观为题材的油画作品后，逐渐成为卖画为生的职业画家。

2000年张晖赴美与家人团聚并进入明尼阿波利斯艺术设计学院攻读硕士学位，期间尝试新媒体艺术创作，“在绘画以外寻求一些新的体验”。这段出国学习的经历也让他错失中国当代艺术市场高速发展的一段时期。2003年，从三幅石版画开始，张晖重新回归绘画创作，但随着视野的拓展和观念的更新，张晖画中的风景在此后更加注重平面的审美趣味——在色彩与笔触的组织上趋于简洁、明快。2011年后，张晖将生活重心移回了北京这座令他既熟悉又陌生的城市，他的目光深入到“曾经熟悉的风景”之中，早期凝聚画面的一对人物形象——可见的情感符号被去掉，记忆和存在的真实感被投射到解体后的对象——四季中的植物、堆积的石头、漂浮的云和半人半仙的女性之上，见证时间的经过。观众不再被告知他绘画的主题。

张晖 Zhang Hui / 窗外2019.8c The window view 2019.8c / 布面丙烯 Acrylic on canvas / 30x23cm / 2019

张晖对绘画的追求是背离写实主义的，他对于探索媒介语言（抽象）的态度同样有所保留。一个情感丰富的人对自由的理解必然也与众不同，张晖的艺术笃定且专一，受自己生活态度的影响，他不认可当代绘画题材的任意性，并有意识地在自己的创作形态上做出弥补。从他的绘画中可以直观地感受到绘画传统在当代的历史延续，格林伯格所摒弃的，“画家们唯恐避之不及”的母题（文学性）在张晖手中起死回生并再次让人感受到可看性和取之不竭的创造力。他泰然地处理早已僵死的雅致，西方古典和中国传统程式遗留在世俗生活中的空洞审美被用来书写时下的生命感悟。去掉文化的规训，他试图从从熟悉走回陌生，让人能在细致的观看中超越一切既定的成见与隔阂，得到心灵的慰籍。

张晖 Zhang Hui / 站立的女子之十九 Standing Women No. 19 / 布面丙烯 Acrylic on canvas / 200x150cm / 2020

“Calling something merely beautiful is almost an insult, but beauty can still say a lot.”

——Zhang Hui

Zhang Hui was born in 1968 to a family of performers in Beijing, with his mother and father respectively active in dance and ethnic music. He then studied in the mural department at the Central Academy of Fine Arts from 1987 to 1991, where this newly-created curriculum was well- known at the time for its openness in regard to conceptual and material inquiries. During the several years following his undergraduate degree, he experienced the Chinese contemporary art market at its embryonic stage, and with “Entry,” Zhang Hui’s 1995 exhibition showing a series of oil paintings depicting Beijing landscapes at dusk, he gradually became a professional painter earning his living through his work.

In 2000 Zhang Hui went to the United States to reunite with his family and study for a master’s degree at the Minneapolis College of Art and Design, experimenting artistically with new media and “searching for new experiences outside painting.” This time studying abroad also made him miss out on a period of rapid development in the Chinese contemporary art market. Starting with three lithography works, Zhang Hui returned to painting in 2003, but with the broadening of his vision and the renewal of his ideas, the landscapes in Zhang Hui’s painting increasingly emphasized the aesthetic pleasure of flatness, and his use of color and brushstroke formations became ever more lucid and simplified.

张晖 Zhang Hui / 红苹果之二 Red Apples No.2 / 布面丙烯 Acrylic on canvas / 65x80cm / 2019

After Zhang Hui moved the center of his life back to Beijing in 2011, a city both familiar and estranged to him, his vision delved into these “once familiar landscapes.” The viewers were no longer informed of his painting’s subject: the apparent symbol for emotional longing in his earlier works, a couple of human figures that once occupied the center stage, had dissolved while memories and sensations were now projected onto silent fragments of earlier scenes— flora showing the seasons, rock piles, floating clouds, nymph-like female figures—elements signifying the passing of time.

Zhang Hui’s goal in painting is contrary to the pursuit of realism; he similarly has his reservations toward a purely medium-driven objective (abstraction). A person who bonds deeply with the world is sure to hold a unique view on artistic freedom. Zhang Hui’s artistic endeavor is single-minded, influenced by his devotion to life. He does not endorse the arbitrary choices of thematics in contemporary art, and intends to make up for it in his own practice. This can be felt in his paintings where the historical continuity of the painting tradition in the contemporary era, the literary motif, rejected by Greenberg and shunned by painters in horror, is now brought back to life in his hands and once again excites us visually, exuding creativity. He calmly deals with clichés of elegant taste, and the empty shells left by Western and Chinese classic aesthetics regain subtlety through his truthful acceptance of humble everyday life. Zhang Hui’s paintings intend to provide solace for the soul, and in doing so he must shed culture’s indoctrination and bring back the moment of fresh encounter within the most familiar signs, offering us solitary thoughts that transcend prejudices and barriers through the act of attentive looking.