Xie Xuanxuan: Bathed in the sun
2022/09/10 - 2022/10/20
Inna Art Space, Liuhe Road No.139, Building 12
Inna Art Space announces delightfully that we will present a solo exhibition themed Bathed in the sun for Xie Xuanxuan from September 10 to October 20, 2022, during which time nearly 20 oil paintings on canvas created by her over recent years will be showcased. These paintings, full of childishness, are vibrant in color and naive in style. The fantastic narration from the female perspective recounts the artist’s rich experience of life. Bright surface of the paintings delivers a pleasant mood to the audience, and in the meantime, it also reveals her obscure personal experience.
谢玄玄，因为当时阳光普照，2022，布面油画Xie Xuanxuan, Bathed in the sun, Oil on canvas, 130x130cm
Xie Xuanxuan, Throne 1, Oil on canvas and spray paint, 168x148cm
Xie Xuanxuan, There is noting new under the sun, Oil on canvas, 200x180cm
If sunshine permeates everywhere, there will be no hiding place for shadows. Perhaps because the sun was shining then, the shadows were no longer dark. Everything was charming and refreshing.
The exhibition theme — Bathed in the sun — is taken from a painting of the same name by Xie Xuanxuan . The works exhibited this time, full of poetry, are just like the artist’s eulogy for spring: “We welcome flowers, fruits and grape leaves. Flowers are bathing in sunshine, and spring sends off winter.” As Leo Tolstoy wrote in the Resurrection, “Despite scraping away every vestige of vegetation, cutting down the trees, turning away birds and beasts, and filling the air with the smoke of naphtha and coal, still spring was spring, even in the town.”
谢玄玄，王冠，2020，布面油画Xie Xuanxuan, Crown, Oil on canvas, 36x36cm
Xie Xuanxuan has utilized mixed and witty elements in her paintings to depict daily wonders. Her paintings are full of anthropomorphic characters and contradictory elements, creating a weird atmosphere but not lacking childlike innocence. With unique colors and shape language, she seeks to find a kind of “truth that can only be seen by stripping off the sweet wrappers”. Crown frequently appears in her paintings. Sunlight scatters from the crown, endowing chairs, flowers and fruits with new life. In her new work named 100 Little Red Flowers, the flowers hide in the shadows, presenting a metaphor of personalization. Xie Xuanxuan thinks that the scene in this painting means a challenge to the ubiquitous rewarding system in life. Things are not always black or white, and only careful reflection can lead us to the inner truth. She has an enlightened view on the changes in life-even if the sun was shining then and the clouds are gathering now, it is still a good thing.
谢玄玄，100朵小红花，2022，布面油画、喷漆Xie Xuanxuan, 100 little red flowers, Oil on canvas and spray paint, 200x150cm
The exhibition will present several paintings with chairs as the objects. This series continues to expand in Xie Xuanxuan ’s recent works. By drawing an analogy between the human and chairs, the artist endows each chair with a unique mood. She describes diversified feelings and states of chairs with extraordinary sensibility. She believes that each chair has a king of its own. Sitting and leaning are fused into a chair in her heart, as well as an imaginary body. The body and the chair are closely connected and entangled with each other.
The Sad Chair, The Chairs Are Hugging, The Chairs Are Kissing, The Chair Is on Vacation, Husband-Wife Chairs, Musical Chairs…All these are the names of works in Xie Xuanxuan ’s chair series. In the Get the chair, a childhood game, chairs sit outward in a circle. In the round table, a carnival of chairs with nobody present, chairs gather inward. In the Throne 1, the earliest chair-related work of Xie, there is a children’s dining chair with a smiling face; she replaces the throne with this character, signifying both a challenge to power and a joke about parent-child relationship.
谢玄玄，圆桌会议，2022，布面油画Xie Xuanxuan, Round table, Oil on canvas, 200x150cm
Xie Xuanxuan has added words to some of her recent works. The relationship between images and words makes the paintings interesting and absurd. These words explain the images and are integrated into the images as well. Naming has attracted more attention to some extent. Names start a game between words and objects, and also raise a question: In this era when images spread unchecked, people do not care about the definite meaning of images at all. Will the arrogation of words against paintings restrict or arouse imagination?
谢玄玄，1992年生于浙江温州，本科毕业于中国美术学院服装设计系，研究生毕业于中国美术学院油画系，期间曾赴巴黎国际艺术城交流学习，现工作生活于杭州。她的作品多与儿时记忆、民间游戏、希腊神话和童话故事有着密切联系，使用了诙谐且混杂的元素来描绘日常奇观。画中事物往往游走于真实与虚拟之间，充斥着拟人化的、互相矛盾的形象。在对现实世界的反思中，她以独特的绘画语言还原了记忆里被遗忘的“乐园”，从而构造出一个温暖、浪漫又充满童真幻想的世界。她近期的个展包括：因为当时阳光普照（清影艺术空间，杭州，2022）、天上掉下个苹果（逸空间，南京，2021）。群展包括：鸽子迷信（新氧艺O2ART, 北京，2022 )、乐园·双人展（库比森画廊，上海，2021）、新西湖·湖中岛（上海当代艺术馆，上海，2021）、秋实（金杜艺术中心，北京，2021）等。
Xie Xuanxuan, born in Wenzhou, Zhejiang Province in 1992, obtained her bachelor’s degree (BA in fashion design) and master’s degree (Department of Oil Painting) from China Academy of Art. During the period of postgraduate study, she went to Cité internationale des arts de Paris for exchange and study. She is now living and working in Hangzhou. Her works are closely related to childhood memories, folk games, Greek mythology and fairy tales. She uses witty and mixed elements to depict daily wonders. Things in her paintings often lie somewhere between the real and the virtual, and her works are full of anthropomorphic and contradictory characters. In her reflection on the real world, she restores the forgotten “paradise” in her memory with her unique painting language, thus creating a warm and romantic world full of childlike innocence and fantasy. Her recent solo exhibitions include: Bathed in the sun (Inna Art Space, Hangzhou, 2022), and An Apple from Heavens (EastGallery, Nanjing, 2021). Group exhibitions include: Pigeon Superstition (O2ART, Beijing, 2022), Paradise (Cub_ism_ Artspace, Shanghai, 2021), New West Lake (MoCA Shanghai, Shanghai, 2021), Autumn 2021 (KWM Art Center, Beijing, 2021), etc.
清影艺术空间于2008年由徐益英女士在杭州创立，并于2019年在纽约下东区开设了新空间。十多年来，基于杭州在中国当代艺术版图中的重要意义，清影从地缘格局出发，广泛且深入地推介了诸多极具才华和潜力的艺术家。与此同时，清影将全球视野作为机构文化中的价值标准，极力构建国内与国际艺术家的互动平台。通过持续地策展、研究、出版与市场推广，清影逐渐完善了具有自身特质的运营机制，矢志于未来向广域的艺术世界展现更强的能量与活力。Inna Art Space was founded in 2008 by Yiying (Inna) Xu in Hangzhou, China, and established their Lower East Side premises in New York in 2019. After over a decade, with a basis in the formational influence of Hangzhou in the Chinese contemporary arts, the space has consistently worked to promote the talents of innumerable upcoming practitioners. The space has ceaselessly assumed a global perspective, doing all within their means to erect a platform for interaction between both Chinese and international practitioners. By way of their interactions with the public through their ongoing curatorial projects, research, and publishing, the space has gradually refined its own means of operation, setting their sights on manifesting greater strength and vitality towards a broader creative spectrum for the future.New York
371 Madison Street #303
Liuhe Road No.139, Building 12