清影 | 谢玄玄《因为当时阳光普照》将于9月10日开幕

海报设计：方一爽

谢玄玄：因为当时阳光普照

Xie Xuanxuan: Bathed in the sun

开幕 opening：

2022/09/10 15:00

时间 duration：

2022/09/10 - 2022/10/20

地址 location：

清影艺术空间，杭州市留和路139号12幢  

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.

展题 “因为当时阳光普照”，取自谢玄玄的一件同名画作。展中作品充满诗意，就像艺术家言及春光时的感叹：“我们结交花儿、果实、葡萄叶，鲜花沐浴着阳光，春天寄走了冬天”。亦如列夫•托尔斯泰在《复活》中所写：“尽管出土的小草都被清除，尽管煤炭和石油燃烧的浓烟四处弥漫，尽管树木被砍伐，鸟兽被驱逐，即使在这样的城市里，春天仍然是春天。”

谢玄玄，因为当时阳光普照，2022，布面油画

谢玄玄在绘画中使用了混杂而诙谐的元素来描绘日常奇观。画面充斥着拟人化的形象与互相矛盾的元素，怪诞不乏童真，她凭借独特的色彩与造型语言，追寻着一种“剥开糖纸才能发现的真相”。其画面时常出现王冠形象，阳光从皇冠之内散射而出，赋予椅子、花草和果实以新生。在谢玄玄的新作《100朵小红花》中，花儿躲在暗处，具有一种个人化的隐喻。在她看来，这一情景，是对人生中无处不在的奖励机制之质疑，事物往往不是非黑即白，细心反思才能让人辨清内部的真相。她对人生的变化有着豁然的体悟——即使当时阳光普照，此刻乌云密布，也不失为一件好事。

展览将呈现多件以椅子作为描绘对象的画作，谢玄玄在近期的创作中持续地延展着这个系列。画面以椅喻人，每把椅子都有着独特的情绪。她以非同寻常的感性描绘了椅子的爱恨情仇，椅子的汪洋大海。她认为每把椅子都有一个属于自己的王，一坐一靠合成了她的心中之椅，同时也是一个假想的身体。身体与椅子之间，关系紧密 ，纠缠不清。

谢玄玄，王座1，2020，布面油画、喷漆

Xie Xuanxuan, Throne 1, Oil on canvas and spray paint, 168x148cm

谢玄玄在一些近作中加入了文字，带来了图文关系所生成的趣味性和荒诞性。这些文字注解了图像，也成为了图像本身。这在一定程度上也使命名更被关注，名字开启了词与物的游戏，并提示出一个问题：在这个图像泛滥的时代，人们并不在意图像的确定含义，那么，文字对绘画的僭越，是会限制想象，还是激发想象呢？

谢玄玄，太阳底下无新事，2022，布面油画

Xie Xuanxuan, There  is noting new under the sun, Oil on canvas, 200x180cm

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 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

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  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?

关于艺术家

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.