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张子飘 | 池社新展预告：本能 INSTINCT

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以下文章来源于池社PondSociety，特此致谢

本能 INSTINCT

艺术家：

张子飘

开幕：2023.11.9（周四）

展期：2023.11.10-12.24

开放时间：周二-周日 11：00-17：00

地址：上海市龙腾大道2555-4，池社

2023年11月9日至12月24日，艺术家张子飘最新个展“本能”将在池社呈现。展览将展出艺术家近期创作的全新绘画作品。

展览“本能”中的作品延续了张子飘近年来以个体经验作为创作驱动的方式。所谓本能，是指生命体与生俱来的行为与能力。她将其女性于家庭、社会生活中的具体遭际，以及由此激发的感性经验，转化至她那情感充盈的绘画之中。

展览中全新创作的《蜘蛛》系列绘画扬弃了过往通过直接描绘女性身体的方式，尽管仍将身体作为与他者或自身于外在或内在对抗性的场域，但却以令人感到颤栗的生物“蜘蛛”化为生理、心理、情感、精神状况的投射和隐喻。人们对这一冷血动物的恐惧几乎来源于本能，一如女性在遭遇婚姻、生育、职场等困顿境遇时常常具备的反应与所需进行的抉择。

在具体的绘画中，俯看的视角捕获到蜘蛛仿若静待猎物的瞬间，却也像是人的暧昧体态。血色的基底仿佛指示着一个肾上腺素飙升的危险时刻，予人以激烈的状态、警醒的意味。而在系列的发展中，蜘蛛的形态也愈发的抽象（《蜘蛛10》等）。它们的肢体形成作品中显见的结构，也勾勒和形塑出流淌的曲线和界别。不同界限中的色彩和笔势的变化时常相互抵牾，带来对抗与分裂，而自然流淌或相互遮蔽的颜料不断融合，仿若蜘蛛正与“猎物”缠斗的时刻，难解难分。

同样紧张的意味也出现在《头骨03》、《脑05》、《牙01》、《心脏13》等以人的器官为题材的作品中。头骨中深陷而幽暗的眼窝仿若摄人的黑洞，牙床中央的红色团块如同漾出的淋漓鲜血。这些更具普遍意义的经验使得器官带来的痛感以更为直接且浓烈的方式传递给观者。而不断变化的色彩、笔触等细节融为一体，持续地调动艺术家自身的经验、情绪、灵感、爆发力等。

与此同时，《花烛02》、《贝母13》、《玫瑰07》等作品则展现出艺术家意欲诉说的本能中的另一面向。贝母以包容的力量将砾石化作珍珠，花烛通过燃烧给予温暖和能量。这些共情之物与其行动同样昭示着女性在面临困境中展现出的强大生命力量。而艺术家在此次展览的创作中所试图展现正是对于“本能”这一命题所触及的复杂身心状况，以及对女性之主体和自主的一再诉说。

关于艺术家

图片来源：艺术家与空白空间

张子飘的绘画创作围绕肉身、器官、自然事物展开。通过描绘与传统社会伦理框架不协调的内容，她的绘画流露着或直接或隐晦的性别意象，肉身在虚幻破灭前尽情地狂欢。在她充满生命力的绘画中，肉体仿若成为一道道流动中的糜烂景观，而自然之物却被赋予躁动不安的人性，投射出虚伪、真诚、脆弱、坚强等丰富而复杂的品格。通过探索作为身体性媒介的绘画所指向的普遍性肉体与精神之关联，张子飘的创作试图于身体政治的主题之下对现实进行反思批判。

张子飘，1993年出生于北京，于2011年及2012年就读于美国马里兰艺术学院，2015年毕业于美国芝加哥艺术学院。近期个展包括：本能，池社，上海，中国（2023）；生吞，厉蔚阁，纽约，美国（2023）；月震，龙美术馆，上海，中国（2022）；心锚，Salon 94，纽约，美国（2021）；春光乍泄，空白空间，北京，中国（2020），Cutthroat Kitchen，Mine Project Gallery，香港，中国（2019）；极度湿润！，空白空间，北京，中国（2018）；肤浅绘画 101，星空间，北京，中国（2017）；性感的歇斯底里症，应空间，北京，中国（2015）。2019年，张子飘入选福布斯亚洲“30位30岁以下精英”榜单以及“Best of the Best 罗博之选年度青年艺术家”。张子飘现工作生活于北京。

INSTINCT

Artists:

Zhang Zipiao

Opening: Thursday, November 9，2023

Duration: November 10 - December 24, 2023

Opening Hours: Tue.-Sun. 11:00-17:00

Location: Pond Society, 2555-4, Longteng Avenue, Shanghai

Pond Society presents “Instinct,” a solo exhibition by Zhang Zipiao, on view from November 9 to December 24, 2023. The exhibition features new paintings by the artist.

Continuing the artistic approach Zhang has developed over recent years, the creation of this new body of works was driven by individual experiences. Here, instinct refers to the actions and abilities innate to any living being. In these paintings, Zhang transforms the tangible experiences underwent by women in families and society, alongwith the emotions these experiences evoke, into affectively charged compositions.

Zhang’s latest painting series, titled “Spider,” marks a departure from the painterly tradition of representing female bodies directly. While still positioning the body as an external or internal battleground where one confronts oneself or others, the artist employs the spider—a creature that triggers fear—as a metaphor to project the physical, psychological, emotional, and mental conditions. Human fear of this cold-blooded animal is almost instinctual, as natural as the reactions and necessary choices women make when confronting the struggles of marriage, reproduction, the workplace, and beyond.

Depicted in aerial views, these paintings capture the spider in a moment of suspension, who quietly awaits the prey. Meanwhile, the compositions also ambiguously resemble the human bodies. A feeling of danger seems to lurk in the blood-red substrates, making one’s adrenaline rush; the viewers are alerted to a state charged with intensity. As the series developed, Zhang’s depiction of the spider has become increasingly abstract (see Spider 10). Providing clear structures to the compositions, the spider’s limbs also create flowing curves that demarcate the picture planes. Within these different boundary lines, the shifting colors and brush strokes clash often, giving rise to a sense of conflict and disintegration. The colors—flowing naturally or overlapping each other—continue to blend, metaphorically encapsulating the fight between the spider and its prey, making them inseparable.

A similar tension is evident in works that feature human organs as the subject, such as Skull 03, Brain 05, Tooth 01, and Heart 13. The deep, dark eye sockets in the skull are rendered as black holes that captivate one’s soul; the red lump drips from the center of the gum like blood. Universally experienced, the pain that stems from these organs is delivered to the viewers in a more direct and intensified manner. Continuously mobilizing her own experiences, emotions, inspirations, and bursts of creativity, the artist deftly switches her palette and brushwork, allowing the details to merge into a coherent whole.

Works such as Flamingo Flower 02, Mother of Pearl 13, and Rose 07 turn to another aspect of instinct that the artist intends to convey. The mother of pearl transforms gravel into pearls with its generous embrace, while the candle—which gives the Chinese name to the plant species known as Flamingo Flowers—burns itself out to provide warmth and energy. These are objects of affect and empathy, whose lives are also indicative of the tremendous life force women exhibit in the face of adversity. Through the works in this exhibition, the artist aims to show the physical and mental complexity associated with the notion of “instinct,” and continuously assert the subjectivity and autonomy of women.

About the Artist

Zhang Zipiao's painting practice revolves around human body, organs, and natural objects. By depicting content inconsistent with traditional society's social and ethical frameworks, her paintings directly or subtly reveal gender imagery, where the body revels before the demise of illusions. Her works are replete with vitality. The bodily body seems to be an erosive landscape in flux, and natural objects are imbued with restless humanity, projecting a rich and complex character of hypocrisy, sincerity, vulnerability, and strength. By exploring the medium of painting’s physical faculty for universally connecting body and spirit, Zhang Zipiao's works reflect on and critique reality under the theme of body politics.

Zhang Zipiao, born in Beijing in 1993, studied at the Maryland Institute of Art from 2011-2012, graduated from the Art Institute of Chicago in 2015. Her recent solo exhibitions include, Instinct, Pond Society, Shanghai, China (2023); Swallow Whole, LGDR, New York, USA (2023); Moonquake, Long Museum, Shanghai, China (2022); Heart of Anchor, Salon 94, New York, USA (2021); Blooming, WHITE SPACE, Beijing, China (2020); Cutthroat Kitchen, Mine Project Gallery, Hong Kong, China(2019); The Ultimate Moist!, WHITE SPACE, Beijing, China (2018); Shallow Painting 101, Star Gallery, Beijing, China (2017), and Sexy Hysteria, Ying Space, Beijing, China (2015). Zhang Zipiao was featured on the list of "30 Under 30 Asia" by Forbes and "2019 Best of the Best" in the annual young artist category by Robb Report in 2019. The artist currently lives and works in Beijing.

池社，由收藏家薛冰先生发起创建，面向全球艺术家开放的非盈利艺术空间。关注多元文化思潮并实践于中国当代语境。旨在推动最前沿艺术文化的国际交流与合作，繁荣艺术创作、学术研究及收藏。

空间名称源自张培力、耿建翌、王强、宋陵等艺术家于1986年创办的艺术团体“池社”，创始人薛冰先生也借此向艺术家致敬。

自创立2017年之始，池社立足上海西岸，与众多专业的国际艺术机构、艺术家、策展人和媒体进行深入合作，为众多艺术家举办了中国乃至亚洲首个主题展览、论坛及出版等。

Founded by the collector Mr. Xue Bing, Pond Society is a non-profit art institution open to artists from all over the world. Focusing on multicultural perspectives and practices in the context of contemporary Chinese society, Pond Society aims to promote international exchange and cooperation in cutting-edge arts and culture, prosper art creation, academic studies and collection.

The name of the space is derived from the art group "Chi She" founded in 1986 by artists Zhang Peili, Geng Jianyi, Wang Qiang and Song Ling, with the founder Mr. Xue Bing paying tribute to the artists.

Since its inception in 2017, Pond Society has collaborated intensively with professional international art institutions, artists, curators and media. Based on West Bund, Shanghai, Pond Society has held the first themed exhibitions, forums and publications in China and Asia for numerous artists.