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杜梦堂上海｜张晓栋「林泉烟岚」ZHANG Xiaodong: In-Between, Where Time Emerges

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ZHANG XIAODONG

In-Between, Where Time Emerges

张晓栋：林泉烟岚

2026.04.18 - 06.06

上海市衡山路199号永平里105栋

Bldg 105, 199 Hengshan Rd. Shanghai

杜梦堂（上海）欣然呈现新晋代理艺术家张晓栋在画廊的首次个展「林泉烟岚」，集中呈现其近期以纸本为核心的最新实践，以及由此展开的精神求索。此次展览以唐宋美学为线索，在其构建的2.5维空间中，以“千页”为载体，通过材料转换与图像重构，让历史经典焕发新生；在形与意之间，赋予当下精神以物质形态，让时间在空间中显现。

DUMONTEIL Shanghai is pleased to present In-Between, Where Time Emerges, the first solo exhibition with the gallery by newly represented artist Zhang Xiaodong. Bringing together recent works, the exhibition draws on the aesthetics of the Tang and Song dynasties. Through his signature “thousand-page” format, Zhang constructs a distinctive 2.5-dimensional space in which historical forms are reactivated through material transformation and spatial reconfiguration. Here, form and idea converge, and time becomes perceptible as a spatial condition.

张晓栋 | ZHANG Xiaodong

青霭入看 1-1 | Viewing the Azure Mist 1-1

2026

手绘宣纸、矿物颜料

Painted Chinese Xuan paper, mineral pigment

89 x 80 cm

“林泉烟岚”，取自北宋郭熙的画论《林泉高致》。“林泉”并非宏大山岳，而是可游、可居、可行的自然之境，强调一种可被进入的观看经验；“烟岚”则是山川之间流动的气息，使景物在光影与时序中不断生成与变化。于张晓栋而言，“林泉烟岚”代表图像不再是被再现的对象，而是在层叠结构与光线之中被激活、被感知的空间场域——既可停驻，亦可流动。

The title "In-Between, Where Time Emerges" points to a central aspect of Zhang’s practice: a transitional field in which image, material, and perception remain in suspension. His works unfold between surface and depth, stillness and movement, allowing time to register through shifts in structure and the act of viewing. The image is not immediately given, but takes shape through changing relationships between form, light, and the viewer’s position.

张晓栋 | ZHANG Xiaodong

林泉高致 2 | Lin Quan Gao Zhi 2

2025

定制宣纸、矿物颜料

Chinese Xuan Paper, Mineral pigment

150 x 180 cm

在张晓栋的作品中，材料并非被动的承载物，而是参与图像生成的结构，一种能够回应触碰与光线的存在。他以刀为笔，在鳞次相积的宣纸间切割、构筑，以平面累积厚度，使图像在层与层之间生长。纤维的质地与光线的变化相互作用，使图像在不同角度中呈现出微妙差异。由此形成的半立体空间，既非绘画，亦非雕塑，而是在表面与体积之间维持一种持续变化的张力。

Material, in Zhang’s work, is never passive. Using a knife in place of a brush, he cuts and builds within densely stacked sheets of Xuan paper, accumulating thickness from flat planes so that forms gradually come into view. Subtle variations in texture and depth alter perception across different vantage points. The resulting semi-dimensional space resists classification, sustaining a tension between pictorial surface and sculptural presence.

张晓栋 | ZHANG Xiaodong

什伐赤 | Shifachi

2025

定制宣纸、矿物颜料

Chinese Xuan Paper, Mineral pigment

50 x 76.5 cm

在以唐太宗“昭陵六骏”为灵感的作品中，原本镌刻于石上的浮雕被分解与重组。坚硬的历史丰碑，经由层叠结构与光影的介入，转化为一种更为流动的存在。马的力量不再凝固于石面，在极富唐韵色调的纸页间奔涌流转，仿佛穿越时空而来。历史在此并非被复刻，而是在材料的转换中获得新生。

In works inspired by the Six Steeds of Zhao Mausoleum—the Tang dynasty stone reliefs commissioned by Emperor Taizong—monumental forms are dismantled and reconstituted. What was once fixed in stone is rendered fluid, its vitality released through stratified paper and shifting light. The horses no longer remain bound to a single plane, but appear to move across time itself. History, here, is not reproduced but transformed.

张晓栋 | ZHANG Xiaodong

飒露紫-1 | Saluzi-1

2025

定制宣纸、矿物颜料

Chinese Xuan Paper, Mineral pigment

50 x 76.5 cm

而“林泉烟岚”所蕴含的宋代山水空间观念，在张晓栋的作品中则被转译为一种构成的逻辑，而“观看”则是这种构成中不可或缺的一环。图像并非直接呈现，而是在我们的视线中“合成”。光线随着观者的移动而改变，纸层之间的阴影随之流转，前后关系不断被重新定义。这种游移的变化正是“烟岚”的意涵在当下的体现：一种介于显现与隐匿之间的状态。

The spatial logic of Song dynasty landscape and bird-and-flower painting assumes a more defining role. Rather than presenting a fixed viewpoint, Song painting unfolds through movement, proposing spaces that can be traversed and inhabited. This sensibility resonates with the classical notion of linquan [1] (林泉, forests and streams), referring not to distant grandeur but to intimate environments one can enter and dwell within, and yanlan (烟岚, misty vapors), where forms hover between clarity and obscurity. The image does not stabilise; it unfolds as a temporal event shaped by light, structure, and perception.

[1] The most important Song text on landscape painting is Guo Xi's (郭熙, c. 1020–1090) treatise Linquan Gaozhi 《林泉高致》, translated as "Lofty Message of Forests and Streams"

张晓栋 | ZHANG Xiaodong

千页雪景寒林图 | Snowy Forest of Thousand Pages

2025

定制宣纸、矿物颜料

Chinese Xuan Paper, Mineral pigment

160 x 192 cm

对张晓栋而言，其作品是有生命的，是其感知与精神经验的投射，也是时间、记忆与文化的再生。纸张在中国文化中承载着书写与知识的传统，从竹简到册页，文明的脉络依附其上。通过对唐代“龙鳞装”装帧结构的转译，他将线性阅读转化为空间经验：每一次切割与叠置，都是时空交汇的痕迹。层层纸页彼此依存，构成一种内在的结构秩序，也隐含着持续演变的可能。作品因此呈现出一种有机生长的状态。

For Zhang Xiaodong, each work operates as a living system—an articulation of perception as well as a site where time, memory, and cultural continuity intersect. Paper, long central to Chinese traditions of knowledge and transmission, carries within it the trace of civilization. By reinterpreting the Tang dynasty dragon-scale binding, Zhang transforms reading into spatial experience: each incision and layer marks an accumulation of duration. The pages, interdependent yet open-ended, establish an internal order while retaining the potential for continual transformation.

张晓栋 | ZHANG Xiaodong

疏影暗香 1 | Sparse Shade and Subtle Fragrance 1

2026

定制宣纸、矿物颜料

Chinese Xuan Paper, Mineral pigment

89 x 80 cm

在“林泉烟岚”的图像空间中，历史不再是遥远的遗迹，而是可被触及的气息。山川、骏马与隐逸的身影，不再作为既定形象存在，而是在层叠与光影之间若隐若现、持续生成。张晓栋以极为细致而持久的劳动，使材料以感性的面貌展现对精神性的探索，让观看转化为一种参与与共生的机制。纸页层层展开，在光影之间一场关于材料、空间与生长的持续对话，悄然发生。

Within this field, history is no longer distant but felt as presence. Landscapes, horses, and traces of withdrawal emerge and recede within layered space, no longer fixed images but ongoing formations. Through sustained and meticulous labor, Zhang brings material into proximity with the intangible, where viewing becomes a process of participation. As the work unfolds, a quiet dialogue between matter, space, and becoming takes shape.

张晓栋 | ZHANG Xiaodong

青霭入看 2-1 | Viewing the Azure Mist 2-1

2026

手绘宣纸、矿物颜料

Painted Chinese Xuan paper, mineral pigment

94 x 73 cm

此次张晓栋个展「林泉烟岚」的开幕酒会定于4月18日（周六）下午4时至晚间7时举办。敬请关注此次展览。

The opening reception of ZHANG Xiaodong's solo exhibition, In-Between, Where Time Emerges, at DUMONTEIL Shanghai, is scheduled for Saturday, April 18, from 4 to 7 pm.

关于艺术家

ABOUT THE ARTIST

张晓栋是一位跨越书籍艺术与空间绘画的中国艺术家，以“千页艺术”与“龙鳞装”工艺的革新性实践而闻名。他以刀代笔，在层叠的纸页中雕绘出2.5维的视觉空间，在平面与立体之间重塑了绘画的物质语言与叙事结构。其创作以“页”作为生命体，既是视觉构建的实验，也是对时间、结构与文化记忆的再书写，在翻阅与展开之间实现空间的无限延展。

张晓栋1981年出生于河北，现生活并工作于北京。他曾入围罗意威工艺奖（LOEWE Craft Prize，2025），并受邀于威尼斯东方艺术中心举办个展（2019）。其作品曾在西班牙马德里提森-博内米萨博物馆（Thyssen-Bornemisza National Museum）、韩国设计广场艺术中心、浙江美术馆、北京悦·美术馆等机构展出，并亮相2025伦敦工艺周及第六届美国CODEX博览会及研讨会。

艺术家的创作已进入重要公共机构及国际组织收藏体系，包括北京大学图书馆、中国国家图书馆、意大利国家档案馆（National Archives of Italy）、英国国王伍德公学（King’s College School Wimbledon）、世界银行（World Bank）、汇丰银行（HSBC）、中信银行（CITIC Bank）、大华银行（UOB）及中央电视台（CCTV）等。同时，作品亦被纳入多家重要企业与私人收藏，包括华为公司、Max Mara等。艺术家曾与路易威登、纪梵希、海蓝之谜等国际品牌展开合作，使其创作在更为广阔的跨文化语境中持续延展。

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ZHANG Xiaodong is a Chinese artist whose practice bridges book art and spatial painting, known for his innovative exploration of Thousand Pages Art and the ancient craft of Dragon Scale Binding (Longlin Zhuang). Using an engraving knife in place of a brush, he carves through layered sheets of paper to create a 2.5-dimensional visual space, reshaping the material language and narrative structure of painting between the realms of the planar and the sculptural. His works treat each “page” as a living entity—at once a visual experiment and a rewriting of time, structure, and cultural memory—unfolding into an infinite spatial continuum through the act of leafing and turning.

Zhang Xiaodong was born in 1981 in Hebei Province and currently lives and works in Beijing. He was shortlisted for the LOEWE Craft Prize (2025) and was invited to hold a solo exhibition at the Oriental Art Center in Venice (2019). His works have been exhibited at prestigious institutions such as the Thyssen-Bornemisza National Museum in Madrid, Spain; the Design Plaza Art Center in Korea; Zhejiang Art Museum; Beijing YUE·Art Museum; and others. They have also been presented at events including London Craft Week 2025 and the 6th CODEX International Bookbinding and Book Arts Fair and Symposium in the United States.

The artist’s works are held in major public and institutional collections internationally, including Peking University Library, the National Library of China, the National Archives of Italy, King’s College School Wimbledon, the World Bank, HSBC, CITIC Bank, and China Central Television (CCTV), among others. His works are also included in significant corporate and private collections, including Huawei and Max Mara Art Collection. Zhang Xiaodong has further collaborated with international luxury houses such as Louis Vuitton, Givenchy, and La Mer, extending his practice within broader cross-cultural contexts.