宗宁｜从半拉山到半拉山

 半拉山

  Yolu Khairkhan Mountain

开放时间：周二至周六 10:30-18:30
Opening hours: Tuesday-Sunday 10:30-18:30

从半拉山到半拉山——物质性与观看方式

艺术家宗宁的最新个展“半拉山”。展览名字不仅指涉宗宁近期的这批毛毡绘画，也直接呼应了他此前备受关注的一件同名代表摄影作品《半拉山》。从戏剧置景到毛毡绘画，展开的是艺术家对文化身份与生存境遇持续追问。

“在摄影作品《半拉山》中，讲述的是乌恩为兄复仇杀虎的故事，宗宁构筑了一座极具仪式感与神话色彩的剧场：男子手持火把与短刀，在怪石与文化遗迹的布景中与飞虎冷峻对峙”海杰这段评述精准捕捉到宗宁在《半拉山》系列中建立的独特视觉语法与精神张力。作品并未流于对游牧文化符号的简单挪用，而是将地缘血脉与古典文人景观置于荒诞、剧场式的冲突之中。

 宗宁，半拉山，哈内姆勒纯棉硫化钡纸打印，180 x 105 cm，2018

对抗与折叠构成的“第三空间”

画面中“男子与飞虎对峙”，是戏眼所在。火把对抗黑暗与驱魅，佩刀与巨兽是原始力量。艺术家以蒙古族身份作为潜意识底色，将草原文化的粗粝生命力强行楔入封闭的文人园林构景中。这种规训的场域与失控的精气、游牧血性与江南意象的相互绞杀，共同生成了一种充满诡谲狂想与剧场感的当代文化景观。

宗宁，《仿破奇术赖光袴垂为搦》创作过程

相较于早期摄影实践中依赖机械快门瞬间截取光学表皮的工作方式，毛毡架上绘画要求的是一种身体性、劳作式的沉浸介入。毛毡粗粝无序的动物纤维，天然排斥古典绘画中平滑过渡的笔触与精确的透视深度。矿物与丙烯颜料在基底上经历了强烈的阻抗、渗透与固化过程。

图像不再是悬浮在亚麻布表面的薄膜幻象，而是通过色料与纤维反复厮磨、层层嵌入，最终被物理性地“夯筑”进毛毡的肌体之中。这种不可逆的塑形过程，在物理质感上直接对应了风蚀地貌的粗糙质地，让架上绘画本身转变为一种带有雕塑感的地质剖面。

 宗宁，临时建筑20号， 毛毡丙烯，50 x 70 cm，2025

视线聚焦：从戏剧编排到断裂图景

在画面结构上，摄影留下的严密视觉骨架与边界意识，转化为一种更为冷峻的“公路游牧”注视。镜头时期的戏剧性布景在毛毡上退火，收敛为自然造化与工业痕迹之间的物理对峙：

景观的剖面化： 画面彻底放弃了传统田园画浑然一体的客体化审美，取而代之的是被风力发电机残骸、输电线路与刺铁丝网生硬切开的残缺地貌。

尺度的压迫感：云杉树冠对天际线的截断、电杆在暮色火焰中的倾覆，均显现出一种经过精密切割的构图张力，使旷野摆脱了抒情性，呈现出极具现实刺痛感的空间秩序。在被撕扯的“半拉山”断面上，反复宗宁将颜料凿入毛毡替代了摄影，游牧记忆的退守、工业扩张的受挫，以及个体在当代版图中的悬浮状态，铸成了物质实体。

 宗宁，临时建筑7号， 毛毡丙烯，77 x 50 cm，2023

From Yolu Khairkhan Mountain to Yolu Khairkhan Mountain: Materiality and Ways of Seeing

The gallery presents artist Zong Ning’s latest solo exhibition, Yolu Khairkhan Mountain. The title denotes both his recent series of paintings on felt and directly echoes his widely acclaimed photographic work of the same name, Yolu Khairkhan Mountain. Moving from theatrical mise-en-scène to felt painting, the artist continues to deepen his inquiry into cultural identity and contemporary existential conditions.

As critic Hai Jie astutely observed: "In the photograph Yolu Khairkhan Mountain, Zong Ning constructs a ritualistic and mythic theater: a figure clad in a traditional Mongolian robe holds a torch and a short blade, locked in cold confrontation with a winged tiger amidst bizarre rocks and cultural relics." This remark captures the distinct visual syntax and psychological tension Zong Ning established in the series. Rather than resorting to a simplistic appropriation of nomadic cultural motifs, the work stages an absurd, theatrical clash between ancestral lineage and classical literati landscapes.

Zong Ning，Temporary Architecture 9， Acrylic on felt，69 x 50 cm，2023

The "Third Space" of Confrontation and Folding

The central confrontation—a robed figure wielding fire and blade against a winged beast—anchors the entire narrative. The torch serves as an instrument of illumination and exorcism against the dark, while the blade and mythical predator represent raw, primordial power. Grounded in his subconscious Mongolian heritage, the artist forces the rugged vitality of grassland culture into the enclosed spatial composition of traditional literati gardens. This mutual wrestling between disciplined environments and unleashed vital energies, between nomadic grit and refined Jiangnan aesthetics, generates a bizarre, hallucinatory, and intensely theatrical contemporary landscape.

In contrast to his earlier photographic practice, which relied on the mechanical shutter to capture optical surfaces in an instant, Zong Ning's paintings on felt demand a visceral, labor-intensive bodily immersion. The coarse, disorganized animal fibers naturally resist the smooth brush transitions and clear linear perspectives typical of classical painting. Mineral pigments and acrylics undergo an intense process of friction, penetration, and curing across the surface.

Images are no longer optical illusions suspended atop linen. Instead, through the repeated abrasion and interweaving of pigment and fiber, the imagery is physically rammed and embedded into the material body of the felt. This irreversible shaping process directly mirrors the raw textures of wind-eroded topography, transforming the easel painting into a sculptural geological cross-section.

Zong Ning，Temporary Architecture 2， Acrylic on felt，69 x 50 cm，2024

Reframing the Gaze: From Theatrical Arrangement to Fractured Landscapes

In structural terms, the rigorous visual scaffolding and compositional boundary consciousness honed through photography translate into a sober, "road-nomad" gaze. The overt theatrical sets of his lens-based era cool down on the felt, resolving into a physical standoff between natural formations and industrial scars:Sectionalized Landscapes: The compositions abandon the harmonious, idealized pastoral aesthetic, presenting instead fractured terrains severed by the debris of wind turbines, high-voltage transmission lines, and rusted barbed wire.

Oppressive Scale: The dense canopies of spruces slicing through the horizon and utility poles collapsing in twilight blazes display an intensely measured compositional tension, stripping the wilderness of lyrical romance to establish a spatial order marked by sharp contemporary friction. Upon this fractured (cross-section) of Yolu Khairkhan Mountain, Zong Ning replaces the fleeting capture of light and shadow with the physical sedimentation of pigment. Here, the retreat of nomadic memory, the faltering of industrial expansion, and the suspended state of the individual within modern topographies are consolidated into unyielding material entities.

宗宁，1984年出?于内蒙古，2007 年毕业于中央美术学院摄影专业，?今?活在北京和天津。

公共收藏：53 美术馆、?兔美术馆、银海艺术基?、尧?当代艺术基?、丽?摄影博物馆、四川美术学院美术馆、成都当代影像馆。

个展

扇舞-宗宁和Ella raidel 双个展，LOFT8画廊，维也纳（奥地利），2023 

杂妍糅蚩，希帕画廊，北京，2018 

乌托邦的声?，荷尔兹利亚美术馆，荷尔兹利亚（以?列），2016

落?狗，杨画廊，北京，2015 

群展

破窗：当代中国新摄影宥爱美术馆苏州中国，2025

跟着兔??列奥尼格美术馆纽豪斯奥地利，2023

“笔触·曝光·算法”中央美术学院影像艺术展中央美术学院陶溪川，2023

?届泛东南亚三年展序列研究展项?＃5：向?林学习?州美术，2022

向度- 中国当代影像艺术展成都市美术馆成都中国，2022

Solo Exhibition

Fan Dance - Zong Ning and Ella Raider's Solo Exhibitions, LOFT8 Gallery, Vienna (Austria), 2023

Mixing of Various Elements, Xihua Gallery, Beijing, 2018

The Voice of Utopia, Holzriya Art Museum, Holzriya (Israel), 2016

The Dog That Fell Into the Water, Yang Gallery, Beijing, 2015