加国头条 i4cc.ca ｜【瑞士展览预告】“张雪瑞：作为本体的日常”个展将于6月6日在麦勒画廊瑞士卢塞恩开幕

张雪瑞：作为本体的日常

Zhang Xuerui: The Everyday as Ontology

2019.6.6 - 8.17

开幕|Opening：2019.6.6, 5.30-7.30pm

地址|Venue：麦勒画廊，瑞士卢塞恩 Galerie Urs Meile Lucerne

张雪瑞，《400 201805-1》&《400 201805-2》，布面丙烯，尺寸均为240 x 240 cm

Zhang Xuerui, 400 201805-1 & 400 201805-2, acrylic on canvas, both size 240 x 240 cm

(Please scroll down for English)

麦勒画廊荣幸地宣布我们将在瑞士卢森的画廊举办艺术家张雪瑞（1979年生，现生活和工作于北京）在麦勒画廊的首次个展“作为本体的日常”。本次展览将展出张雪瑞的最新绘画和织物装置。

张雪瑞，《432 201903》，布面丙烯，240 x 180 cm

Zhang Xuerui, 432 201903, acrylic on canvas, 240 x 180 cm

张雪瑞经常是从画面的三个边角入手，先确定这三块格子的色彩，其后的工作则是把它们以最不易分辨的方式过渡起来。因此，当她开始色彩渐变部分的时候，色调或者说色彩序列关系已不再是首要的工作，尤其是当她把注意力集中在一块方格之内的时候，在这个孤立的局部中，涂抹，以及对这一身体动作的控制成为了一种让人沉浸的经验。另一方面，相邻格子之间被压缩到极致的色差，则让我们把注意力集中在了最细微的色彩感知上，而对整体画面结构的知性判断被暂时悬置了，也就是说，观看也和作画一样进入了一种线性的（时间性）的体验。

在分析和讨论张雪瑞绘画作品的时候，不应忽视的是她织物类型的创作，它们足以构成与她的绘画相呼应的一条线索。在这些作品中，她经常是剪下衣物或床单上的花纹——有时候是花朵、心形，有时候是圆点——再把它们排列、拼贴成另一种组合形式，通常是模仿成抽象绘画的样子。这些作品更明确地呈现着她对日常生活经验的细心端详：这些衣物都是她自己或者家人穿过的，承载着她的个人记忆和经验。

张雪瑞，《花布》, 2012，综合材料：旧床单等，床单：240 x 200 cm，花布玻璃外框：150 x 103.5 cm

Zhang Xuerui, Cotton print, 2012, mixed materials: used sheet etc., sheet: 240 x 200 cm, framed cotton print: 150 x 103.5 cm

（文章节选自鲍栋为本次展览撰写的评论文章《作为本体的日常——张雪瑞绘画中的日常时间》。）

Galerie Urs Meile Beijing is pleased to announce The Everyday as Ontology, the first solo exhibition ofChinese artist Zhang Xuerui (*1979, lives and works in Beijing) at our gallery. The exhibition will presentZhang Xuerui’s most recent paintings combined with her textile installations.

Zhang Xuerui often starts with three corners of the painting, deciding the colors of these threesquares. Her next task is to then form a virtually undetectable transition between them. For this reason,by the time she begins the color gradient component, the tones or the order of the colors is no longer themost important task. This is especially the case when she focuses her attention within a single grid.Within this one isolated unit, the act of painting, and the control of the body’s movements, form animmersive experience. In addition, the highly compressed color contrasts of the neighboring squaresfocus our attention on the finest color perceptions, while our judgment of the whole is temporarilysuspended, which is to say that the viewing of the painting has, just like the act of painting itself, enteredinto a linear (temporal) experience.

In analyzing and discussing Zhang Xuerui’s paintings, we should not overlook her textile works,which form a corresponding clue to her paintings. In these works, she often cuts out patterns on blankets or clothing—sometimes flowers, sometimes hearts, sometimes circles—then rearranges and affixesthem together in a new layout that often resembles an abstract painting. These artworks more clearlyreveal her close examination of everyday life experience: this items are often something once worn orused by herself or her family members which bear loads of her individual memories and experiences.

(The above text includes excerpts from Bao Dong’s essay The Everyday as Ontology - Everyday Time in thePainting of Zhang Xuerui written for this exhibition.)

关于艺术家

About the Artist

张雪瑞，1979年生于山西，现生活和工作于北京，2004年毕业于中央美术学院。最近的主要个展包括：“微物之神”，巴塞尔艺术展迈阿密海滩展会“策展角落”，迈阿密，美国（2018）；“色彩翩然而至”，狮語画廊，中国香港（2017）；“张雪瑞新作”，今格空间，中国北京（2017）。群展包括：“微物之神”，狮語画廊，中国上海（2018）；“中国当代艺术年鉴展2017”，北京民生现代美术馆，中国北京（2018）；“零度之维：抽象艺术的理性表达”，蜂巢当代艺术中心，中国北京（2017）；“极：来自中国的新艺术”，The Page Gallery，韩国首尔（2017）；“非形象：叙事的运动”，上海二十一世纪民生美术馆，中国上海（2015）。其作品被澳大利亚白兔美术馆和珀斯Cruthers Art Foundation等机构收藏。

Zhang Xuerui, born in 1979 in Shanxi, now lives and works in Beijing. She graduated in CAFA in 2004. Recent solo shows include: “The God of Small Things” , Art Basel Miami Beach-Kabinett, Miami, USA (2018); “The Exhibition of Annual of Contemporary Art of China 2017”, Minsheng Art Museum, Beijing, China (2018); “Soft Power”, Leo Gallery, Shanghai, China (2017); “Degree Zero of Art: the Rational Expression of Abstract Art”, Hive Center for Contemporary Art, Beijing, China (2017); “Absoluteness：New Art from China”, The Page Gallery, Seoul, Korea (2017); “Nonfigurative”, Shanghai 21th Century Minsheng Art Museum, Shanghai, China (2015). Her works are collected by public institutions including White Rabbit Gallery in Sydney and Cruthers Art Foundation in Perth in Australia.

Galerie Urs Meile 798