朱荧荧：兔子洞 | Zhu Yingying: Rabbit Hole 【拾萬空间】预约报名-拾萬空间活动-活动行

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朱荧荧：兔子洞

展览时间： 2021年3月20日 - 5月2日（周一公休）

开幕时间： 2021年3月20日周六下午4点

我们非常开心地迎来艺术家朱荧荧的第三次个展“兔子洞”。此系列作品由五组绘画组成，是展览“宁芙”之后两年间的作品集合。艺术家的创作动机基于观察“图像”，并在角度上将观察的镜头逐渐拉近：从一个完整的图像，渐次走向图像的边缘，最终将微观化的局部进行放大。与以前的作品相比，材料也由木板油画变为布面油画，借此，之前硬边描绘的完整图像，得以转向软边描绘的局部图像。

在这个过程中，由于照片局部被不断放大，图像细节在被反复凝视的过程中逐渐发生变化，艺术家得以在摄影-绘画关系的探索中，做出更进一步的尝试。由此，绘画内部的叙事性被拆解，取而代之的是图像碎片的并置关系。从对同一张照片的反复描摹，到对类型照片的集中处理，艺术家在绘画的语言体系中，通过这种独特的观察方式让物体之间、观察者与对象之间的关系转化，进而赋予图像本身能动的自我意识甚至思考本领。于是，在图像的带领下，物体的现实意义消退，一种诗性的本体却开始慢慢浮现。正如艺术家在纸上写下的片段文字：

“

盘子、桌子、沙发、裤腿、鞋，

圆形的边缘不断延伸出去，

甚至到了画面之外。

表面光洁的兔子洞，模糊中心，

边缘的光，

片面和狭隘的想法，

不断盘旋上升下坠的想法，

狡黠的盘子飞出了画面。

真相消失，只剩现象。

口水与词语拼凑的堤坝，

筑高即将被冲垮的堤坝。

新的缝隙与断层，涌入更多的词语，

带着对简单事物的更为简单的揣测。

”

本次展览将持续至5月2日。

朱荧荧，1989年生于西安，目前工作生活于北京。2011年毕业于重庆四川美术学院油画系，2014年毕业于北京中央美术学院实验艺术系获硕士学位。她的创作媒介主要包含绘画、摄影和影像。在绘画作品中，通过引入摄影图像的参照，集中探讨了具象与抽象、图像表征及形态实体之间的微妙关系；在摄影和影像项目中，从更广阔的社会领域中对废弃影像进行回收和提取，持续探索图像所能构成的各种叙事方式、个人和集体记忆之于摄影媒介的承载方式等内容。近期个人展览有：“兔子洞”（拾萬空间，北京，2021）；“宁芙”（拾萬空间，北京，2019）；“日夜”（拾萬空间，北京，2017）。近期参加过的主要群展有：“那看见万物的、知道万物的，就是万物”（798艺术中心，北京，2020）；“克莱因平面：躯体与意识的共享场域” （湖北美术馆，武汉，2019）；“游戏的终结”（鸿坤美术馆，北京，2018）；“绘画研讨会”（南京艺术学院美术馆，南京，2018）；“复相·叠影广州影像三年展2017”（广东美术馆，广州，2017）。

Zhu Yingying: Rabbit Hole

Opening: Saturday 4pm, March 20, 2020

During: 3.20 ー 5.2 2021 (Closed on Monday)

We are delighted to present artist Zhu Yingying's third solo exhibition, " Rabbit hole." Comprised of five series of paintings, the works on view in this exhibition have been completed over the last two years since the artist's latest solo, "Nymph.”With a creative impulse grounded on observing the “image," Zhu Yingying's works on canvas have embodied a gradual process as such observation zooms in on the objects – a progression from portraying the entire image to focusing on the peripheries, and now examining the details while enlarging them. Compared to her previous works, a shift of the painted medium took place – changing from oil on board to oil on canvas. The artist shifts from presenting the oversight of hard-edge images to nuanced portrayals of the objects' details.

As Zhu Yingying shifts focus, her source material's details – often taken from found photographs – get magnified. Throughout this observation, the perception of the subject matter changes. As the artist furthers this exploration of the relationship between photography and painting, she pushes the boundaries of these two mediums through her experiments. Zhu dismantles the painted image's internal narratives and replaces them with juxtapositions of fragments on a given canvas. Zhu Yingying's repetitive depiction of the same photograph to various renditions of the same type of pictures visualizes the transforming relationship between objects and between the observer and the object through this unique way of observation, which in turn, gives the images themselves a dynamic agency or even a system of reflection. Thus, with the way in which these images are presented, the actual meanings of the objects fade, while a lyrical ontology begins to emerge. As the artist writes on a piece of paper:

“

Plates, table, sofa, trousers, shoes,

Round edges expand continuously,

Even beyond the canvas

A seemingly glistening rabbit hole, its center blurs,

By the light on the edges

Biased and narrow thoughts

As a helicopter rises and descends

The lustrous plate jets off the canvas,

Truth disappears, leaving behind a phenomenon.

A dam pieced together by vernaculars and vocabularies,

Whose height is about to flood away.

As more discourses rush to fill in the new crevasse and fracture

Bringing simpler reckonings on simple things.

”

This exhibition continues to May 2, 2021.

Zhu Yingying, born in Xi'an,1989. Currently lives and works in Beijing. Graduated from Sichuan Fine Arts Institute, oil painting department with BA, 2011, and from China Central Academy of Fine Arts, experimental art department with MA, 2014. The media of her works mainly include painting, photography and video. In her painting works, by introducing the reference of photographic images, the delicate relationship between representation and abstraction, image representation and morphological entities is explored. In photography and video projects, she recycled and extracted those abandoned images in the wider social field, continually exploring various narrative ways that images can constitute, the way of photography media carry personal and collective memory, and so on. Recent solo exhibitions include: Rabbit Hole (Hunsand Space, Beijing, China, 2021); Nymph (Hunsand Space, Beijing, China, 2019); Day and Night (Hunsand Space, Beijing, China, 2017). Recent group exhibitions include: Those who see and know all, are all and can do all. (798 Art Center, Beijing, China, 2020); Klein Plane: A Shared Field of Shell & Ghost (Hubei Museum of Art, Wuhan, China, 2019); Final Del Juego (Hongkun Museum of Fine Art, Beijing, China, 2018 ); Seminar on Painting (Art Museum of Nanjing University of the Arts, Nanjing , China, 2018); Simultaneous Eidos：Guangzhou Image Triennial 2017 (Guangdong Museum of Art, Guangzhou, China, 2017).

拾萬空间于2014年成立于草场地艺术区211号院，并在2018年迁至798艺术区。拾萬空间对常规意义的方盒子展览保持警惕，意欲从当代艺术语言中的语法和语意结构出发并将之延展到更广泛的领域；希望通过持续的展览和项目，激发出当下文化中被忽视的部分，将当代艺术思想的价值生发到你我的身边。

Hunsand Space is founded in 2014, in No. 211 Caochangdi Art District, and is relocated to the 798 Art Zone in 2018. In keeping vigilance with the conventional ways of presenting art exhibitions in white cubes, Hunsand Space aims to take the semantics and syntax from the language of contemporary art as a point of departure and expand them into a broader field. Through its vigorous programs of exhibitions and projects, it hopes to stimulate the overlooked aspects in contemporary culture and brings the values of contemporary art into our lives.