展讯 | Exhibition

学术主持: 王春辰 Academic Chair: Chunchen Wang

策展人: 牟俊 Curator: Jun Mu
开幕时间: 2019/10/05，15:30

Opening: October 5th, 2019, 3:30 p.m.
展览时间: 2019/10/05 - 10/07

Duration: October 5 to 7, 2019
主办单位: 北京上苑艺术馆

Sponsor: Shangyuan Art Museum, Beijing
协办单位：中南大学建筑与艺术学院

Co-sponsor: School of Architecture and Art, Central South University
展览地址: 北京市怀柔区桥梓艺术公社上苑艺术馆
Location: Shangyuan Art Museum of Qiaozi Art Commune, Huairou District, Beijing

我们身处在后人类语境下表象被撕裂的时代，一切关乎人类存在的指向似乎都已经不再明确，社会、科技、性别已经不再重要。在我们皮囊之下涌现着近乎魔幻的痛苦之感。伤痕不再是社会或者群体性的感受，而是关乎自我存在的痕迹。就像拉图尔所说的“我们从未现代过”一样，我们也从未人类过，我们天生就是血肉模糊的有机体，却与机械没有本质上的区别。“涌”和“现”在艺术家本次展览中，是两个并列的动词，它们各自展现的关于艺术家周巧云在自我艺术上地探索和自我生命延续地过程中的追思。

We are now in the age of a post-human context in which the appearance is torn apart. It seems that the direction of human existence is no longer clear, and that society, science and technology, and gender are no longer significant. Under the layers of our skin came an almost magical sense of pain. The scar is no longer a social or group feeling but has a trace of self-existence. As Latour said, "We have never been modern", we have never been human. We are born as flesh-and-blood organisms, but there is no essential difference from a machine. "Surge" and "Appear" are two juxtaposed verbs in the artist’s exhibition. They respectively show Qiaoyun Zhou’s recollection in the process of artistic exploration of self and the relationship with life identity in it’s continuum.

展览所呈现的艺术作品中我们不难发现不断翻涌的欲望、无比刺痛的伤痕，以及看似轻松自在的笔墨，在时间的挤压下，展示出了巧云对于艺术和自我生命的反思与再造。作品中所蕴涵着的潜藏的旺盛的生命本体已经超越了艺术家的生活本身。画面中所呈现的近乎欲望的血肉之感，最初起于花蕊。而巧云以极其理性的工笔的线条描绘出花蕊如同喷涌之态，展现出自然最鲜活最原始的欲望。在部分作品中巧云使用鲜红的墨汁织染其上，给予了观者痛苦的撕裂之感。画面不再是脱胎于花蕊所呈现的那样翻涌的欲望情思，一股如同利刃将一块肌肤剜去后从心底所激起的刺骨痛感，在内心不断的攀升。可待血液淡去后在画面上只剩下褪去润泽的苍白之痕。

In the works of art presented in this exhibition, we can easily find the surging desire, the extremely painful scars, and the seemingly relaxed pen and ink, which shows Qiaoyun’s reflection and reconstruction of art and self-discovery through life under the pressure of time.The vigorous life noumenon implied in the works has gone beyond the artist’s life itself.The flesh and blood associations, a feeling of desire in the picture originated from the stamens. Qiaoyun depicts the stamens like a gushing state with extremely rational and meticulous lines, showing the most vivid and primitive desire of nature. In some works, Qiaoyun uses bright red ink to weave and dye it, which gives the viewer a painful sense of tearing. The picture is no longer the surge of a desire and emotion as shown by the flower stamens, but the sharp pain aroused from the bottom of the heart after cutting off a piece of skin with a sharp knife, which keeps climbing up in the heart. When the blood fades, only the pale traces fade away.

“三十六度九”系列是巧云前一个时期的作品。是作者在不惑的年龄，在面对生活和艺术时心力憔悴，身体在不堪负荷的的状态里频频发出警告，“三十六度九”是人正常的体温范围的临界值。而在作品中表现出的是一种源自女性内心的母性的温存，画面通过反复不断的润色和工笔线条一笔笔的勾勒，犹如女性在生活内一点一滴的成长的过程，画面中所呈现的色泽，也如同不断持续的内心涌动的过程，展现出女性对于生活持续性痛苦的隐忍和坚强，直至最后变得苍白麻木的过程。时间之后，任何的痛楚都已经无法形成对女性肉体的威胁，这样的经历造就了女性的坚韧，同样也会磨灭女性的锐度，削弱女性的精神力量。

"36.9 degree" series is Qiaoyun’s works of a period from the past. It is the author’s age in doubt, in a state of haggard heart and body unable to bear the burden of warning frequently, to keep himself as far as possible in a normal range, that is, to maintain a normal temperature range. In her works, she shows a kind of gentleness that comes from the female’s inner heart. The picture is repeatedly outlined by Bibi. It is like the process of women’s growth in every aspect of life. The color presented in the picture is like the continuous process of inner agony. It shows the endurance and strength of women’s persistent pain for life and finally changes. The process of paleness and numbness. After time, any pain has been unable to form a threat to women’s body, such experience has created a woman’s tenacity, will also wear down the sharpness of women, weakening women’s spiritual strength.

“空镜”系列中艺术家在画面中绘制了一道欲界，欲望的藤蔓喷涌式的生长，却又被禁锢于欲界内。如同米兰·昆德拉《不能承受的生命之轻》中特蕾莎那个惊悚的噩梦描述的，一个个欢歌舞蹈的赤裸女性在游泳池边环绕，她们如同没有灵魂一般享受着欢愉的气氛，而特蕾莎的丈夫托马斯手持着枪将她们一个接一个的击毙，美好的肉体跌落于泳池之内，泛起嫣红。直到托马斯最后将枪口对准特蕾莎，将恐惧推向顶峰。“空镜”系列展示出了这种不断的不断攀升的欲望和恐惧兼并的画面，以一种近乎压迫式的观感表现出通过画面中的一抹嫣红引导我们去追忆那击破内心的一枪。这一枪来自作者自身，同样也来自观者自身。那种想要表现自己独一无二的原始的冲动中，我们渐渐的消失殆尽成为了不尽相同的每一个人。

In the series of "empty mirror", the artist draws a desire realm in the picture. Desire is like the crazy growth of rattan, but it is confined in the desire realm. As Milan Kundera described in Teresa’s thrilling nightmare in The Unbearable Lightness of Being, naked women singing and dancing around the swimming pool enjoyed a pleasant atmosphere as if they had no soul, while Teresa’s husband Thomas shot them one by one with guns, and them beautiful body fell into the pool and became red. Until Thomas finally pointed his gun at Teresa and escalated fear to its peak. The series of "empty mirrors" shows the rising desire and fear of merging. It shows a nearly oppressive sense of view through the picture of blood-like red, leading us to recall the shot that broke our hearts. "Empty Mirror" series shows this rising desire and fear of mergers, with a nearly oppressive look through the picture of blood-like red, guides us to recall the "shot" that broke our hearts. The gun came from the author himself, as well as from the viewer. In the primitive impulse to express our uniqueness, we gradually disappear and become the same kind of people.

而在“涌动”系列作品中巧云开始重新思考通过对具象的昆虫、三寸金莲、内衣、文字等特殊的指向性图像符号的再造，以及对于欲界禁锢的突破，从外物的视角开始对自身身份进行探讨，以社会和群体性符号进入，试图表现人的共通或者不同，来表达自我认知过程中所涌动的新感受。而且画面中不再只是痛苦，开始一步一步褪去痛苦的外衣，甚至在画面给予希望和美、荒诞和乖张。展现出了一种来自死亡和新生叠加的画面状态，置死而后生。画面中所呈现的图像轻松表现着作为人性最初的，也是永恒的哲学性的思考。

In the "surge" series of works, Qiaoyun began to rethink the reconstruction of image symbols such as concrete insects, small shoes, words, and underwear, as well as the breakthrough of imprisonment in the world of desire. From the perspective of external objects, Qiaoyun begins to explore her own identity, starting with social elements and group of symbols, trying to show the common or not so common aspects of human beings. Similarly, making an effort to express the new feelings, surging in the process of self-recognition. And the picture is no longer just painful. It begins to fade away from the cloak of pain step by step. It even gives hope and beauty, absurdity and perverseness to the picture. It shows a kind of picture state from the superposition of death and a newborn, putting it to death and then to life. The images presented in the pictures easily express the original and eternal philosophical thinking as human nature.

其实正如我们所处的时代一样，后人类的语境之下，性别已经变得不再重要，在科技、消费、社会整体性对人施压的过程中，性别所呈现的不过是类似人种一般，留于皮囊的划分。对于在尝试褪去皮囊的艺术家周巧云来说，在艺术的创作过程中内心涌动的澎湃之情，渐渐逾越了作品完成度对艺术的阻隔，创作过程逐渐成为了艺术作品本身。

In fact, as we live in the era, in the context of post-human, gender has become no longer important. In the process of pressures from technology, consumption and social integrity, gender presents only a general problem similar to race, which is left in the division of skin layers. For Qiaoyun Zhou, an artist who is trying to get rid of her layers of skin, the surging emotion in the process of artistic creation has gradually surpassed the barrier of the completion of the work to art, and the process of creation has gradually become the work of art itself.

——2019.09.28于北京上苑艺术馆，牟俊

Jun Mu, Shangyuan Art Museum, Beijing, Sep. 28th, 2019

周巧云 Qiaoyun Zhou

1999年本科毕业于湖南师范大学美术学院中国画专业

In 1999, she graduated from the School of Fine Arts, Hunan Normal University with a bachelor’s degree in Traditional Chinese Painting

2006年研究生毕业于湖南师范大学美术学院工笔花鸟画专业

In 2006, she graduated from the School of Fine Arts, Hunan Normal University with a master’s degree in Traditional Chinese Flowers-and-birds Paintings

现为中南大学建筑与艺术学院副教授，生活和工作于北京和长沙

Now she is an associate professor in the School of Architecture and Art, Central South University and lives and works both in Beijing and Changsha

个展 Solo exhibitions
2018  三十六度九——周巧云作品展，物物空间，长沙

2018  Thirty-six Degrees of Nine—Exhibition of Zhou Qiaoyun’s Works, ARTOBJ, Changsha

2015  花·瘾——周巧云作品展，状态美术馆，长沙

2015  Flower & Addiction—Zhou Qiaoyun Works Exhibition, Zhuangtai Art Museum, Changsha

2014  幽·雅——周巧云作品展，藏福美术馆，长沙

2014  Tranquil & Elegant—Works exhibition of Zhou Qiaoyun, Cangfu Art Museum, Changsha

主要展览 Major exhibitions

2019  一张棉花纸，九层美术馆，北京2019  One Piece of Cotton Paper, Nine Storeys Museum，Beijing2019  上苑艺术馆2019国际创作计划开幕展，上苑艺术馆，北京2019  Opening Exhibition of 2019 International Creative Project of Shangyuan Art Museum, Shangyuan Art Museum, Beijing
2018  变量——湖南省第二届青年工笔画家提名展，美仑美术馆，长沙2018  Variable—The Second Nomination Exhibition of Young Meticulous Painters in Hunan Province, Meilun gallary, Changsha
2018  轻蔓计划——心语水墨女性艺术家邀请展，798蔓空间，北京2018  Light Tendril Plan—Xinyu Invitational Exhibition of Female Ink Painting Artists 798 Sprawl Space. Beijing
2018  色·渡——中日女性艺术邀请展，诚丰美术馆，珠海2018  Se & Du—Invitational Exhibition of Chinese and Japanese Feminist Art, Chengfeng art museum, Zhuhai
2018  艺与术·万物皆备——女艺术家与女设计师邀请展，厦门会展中心，厦门2018  The Art and Technique & Everything is Ready, Invitational Exhibition of Female Artists and Designers, Xiamen Exhibition Centre, Xiamen
2018  第八界富山国际现代美术展，日本富山国际美术馆，日本2018  The 8th Tomiyama International Modern Art Exhibition, Tomiyama International Art Museum, Japan
2017  中国工笔画省际联盟邀请展，辽河美术馆，盘锦2017  Inter-provincial Alliance of Chinese Claborate-style Painting, Liaohe Art Museum, Panjin
2017  气·象——两湖工笔画联展，美仑美术馆，长沙2017  Qi & Image—Joint Exhibition of Claborate-style Painting of Hunan and Hubei, Meilun Art Museum, Changsha
2017  身体与剧场——2017艺术厦门女性艺术邀请展，厦门国际会展中心，厦门2017  The Body and The Theatre, Invitational Exhibition of Female Art of 2017 Artistic Xiamen, Xiamen International Conference and Exhibition Center，Xiamen2017  云雀在天上——当代青年艺术11人，兑山美术馆，厦门2017  Lark in the Sky—The Modern Youth Art Exhibition(11 Artists), Duishan Art Museum, Xiamen, China
2017  假装——女性艺术家作品展，仟僖雅画廊，武汉2017  Pretending—Female Artists Works Exhibition,Qianxiya Painting salon,Wuhan, China
2016  失·控—当代女性艺术邀请展，城丰美术馆，珠海2016  Out of control—Modern Female Art Inviting Exhibition, Chengfeng Art Museum, Zhuhai, China
2016  无界——当代艺术交流展，制造文化OCT空间，深圳2016     Unbounded—Modern Art Exchange Exhibition, Making Culture OCT Space, Shenzhen, China
2016  重构的他者——宋庄青年艺术家群体现象研究展，中山博览中心，中山2016  Reconstituted Others—Songzhuang Youth Artists Group Phenomenon Studying Exhibition, Zhongshan expo centre, Zhongshan, China.
2016  气·象——两湖工笔画联展，湖北省美术院美术馆，武汉2016  Meteorological Phenomena—Hubei & Hunan Elaborate-Style Painting Eihibition, Art Museum of Hubei Academy of Fine Art, Wuhan, Chin.
2016  内燃——中国新一代女性艺术邀请展，美国布罗德美术馆，兰辛2016  Fire Within—A New Generation of Chinese Women Arists, Eli and Edythe Broad Art Museum at Michigan State University, Lansing, US
2016  新感知 未知的爱——全球女性艺术家邀请展，厦门国际会议展览中心，厦门2016  Neo-Perception-Love Unknown—Global Female Artists Exhibition, Xiamen International Conference Exhibition Center, Xiamen
2016  首届艺术在线国际女画家协会世界巡回展，日本东京中国文化中心，东京2016  World Tour Exhibition of First Session Art Online International Female Artists Association, Tokyo China Cultural Center, Tokyo, Japan
2016  新约——中国当代女性艺术邀请展，东方美术馆，无锡2016  New Convenant—Chinese Modern Female Art Exhibition, Oriental Art Museum, Wuxi
2015  新感知——中国新一代女性艺术邀请展，艺术门画廊，上海2015  Neo-Perception—China’s New Generation of Women Artists, Pearl Lam Galleries, Shanghai
2015  绽放——2015中国首届百位当代女性艺术家作品展，成都华侨城创想中心，成都2015  Blossom—the First Session of 100 Chinese Contemporary Women Artists Exhibition, Chengdu OCT Creative Center, Chengdu
2015  凝视——2015中国当代女性艺术双年展（优秀奖），河北师大博物馆，石家庄2015  Gaze—2015 Biennale of Contemporary Arts of Female Chinese Artists, Hebei Normal University Museum, Shijiazhuang
2015  5+5展，米哈娜亚画廊，东京
2015  5+5 Exhibition, Micha Naya Gallery, Tokyo
2015  积翠边城——大美湘西中国画展，曼谷诗丽吉国际会展中心，泰国曼谷2015  Lush border town—Chinese Paintings Exhibition concerning beautiful western HunanSirikit International Conference and Exhibition Center, Bangkok, Thailand
2014  纸·上——2014当代艺术邀请展，罗湖美术馆，深圳2014  On & paper—2014 Contemporary Art  Invitation Exhibition, Luohu Art Museum, Shenzhen, China
2014  青春心印——2014首届关山月美术馆青年工笔画展，关山月美术馆，深圳2014  Images of the mind for youth—2014 First Guan Shanyue Art Museum Youth Elaborate-style Painting Art exhibition, Guan Shanyue Art Museum, Shenzhen, China
2014  “隐于市”首届东莞农贸市场国际艺术节，茂源中心市场，东莞2014  Reclusion in City First Dongguan farmer’s Market International Art Festival, Maoyuan center market, Dongguan, China
2013  “似似非非”湖南青年工笔画提名展，于斯空间，长沙2013  “Similar and Different” Hunan Youth Elaborate-style Painting Nomination Exhibition, Yusi Space, Changsha, China
2013  方寸之间——当代水墨邀请展，艺•凯旋艺术空间，北京2013  Among Square Cun—Contemporary ink Painting invitation Exhibition, Art-Triumph Art space, Beijing, China
2013  “牵手丹青”三地巡回展，千年时间当代艺术中心，长沙、香港、澳门
2013  “Hold hands with Painting” Tour Exhibition in Three places, Millennium Time Contemporary Art Center, Changsha, Hong Kong, Macao, China.
2012  “象为心印”第二回展， 深圳博物馆，深圳
2012  Image is the Impression of Mind, the 2nd Exhibition, Shenzhen Museum, Shenzhen, China
2012  “渐变”四人工笔画展，文萃报美术馆，长沙2012  Gradual Change, Four people Elaborate-style Painting Exhibition, Wencui Newspaper Gallery, Changsha, China.
2011  历史——新宋庄之“破界”当代水墨邀请展，上上国际美术馆，北京2011  History—New Songzhuang: Break The Boundary Contemporary Ink Exhibition, Sunshine International Art Museum, Beijing, China
2010  从东营到宋庄·湖南当代艺术展，禾·美术馆，北京2010  From Dongying to Songzhuang & Hunan Contemporary Art Exhibition, He-Art museum, Beijing, China
2010  “重现高地”艺术联展，杰森画廊，北京
2010  Reappearing Highland Art Group Exhibition, Jason Gallery, Beijing, China.
2009  中国情境“重庆驿站”当代艺术展，501当代美术馆，重庆2009  Chongqing courier station under Chinese Context Contemporary Art Exhibition, 501 contemporary Art Museum, Chongqing, China.
2008  艺术湖南，湖南省美术精品展，中国美术馆，北京2008  Art Hunan, An Exhibition of Great Art Works of Hunan Province, Hunan Province Art Museum, Changsha, China
2006  湖南工笔画新作展（佳作奖），湖南省美术馆，长沙2006  An Exhibition of New Elaborate-style Painting, (prize of excellent works) , Hunan Province Art Museum, Changsha, China
2005  湖南省首届花鸟画作品展（银奖），湖南省美术馆，长沙2005  The 1st Exhibition of Flowers and Birds Paintings of Hunan province, (silver award), Hunan Province Art Museum, Changsha, China