清影 | 郑文昕《参数拾遗》将于11月5日开幕

海报设计：方一爽

郑文昕：参数拾遗

Zheng Wenxin:  

Fragments of Memory

王将 策展

Curated by Wang Jiang 

开幕 opening：

2022/11/05 15:00

时间 duration：

2022/11/05 - 2023/01/05

地址 location：

清影艺术空间，杭州市留和路139号东信和创园12栋  

Inna Art Space, Liuhe Road No.139, Building 12

清影艺术空间欣然宣布，将于2022年11月5日推出艺术家郑文昕个展《参数拾遗》，展中作品多为艺术家的新近之作，以数字时代的屏幕经验为灵感来源，以观念化的方式进行图像实验，同时，这些绘画延续了现代性的平面趣味，它们既不追求完整的叙事结构，也不通过描绘现实空间来模拟日常世界。因此，这些作品是观念性与绘画性的协商，是个体感知经验的表达。

展览以“参数拾遗”为题，一方面指出了艺术家使用的图像母本来处，其源自智能手机应用的社交媒体，数字化程序使其成像与传播，另一方面，表明了这些图像材料的二手特质，及其获取的偶然性。作为“偶拾图像”，它们激发了艺术家探索其表现力的欲望，在艺术家的创作思绪中被反复地裁剪、缩放、拼接、修饰，形成具有心理启示性的画面。需要指出的是，展中的不少作品，从创作的开始到结束，在漫长的时间中经历了思绪的中断、判断的悬置，回忆而生的情感，使画面具有了某种“温情”特质。正如郑文昕所言：“如果过度信息碎片给我们带来了熵增的现实，那我绘画的过程也是在消减这种熵，并且得到情感的释放”。

绘画是艺术家观看经验的映射，不同艺术家对图像的态度，反映了各自的艺术取向。“影像绘画”在2000年后的中国当代艺术场域中成为一种风潮，并发展出多元化的面貌，正是丰富的传媒图像、广泛流传的影像，促成了此类绘画的创作。而更多的画家在这个“图像化的现实”下成长起来，他们熟悉这个网络时代中的一切元素，其作品在某种程度上更贴合当下的认知、经验、思想和情感，这也可以理解为架上绘画在数字时代的自我救赎。

郑文昕 Zheng Wenxin

007181408102 HS，2021-2022

布面丙烯 Acrylic on canvas

300×200cm

在这一时代语境下，郑文昕的创作区别于习见的图像处理方式，她的思考并不寄托于简单的选择和复现，她的态度一直蕴藏在目光中，其绘画更像是对这种目光所进行的省思与表现——在今天，屏幕图像成为了人的认识来源，形成了新的视觉经验，从而改变了人的观看方式与思维方式。同一个屏幕上，一个“视窗”中的文本或图像，与其他“视窗”中的文本或图像，不期而遇了。多组数据被同时展现，而每个要素都被要求单独观看，彼此之间并不存在一种系统性的空间关系，使用者可以同时进行线上聊天、视频播放与文稿输入。这些散布在界面上的视窗所构建出的现代视觉系统，呈现出碎片化、同时的、多重的、可改变时间的时空感。正如布莱森所说：“画框原有的秩序被摒弃了，取而代之的是叠加或平铺的秩序”。多元并置、多重视窗的屏幕视觉语言，重塑了人的认知方式。智能手机屏幕所给出的非线性、随机性的阅读特质，构建了由搜索、扫读、略读、跳读等一系列行为所构成的“徘徊式阅读”。 

郑文昕的作品，正是对这种图像阅读方式的回应。她自身的绘画根基，她对媒介的敏感性，以及寄予其中的情怀，使她的作品较于后网络风格的绘画更具人性的力度。而令人寻味的是，她以绘画混合、凝固了自身对于诸多屏幕图像的心理印象，从而形成一个自洽且永恒的新图像。同时，它们又被重新上传到网络，成为屏幕前观众徘徊式阅读中的一个瞬间。

郑文昕 Zheng Wenxin

450080507102 ZH，2021-2022

铝板丙烯 Aluminum sheet acrylic

200×150 cm

Inna Art Space is pleased to announce that Fragments of Memory solo exhibition of the artist Zheng Wenxin, is going to be rolled out on November 5th, 2022. The art works which will be exhibited are mostly the recent works. They are inspired by the screen experience in the digital era, these works conduct image tests through conceptualization. Meanwhile, extending the planarity featuring modernity, these paintings neither pursue complete narrative structures, nor simulate the daily world through depicting the real space. Hence, these works are the combination of concepts and painting, and the expression of individual’s perceptual experience.

The Chinese name of the exhibition “Memories Collected from Parameters”. On one hand, the theme points out the source of prototypes of images used by the artist, that is, the social media apps on smart phones, on which the images of the prototypes were formed and transmitted through the digitalization process. On the other hand, the second-hand feature of these image materials and the incidental access to them are demonstrated. As “incidentally accessed images” stimulating the artist’s desire to explore their expressive force, they have been repeatedly tailored, zoomed in, juxtapose, and modified by the artist in her creative thinking, before becoming a picture with psychological enlightenment. What needs to be indicated is that many works in the exhibition have seen interruptions of thinking, suspension of judgement and emotions from reminiscence in the long period of time from the start to the end of creation, which endows the pictures with tender feelings. Just as said by Zheng Wenxin, “if excessive information fragmentation brings us the reality of intensified entropy, my painting process is just reducing such entropy, and my emotions are released in such process”.

郑文昕 Zheng Wenxin

606122507102 HS，2021-2022

布面丙烯 Acrylic on canvas

200×150 cm

Painting maps the artist’s visual experience. The attitudes of different artists to images reflect their respective art orientations. Since 2000, “photographic painting” has become a trend in Chinese contemporary art field, and developed in a diversified way. It’s abundant media images and widespread photos that have contributed to the creation of such kind of paintings. In addition, more painters grow up in such an “image-based reality”. They are familiar with all elements in the network era, and their works fit more current people’s perceptions, experience, thinking and feelings to a certain extent, which can be construed as the self-redemption of easel painting in the digital era.

In the context of such era, Zheng Wenxin’s creation is different from common image processing methods, as her thinking does not rely on simple selection and reproduction. Her attitudes have always been hided in her eyes, and her paintings are more like the reflections on and manifestations of what she has seen—nowadays, as a new source of knowledge, screen images have brought new visual experience to people, thus changing their viewing patterns and thinking modes. Texts or images in a “window” meet those in other “windows” on the same screen by chance. Multiple sets of data are presented simultaneously, and each element is asked to be viewed separately. As they are not in a systemic spatial relationship with each other, users can chat, play videos and input texts online at the same time. The modern visual system built by the windows on the interface presents a fragmented, concurrent and multi-fold sense of time and space that can change time. Just as stated by Bryson, “the former order of the painting frame has been abandoned and replaced by a superimposed or flat order”. The screen visual language featuring juxtaposition of multiple elements and multiple windows has reshaped people’s cognitive styles. Non-linear and random reading features provided by smart phone screens have led to “wandering reading” composed by a series of behaviors including searching, scanning, skimming and skipping.

郑文昕 Zheng Wenxin

738180307102 ZH，2020

布面丙烯 Acrylic on canvas

300×200 cm

Zheng Wenxin’s works respond right to such image reading methods. Her own foundation in painting, sensitivity to media, and feelings injected to painting make her works more humanized compared with the paintings in the post-internet style. What is more intriguing is that she has mixed and solidified her own mental impressions on many screen images in her painting and generated a new image featuring self-consistency and eternity. Meanwhile, they have been again uploaded to the internet, becoming the reading content of viewers in wandering reading in front of the screen.

关于艺术家

郑文昕，1997年毕业于厦门大学艺术教育学院油画系，获学士学位；2001年毕业于英国肯特艺术与设计学院美术系，获硕士学位；并于2001-2003年英国肯特艺术与设计学院进行艺术家驻地。现工作及生活于杭州，任教于中国美术学院。个展包括：“参数拾遗”，（清影艺术空间，杭州，2022）、“Kaléidoscope”，（Anahita contemporary, 柏林，2022. STIFTUNG KUNSTFOUNDS基⾦会赞助）、“冲浪”弘艺峰创作社，（澳⻔，2020）、（“Mirage”Anahita contemporary 柏林）、2020“局外人”（A+ Contemporary 亚洲当代艺术空间，上海，2019）、“INTERLACE”（Anahita Contemporary，柏林，2018）、“介质标本”（A+ Contemporary 亚洲当代艺术空间，上海，2017）、“乾坤日夜浮——郑文昕个展”（拾萬空间，北京，2015）、“失语的房间——郑文昕个展”（清影艺术空间，杭州，2013）。群展包括：“时间之外空间之内”，（泊空间1+艺术，杭州，2022）、“反光体”，（沪申画廊，上海，2022）“⽬击者”，（宇宙画廊，杭州，2022）、“春眠不觉晓”，（清影艺术空间，杭州，2021）、“Grateful Park”（PILOTENKUECHE，莱比锡，2019）、“Hungry Dungeon Friends”（Kunstkraftwerk ，莱比锡，2019）、“Gallery Opening”（Anahita Contemporary，柏林，2018）、“锵锵 2017 ——四位女艺术家联展”（狮语画廊，上海，2017）、“来来来”（香格纳画廊M50，上海，2017）、“单行道：李文栋|魏业兴收藏展”（OCAT西安馆，西安，2016）、“歧感激流——通向语言的绘画”（今日美术馆，北京，2016）、“我成为你的迷宫”（1933当代艺术空间，上海，2015）、“从混沌开始”（清影艺术空间，杭州，2014）。项目包括：“创意发动！——琨廷艺术实验计划”（吴作人国际美术基金会，北京，2015）。

关于策展人

王将，生于杭州，先后毕业于中央美术学院与德国莱比锡视觉艺术学院，是中国新一代活跃的独立策展人与艺评人。从2016年至2022年，他已策划70余场机构展览与独立项目，梳理了众多不同代际和类型的艺术实践，其跨度从无名画会的个案到新世代的潮流。他的理论研究兴趣围绕在艺术社会学、神话学与视觉文化。在常规策划工作之外，他是一位拓展策展语法边界的冒险者，并建立出一种新范型。从2016年至2018年，他创立和运营陌上实验空间（北京）；从2019年至2021年，他成为站台中国当代艺术机构的特邀策展人，其工作包含了对诸多艺术家个案的研究、访谈、写作与展览策划。他曾被hi艺术杂志评选为2020年度十佳策展人，曾担任《2021中国当代艺术年鉴》特邀编委。现兼任清影艺术空间（杭州-纽约）艺术总监。近期策划的展览有《袁运生：眺望远方》《马可鲁：光景1972-1984》《王玉平：盐烤银杏》等。

清影艺术空间

INNA ART SPACE

清影艺术空间于2008年由徐益英女士在杭州创立，并于2019年在纽约下东区开设了新空间。十多年来，基于杭州在中国当代艺术版图中的重要意义，清影从地缘格局出发，广泛且深入地推介了诸多极具才华和潜力的艺术家。与此同时，清影将全球视野作为机构文化中的价值标准，极力构建国内与国际艺术家的互动平台。通过持续地策展、研究、出版与市场推广，清影逐渐完善了具有自身特质的运营机制，矢志于未来向广域的艺术世界展现更强的能量与活力。

Inna Art Space was founded in 2008 by Yiying (Inna) Xu in Hangzhou, China, and established their Lower East Side premises in New York in 2019. After over a decade, with a basis in the formational influence of Hangzhou in the Chinese contemporary arts, the space has consistently worked to promote the talents of innumerable upcoming practitioners. The space has ceaselessly assumed a global perspective, doing all within their means to erect a platform for interaction between both Chinese and international practitioners.  By way of their interactions with the public through their ongoing curatorial projects, research, and publishing, the space has gradually refined its own means of operation, setting their sights on manifesting greater strength and vitality towards a broader creative spectrum for the future.

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