礼物--张凯个展 Present-Zhang Kai Solo Exhibition

2018-6-23至2018-7-31

礼物-张凯个展

Present - Zhang Kai Solo Exhibition

艺术家 | Artist: 张凯  Zhang Kai

开幕时间 | Opening Ceremony:2018年6月23日 16:00

展览时间 | Duration:2018年6月23日-2018年7月31日



艺·凯旋画廊荣幸地宣布将于2018年6月23日举办张凯在艺·凯旋画廊第三次个展《礼物》,展览将呈现张凯创作于2008年至2018年,十年间的一系列油画作品及素描手稿。

纵观张凯十年的创作历程,我们看到他在这其中的坚持:其一,是形象可爱的拟人化主角——猫与兔;其二,是对艺术史上经典作品的挪用。这两点坚持,在他的作品中构成了一个静谧、神秘的情境,给人留下深刻印象。在这种坚持背后源自于他自身艺术体系的建立,即对艺术史的梳理、分析和对当代艺术的深刻认知。在对艺术史的回溯中,最初由单纯的审美偏好入手,从后印象派到文艺复兴,一路追溯至中世纪艺术,在表现方式上夯实了根基。而后,他向内回归至自我表达的精神诉求,通过拟人化猫、兔形象的塑造,将自我投射到画中的古典世界,最终产生与古典大师的精神共鸣。

“画中画”的形式是经典的挪用手法,张凯在自己绘制的画面中再现古代大师的作品。2018年的新作《林泉高致》就是一个非常典型的代表,画中的小猫身后挂着的便是宋代山水画大师郭熙的《早春图》——这件中国山水画史上里程碑式的作品在他早前的作品中也曾多次出现。小猫作为张凯本人的投射,捧着太湖石,与身后的山水巨作形成微妙的呼应。郭熙最著名的理论便是提出山水画不仅是客观世界的反映,更是文人人格化的化身。这一理论与张凯的创作完全契合,他描绘出的虽然是一个具象世界,但他却有意避开现实的逻辑,构建出一个自足的小世界,安放内心真实的自我。

除了对古典作品的挪用,张凯也乐于借用文字的多重语义做出隐喻,本次展出的两件作品《伊里斯与独角兽》和《掌中的伊里斯》就是他埋的一个“彩蛋”。“伊里斯”是英文单词iris,这个词语同时包含了彩虹和小星球的意思,分别对应着两件作品。张凯借用彩虹的光学原理,暗示每个人对艺术品都有自己的解读,甚至误读,就像每个人看到的彩虹实际上都各不相同。“艺术更像一面镜子,你赤裸裸的站在它面前,它忠实的映射着你的一切。”张凯用直白而形象的比喻“翻译”出生涩的理论。

与十年前相比,张凯的新作系列减少了叙事成分,这令他的作品在内核上更趋向于纯粹精神性的统一。但另一方面,尽管他的作品从不直接描绘真实的生活场景,但张凯仍认为自己的作品一直表现的就是现实生活——现实的精神生活。抛开叙事,他的作品抓住的是划过生命时间轴的瞬间感觉。

十年来,在坚持创作路线的同时,张凯的创作手法也愈加丰富与成熟,他在作品中构建出的小世界也愈加坚固,内心的宁静在这里得以长久保存,并在喧嚣的当下封存住转瞬即逝的时间片段。这次展览,是张凯带来的“礼物”,它不仅献给喜欢他作品的人,也献给他内心中那个始终宁静的“自我”。



Triumph Gallery is pleased to present “Present – Zhang Kai Solo Exhibition” on June 23th, 2018 at Triumph Gallery. This exhibition will present Zhang Kai’s oil paintings and sketches created in ten years from 2008 to 2018.


Zhang Kai’s persistence in his practice of art can be clearly seen throughout ten years. Firstly, he has made an iconic personification of cats and rabbits as the protagonists of his paintings, and secondly, appropriated classics from art history. His pursuit of these practices has constituted a tranquil and mysterious world, leaving a deep impression among the spectators.


This persistence is conducive to his remarkable persistence are the art system he has built up, i.e. his analysis of art history and in-depth understanding of contemporary art. In his tracing back to the art history, he set off from his aesthetic preference of post-impressionism to Renaissance, back to the Middle Age art, solidifying the foundation of his way of expression. Later, he turned inwards to satisfy the spiritual need of self-expression, and projected the self into the classical world of the painting through the anthropomorphic cats and rabbits, resonating with the spirit of the classical master.


It’s a classic way of appropriation to borrow pre-existing images. By reproducing the works of ancient masters in his own paintings, Zhang Kai reveals his linear relationship with them. His new piece Lin Quan Gao Zhi (The Lofty Message of Forest and Streams) is typical of the said technique. Early Spring, a masterpiece by the Song dynasty landscapist Guo Xi, and a monumental work in Chinese landscape painting history, hangs behind the kitten, as well as in many of his earlier works. As an alter ego of Zhang Kai, the kitten holds the Taihu Stone and forms a subtle echo with the great painting behind him. It is also one of Guo Xi’s most famous theories that the landscape painting is not only a reflection of the objective world, but also an embodiment of the literati personification. It fits well with Zhang Kai’s work. Although he paints a figurative world, he intends to avoid the logic reality and build a self-contained world to place his true self.


In addition to the appropriation of classical works, Zhang Kai is also keen on the application of multiple semantics of the text for metaphors. The two works exhibited this time, Iris and Unicorn and Iris in Hand, hide fascinating details. In English, Iris has the connotation of the rainbow and a small planet. Complying with the optical principle of the rainbow, Zhang Kai implies in his work that everyone would have their own interpretation, or even misinterpretation of art, just as they see the rainbow in different colours. “Art is more like a mirror. You stand naked in front of it. It faithfully shows everything about you.” Zhang Kai uses a straightforward metaphor to “translate” an abstruse theory.


Compared with ten years ago, Zhang Kai has reduced the narrative component in his new series, which has rendered it more unified in terms of the pure and the spiritual at its core. What’s more, although he doesn’t depict real life scenes directly, Zhang Kai still believes that his works always represent real life, that is, the real spiritual life. Aside from the narrative, his work captures the momentary sense of life.


In the past ten years, not only has Zhang Kai stuck to his chosen trajectory, but also enriched his creative techniques. As a result, the small world he has constructed in his works has become more and more solid, where the tranquility of his heart has been long preserved, alongside the fleeting moments in the noisy outside world. This exhibition is his gift, dedicated not only to those who like his work but also to his peaceful inner self.