“箱子是承载情感的空间 。”
——张雪瑞
麦勒画廊北京部荣幸地宣布我们将推出艺术家张雪瑞（1979年生于山西）的最新个展“物静光时”。张雪瑞的艺术创作常在有意地自我限定下，建立起一种独特的工作逻辑。对“物”、“物质”、“物性”的探讨，指向着追溯时间的基调。以装置、绘画等不同媒介为载体，她借助对物的表征阐释、对物与他者及自身关系的梳理，都是将作品视为重要的言说对象、生命景观，以承载她在个体经验和社会关系中的历史、记忆、当下与未来。
张雪瑞，《某年某月某日·手书 M1》，2022，手工纸上水彩、黑色墨水、布、大头针，58 × 38 cm
Zhang Xuerui, Some Day Some Month Some Year · Handwritten Letters M1, 2022, watercolor, black ink on handmade paper, cloth, pin, 58 × 38 cm
在全新的个人展览“物静光时”中，张雪瑞凝练出一个非现实的，却又易于联想叙事的箱状“符号”，口述历史给予她想象的空间，以一个家庭几代人的生命历程反映着时代的变迁，那是历经时间淘洗和社会熔炉淬炼后唤醒记忆的证据。张雪瑞以女性的视角，在时间中穿行，在调和记忆、经验与想象的过程中，将时间物化的历史、对特殊意义的纪念以及对永恒时间的追问留在画布上。
“物静光时”展示了张雪瑞最新的《静物·箱子》系列。悬置于空间中，呈打开状态的箱状物成为画面的主体。因此看似熟悉的箱子并非以写实的方式描绘，而更似交织着多重时空的开放性容器。流传于家族中的往事，在口述历史中模糊着现实与想象的界限，无法亲历的艺术家却得以在想象中为这段回忆塑型，箱子也就成为了艺术家勾勒故事中人物关系，想象事件发生的社会语境，以及投射细腻的情感涟漪的入口。画面背景的颜色选取延续了以往艺术家绘画创作中自我限定的方式，即在被方格分割的画面上选定三个角，将其中填充的颜色设定为这幅画的“三原色”——这些初始颜色都在大自然中有迹可循——此后整个画面的所有方格都由这三原色按不同配比调试出的颜色填充而成，迭代出微妙的色彩渐变。在展厅中，以暧昧、朦胧色调描绘的箱子如同集体记忆的结晶体，以无数家庭所使用过的熟悉之物的形态，在对昨日重现的情景中强化着其所营造的社会关系。艺术家通过主观感知调和出的背景勾连出了多重时空的叠加，以开放性的呈现生成了无限的可能，去追忆、建构、修复、重构个人情感中那些尚未和解的时刻。
张雪瑞，《静物·箱子 XL1》，2023，布面丙烯，240 × 240 cm
Zhang Xuerui, Still Life · Chest XL1, 2023, acrylic on canvas, 240 × 240 cm
（文：贺潇）
“The chest is a repository for emotions.”
—Zhang Xuerui
Galerie Urs Meile Beijing is pleased to announce the latest solo exhibition of Zhang Xuerui (b. 1979, Shanxi) , titled In Search of Lost Time. Her artistic practice seeks to establish unique logic and methods of artmaking by intentionally setting up various constraints. Her exploration of objects, matter, and materiality underscores an intention to trace transience and temporal modality. By adopting artistic media from painting to sculpture and installation, Zhang uses objects and painting methods to reflect on relationships between the self and others. She conceives her artworks as a conduit of artistic discourse and life spectacles where one discovers history, memories, present, and future.
张雪瑞，《400 201805 - 1》，《400 201805 - 2》，2018，布面丙烯，240 × 240 cm
Zhang Xuerui, 400 201805 - 1, 400 201805 - 2, 2018, acrylic on canvas, 240 × 240 cm
For her new solo exhibition, Zhang Xuerui extracts the chest-like symbol, a central element drawn from a piece of oral history running in her family, to generate an imaginary space that would conjure the life histories of several generations from associations and fictive narratives. This symbolic figure also trig gers latent memories expanding into broader social and historical contexts that have been filtered and refined over time. What Zhang Xuerui leaves on her canvas are time-graced histories, commemorations, and her quest for eternalizing the immaterial through a feminine approach of reconciling memory, experience, and imagination.
This exhibition showcases Zhang Xuerui’s latest series of Still-Life·Chest. Suspending in pictorial space, the open chest defies the rules of realist depiction, while its symbolic value stores multiple modalities of time and space. The artist, unburdened by the facts of a family story passed down through word of mouth and its blurry boundary between facts and fiction, inspires her to reshape a memory through her imagination. Hence, the chest becomes the entrance for the artist to outline the relationship between the characters in the story, imagine the social context in which the event occurred, and project ripples of sentiments and emotions. The selection of colors on the background of the painting extends from her previous approach of setting up a specific method for rendering its color scheme. Zhang assigns three primary colors for the three corners of the picture and divides the overall image into a square grid. Each square is filled with a blended color from these “three primary colors” of the painting. Traceable in nature, their varying ratios create a subtle gradation of color. The chest, set against various subtly rendered color gradations, crystalizes not only a personal story but also a collective one, taking the form of a common household item found in countless families to reinforce the social relationships it entailed through a re-enactment of the past. The backgrounds mediated by the artist’s acute perceptions superimpose multiple temporalities, engendering infinite possibilities for recalling, constructing, repairing, and reconstructing moments of personal emotions that have not yet been reconciled.
(Text by Fiona He)
张雪瑞（1979年生于山西）现工作、生活于北京，2004年毕业于中央美术学院。近期个展包括：“三个航标的河流”，麦勒画廊，中国北京（2020）；“作为本体的日常”，麦勒画廊，瑞士卢森（2019）；“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”，狮语画廊，中国香港（2017）；“张雪瑞新作”，今格空间，中国北京（2017）。群展包括：“文明的印记：敦煌艺术大展”，北京民生美术馆，中国北京（2022）；“余生记”，红树林画廊，中国深圳（2022）；“潘多拉，你是神女你是魔”，盒子艺术空间，中国深圳（2019）；“北京书信”，光州市立美术馆，韩国光州（2019）；“中国当代艺术年鉴展2017”，北京民生现代美术馆，中国北京（2018）；“相遇亚洲——多元化的青年艺术视觉”，四川美术学院美术馆，中国重庆（2018）；“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）；“调节器：2010第二届今日文献展”，今日美术馆，中国北京（2010）。2015年参加了奥地利维也纳艺术家驻留项目“Kulturkontaka Austria”，其作品被白兔美术馆以及Cruthers Art Foundation等机构收藏。
Zhang Xuerui was born in 1979 in Shanxi, and currently lives and works in Beijing. She graduated from Central Academy of Fine Arts in Beijing in 2004. Her recent solo exhibitions include: River with Three Buoys, Galerie Urs Meile, Beijing, China (2020); The Everyday as Ontology, Galerie Urs Meile, Lucerne, Switzerland (2019); The God of Small Things, Art Basel Miami Beach-Kabinett, Miami, USA (2018); Colours in A Breeze: Zhang Xuerui Solo Exhibition, Leo Gallery, Hong Kong, China (2017); Zhang Xuerui: Recent Works, Ginkgo Space, Beijing, China (2017). Recent group shows include: The Trace of Civilization: The Great Art of Dunhuang, Beijing Minsheng Art Museum, Beijing, China (2022); A Descent into the Maelstrom, Mangrove Gallery, Shenzhen, China (2022); Letters from Beijing, Gwangju Museum of Art, Gwangju, Korea (2019); The Exhibition of Annual of Contemporary Art of China 2017, Minsheng Art Museum, Beijing, China (2018); Encounter Asia – Multi-vision of Youth Art, the Museum of Sichuan Fine Arts Institute, Chongqing, China (2018); Nonfigurative, Shanghai 21th Century Minsheng Art Museum, Shanghai, China (2015); Negotiations – The 2nd Today’s Documents 2010, Today Art Museum, Beijing, China (2010). She participated in Artist in Residence program “Kulturkontaka Austria” in Vienna in 2015. Her works have been collected by public collections including White Rabbit Gallery and Cruthers Art Foundation.
