张业鸿|金色 绿色 春风沉醉








开幕 Opening:2018.6.30 4:00 pm

展览日期 Date:2018.6.30-2018.7.27


北京市朝阳区草场地红一号院A2 希帕画廊

CIPA, Red No.1-A2, Caochangdi, Chaoyang District, Beijing




克里格(M. Krieger)认为,诗和其它艺术作品,作为人的精神创造产品,与生俱来便赋有内在的自相矛盾或“悖论”。在张业鸿的创作过程中,他尽其可能通过自定义剧本来表达复杂的思想,他逐渐发现语言文字在表达形式中,除了本身充满了歧义之外,也局限并僵化了图像背后的情感思想,使其丧失了生命力。在展览《金色 绿色 春风沉醉》中,张业鸿在寻求一种广阔的视觉符号互动方式,进行打破符号与意义相矛盾的语言形式,将若干历史中的个体创作者的图像串联,在金色和绿色为预言的路径中使时间拉长,推动图画串联在一起的必然意义。



In the space of image appropriation, artist Zhang Yehong restores the primitive romantic ambition, placing restricted freedom in indiscriminate expressions. This ambition is of photographers. What Zhang Yehong intends to express in his work is, instead of images’ limitation being the source of pain, the reflection on contemporary imaginization: images cannot be pressured to update in a general manner following historical opinions, nor can them be thoroughly liberated by breaking social aspirations and meaning of life.

From a historical perspective, drawing being more and more inseparable from photography has become recognized over the world. For Édouard Manet, Edgar Degas, Paul Cézanne and Georges Seurat, image appropriation assisted their creation in hidden manners. The pseudo truthfulness of images, in Zhang Yehong’s point of view, is the denial of truth on some level. Paintings, evolving with the help of classical photography, enable the images of different temporal dimensions to form evidence of ostensible truth inside its fabricated frame.

In Murray Krieger’s opinion, poetry, as well as other forms of art, as creations of human spirit, was born with innate contradictions or paradox. In Zhang Yehong’s working process, he tries his best to express complicated thinking by customizing scripts. Gradually he discovered that language and text as expressions, besides being full of ambiguities, restrain and stupefy the feelings and emotions behind them, deprives them of their vitality. In the exhibition The Golden Spring Breeze Zhang Yehong seeks for an interactive method of broad visual symbols, breaking down the opposition of symbols and meanings in language expression, linking together many images of individual authors in the history, prolonging time in the prophetic path of golden and green, and promoting the connection of images to form inevitable significance.

During the rapid process of information being sent, to convergence, and to disappearance, viewing becomes extremely passive. Zhang Yehong starts from the perspective of images, tries to transform the awkwardness of being viewed to the poetic colors in the images—golden and green. He then uses the context of being delighted in the breeze of spring to express the difficulty in distinguishing the genuine and the fake, which is the base tone of his work. In this process, what artist could do is to strip off the redundant symbols and leave only what he wants.