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9

 

 

 

 

Thing-In-Itself ¨C Zhang Xin¡¯s painting


Opening: Dec. 6, 2014, Saturday, 15:00-18:00
Duration: Dec. 6, 2014 ¨C Jan. 11, 2015, Tue - Sun, 12:30 - 18:00
Venue: 01100001 Gallery, Red No.1, Caochangdi Art Village, Chaoyang, Beijing 100015, China


The paintings Zhang Xin has finished in recent years have little to do with plots, and some of them have even been reduced to mere shapes. Though coming from everyday life, they have bearing neither on himself as a painter nor others in terms of interest and value, and they have not gone beyond the domain of reality. What is revealed in these paintings, however, is peaceful and quiet observation, something possible only when the observer is independent of emotions. The viewers therefore can truly feel his steadfast looks and realize that what he is doing is nothing but reconstructing by means of color and shade the moment these objects or figures are observed. The ordinary is kept as what they usually are. If the audience consider the ordinary to be extraordinary, then they must have got their own experience and emotions involved. To a painter, to turn his looks and perceptions into a painting means both retaining and abandoning, and in most cases, abandoning is more common. When Zhang Xin paints, it gives us an impression that something new but neglectable is added to our trivial life, as it does not make any significant difference if he paints or not. We can thus identify in these paintings a kind of freedom and a real sense of life. He keeps the objects, figures and space as they normally are rather than getting them to voice his attitude or produce forcedly some message. Painting is only a medium for his observation and understanding, so what is expressed is actually a by-product of the activity. What he can see is here, so does what he can express£­the painter does nothing more than observe and experience.
Zhang Li 2014.11


For more information, please contact£º
01100001 Gallery
Red No.1, Caochangdi, Chaoyang, Beijing 100015, China
M£º135 2103 8537
E£º01art@01100001.com
W£ºwww.01100001.com


 

 


 

 


My Way

Curated by Wang Xingwei

Artists:
Gu Jixu, Zhou Yunxia, Zhao Gang, Xu Cheng, Xu Ruotao, Wang Xingwei, Wu Tao, Chen Wenbo, Grandpa Duck Liu Rentao, Wang Xingjie, Wang Ningde, Huang Lei, Zheng Qiang, Qin Qi, Liu Xiaohui, Liao Guohe, Wen Ling, Yu Chuanhong, Zhang Yexing, Zhang Wuyun, Song Yige

Curatorial Notes£º
The exhibition centers around three classical mother themes:
- Love & Sex
- Loneliness & Depression
- Decay & Death
The exploration by each artist towards each theme naturally deviates from ¡®chicken soup for the soul¡¯ or conceptual expression, instead, it is a mix of paranoia, stubbornness, cruelty and the heartless.
' Since he got the mental illness, he has become much more vigorous mentally.'
-by Wang Xingwei

Opening: Oct 18, 2014, 15:00-18:00 Duration: Oct 18 - Nov 5, 2014, 12:30-18:00 Tuesday -Sunday
01100001 Gallery, Red No.1, Caochangdi, Chao'yang, Beijing

Cell: 86 13521038537
Email: 01art@01100001.com
Website: www.01100001.com


 

 


 

 

 

Mid Value ¨C New Works by Zhang Wuyun

Curator: Zhang Li
Opening: Aug 16, 2014, Saturday, 15:00-18:00
Duration: Aug 16 - Sep 14, 2014, Tue - Sun, 11:00 - 18:00
Venue: 01100001 Gallery, Red No.1, Caochangdi Art Village, Chaoyang, Beijing 100015, China

Mid Value is the second solo show of Zhang Wuyun at the 01100001 Gallery. As a painter born in 1981, Zhang Wuyun insists on turning the world around him into pictorial form through restrained brushstrokes and colors. The works to be presented at this exhibition feature different perspectives, so looking at these paintings, the viewers can visualize a painter sometimes looking up and sometimes down. The sky, the clouds, the airplane, the flying birds, or the fallen leaves and water under the bridge, all seem to tell us that the centerpiece has left, leaving merely the background. The landscape, however, at the mercy of the sense of form provoked by the painter¡¯s unique brushstrokes and colors, has become the dominant part of the painting, building lots of context spaces of free entry, so these works become visual expressions that allow open interpretation.

The sceneries, telling of an artist who has been meditating on the common world around him, are not representations in their respective real contexts but what remains of the artist¡¯s long observation in his consciousness and memory. The stress on perspective is directed at an actor who watches and experiences, and the viewer, in this case, will play the role as a virtual actor who not only appreciates and identifies but more importantly, participates in the particular context built by the painter, shuttling in the interplay of different spaces and subjects, as well as reviewing and experiencing his own situation and context.

Zhang¡¯s recent works have produced a series of entryways through which the paintings, instead of releasing the energy contained in the pictorial content, attract and gather the viewer¡¯s attention so as to get him ready for a specific context. The restrained and the significantly impregnated brushstrokes, in combination with celadon and dark orange, guide the viewer and help to build these contexts. The craftsmanship is undoubtedly accurate and effective, forceful as a full bow and a purplish seed ready to sprout. The emotional reaction to the paintings generated by the brushworks and colors are kept in a state of mid-value which is certainly not absolute, but thanks to the leeway at both ends, is able to provide great guidance from this position, connecting the grand with the tiny, lending to the work autonomy and richness.

Zhang Li
2014

 

 


 

 

 

A Full Void: a Solo Show by Lai Jin¡¯ na


Curator: Zhang Li

Opening: Mar 22, 2014, Saturday, 15:00 - 18:00
Duration: Mar 22 - May 18, 2014, Tue - Sun, 11:00 - 18:00
Venue: 01100001 Gallery, Red No.1, Caochangdi Art Village, Chaoyang, Beijing 100015, China

Curatorial Note: All those Outcomes
by Zhang Li

Lai Jinna¡¯s artworks in color pencil and ballpoint made their debut in a series in 2010. In ¡°A Full Void¡± No. 1 and No. 2, pencils of four colors, red, green, blue and yellow, are used alternately to produce small and colorful patches of detailed and uniform strokes. Moving closer to the drawings, we can detect the indistinct outline of the objects. Those strokes of thin lines that start and end at particular places work to give complex forms and structures, like a flower basket, a vase, or vibrant flowers. Viewed as a whole, they are abstract and hazy noises produced by the uniform colors that change and repeat in a certain order, but surprisingly they become distinct realistic images when looked closer and more carefully. It challenges conventional modeling in drawing when she reverses two senses which we get from an overall view and a partial view respectively, one of formal reality, the other of abstract form.

It is one of ¡°all those outcomes¡± Lai is to embrace. Born in Xi¡¯an in 1985, she settled down in Beijing with her family in her childhood. Upon graduating from Xi¡¯an Academy of Fine Arts, she rented a studio in Beijing where she had a number of conventional acrylic paintings on canvas, including landscape, animals, figures, as well as some experiments in from. These works, fresh and lively, tell us of her artistry, attainments, talents, as well as an open mind. When surroundings and conditions for creation changed after she moved with her family to a villa in Miyun in the northern suburbs of Beijing, she found herself drawing, in color pencil and ballpoint, livestock, fruit, vegetables and other things that were close to her life there. The tempo in the villa, gardening, and the simple and repeated everyday life, all contributed to the changes in her way of doing art.

This experience means opening up to the self. After all that comes into the focus of her view is reduced to the minimum, remains only the inseparable: material for drawing, objects and action. When she is fully concentrated on the dense lines, style, tradition, rules and fashion are all shut in an irrelevant dimension¡ªthe drawing is nothing but the result of drawing as a series of actions. In this case the animals and the flowers in her drawing, freed of multiple implications as images, present merely the ¡°appearance¡±, while the images, as the outcome of drawing as a chain of actions, are rendered fairly delicate and exquisite. With deepened understanding and new experience gained from her continued concentration, she gradually reaches the core of the material. These drawings reveal that she is depending on the instinctive and unconscious experience that can ¡°work automatically¡±, but in a broader analysis, she is determined to accept all the outcomes.

Lai has been focusing on the multiple relation between objects, forms and images, which relation, when well integrated, provides another way of observation, expression and expression from a psychologistical perspective, so ¡°inward looking¡±, ¡°inward expression¡± and ¡°invisible images¡± become distinctive features of these works. Accompanying these pencil and ballpoint artworks, there is also an installation made of pencil stubs and thick branches from the pruned trees. It is another ¡°outcome of the actions¡± that teaches us to view and understand in different perspectives.

¡°A Full Void: Lai Jinna¡¯s Artworks¡± will have its opening on March 22, 2014 at 01100001 in Red No. 1 at Caochangdi Art Village in Beijing. This exhibition, also Lai¡¯s first solo, will present over 30 color pencil and ballpoint artworks and an installation.


For more information, please contact£º
01100001(Beijing)
C3, Red No.1, Caochangdi, Chaoyang District, Beijing 100015, China
M£º135 2103 8537
E£º01art@01100001.com
W£ºwww.01100001.com