正在展出｜北京公社正在展出謝墨凜個展『白色』

日期：2025-03-19 15:14:08 來源：北京公社

展覽 >正在展出｜北京公社正在展出謝墨凜個展『白色』

正在展出 Current

謝墨凜???

白色?????????

Xie Molin????????????

White

2025.03.15 - 2025.05.10

北京公社欣然呈現謝墨凜個展“白色”，展覽于2025年3月15日開幕，展出藝術家沿用他的機器繪畫創作方式所最新繪制的一組八幅白色丙烯作品。在純然的白色中，相似與差異、演進與矛盾被更赤裸地擺在眼前，映照出謝墨凜在他獨特的藝術創作方法中對現實更為深入的探索與理解。

從他模擬刻字機而創造出第一臺三軸繪畫機器開始，謝墨凜的藝術創作便試圖從方法上以“制作”的方式重新進入“繪畫”。在他的創作中，謝墨凜常常通過對形式的直覺感受來聯結藝術家、機器與畫面之間的互動關系，從中生成各種形式化的圖像；在此次的展覽中，他則有意在全然相同的尺幅與顏色的畫面內展現一系列不斷朝向冷峻堅硬的機器與液態綿軟的顏料之間關系之極限的演進變化（隨著畫面中的方形不斷縮進，機器牽動的顏料驚心動魄地越來越細密）。

實際上，對于常年與各種樣式的機械畫刀（鋸齒大小不同的鋸片、粗細不同的鋼針等）和各種粘稠度的顏料朝夕相處的謝墨凜來說，并不難預見這一系列遞進的精密度能達到的極限在哪里。然而在這一系列作品中更為重要的是，將這些看上去像是由粗至細的演進并置時，作品之間的相似與差異折射出某種在真實的現代生產的“制作”中所一直隱含著的關于演進與迭代的情緒。

數字時代的白上白 9.55 _ 2024

相較于謝墨凜以往為人熟悉的理性而精密但仍帶有色彩韻律的作品，《數字時代的白上白》顯得更為極致地“客觀”。這種“客觀”并非從屬于對象的一種性質，而是通過運用機器的精確把控與形式的推算演進的“制作”過程所產生的一種感覺。也正是在這一過程中，不斷加深著謝墨凜對于現代化籠罩下的“客觀世界”的構建與認識的理解。正如他所說：“相比從現實里獲得畫面，我更喜歡從方法中生成出跟我的現實之間有聯結的作品。”

數字時代的白上白 8.45 _ 2024 _ 細節????????

構建和認識“客觀”的過程里的矛盾重重是這一系列作品的核心，而“白色”對謝墨凜而言具有這種內在矛盾的象征意義：“世間沒有真正的大白，白中必有黑。”在不同的距離與角度產生的光影效果下，展覽中的白色作品呈現出種種截然相悖的視覺效果：從作品兩側的來回移動，畫面中橫向排列形成的方形與橫豎交疊形成的方形，會呈現出完全相反的明暗關系；而在某一個位置，橫豎交疊形成的方形與機器繪制出的精密細節都會消隱，畫面內似乎“空無一物”。在純然的白色與變幻的明暗、復雜的排列與至簡的形式、數字的模擬與崇高的光影之間，或許正如謝墨凜在閱讀《道德經》和《莊子》時所感受到的神奇而自然的連接：“陽極生陰，陰極生陽。”

Beijing Commune is pleased to present Xie Molin's solo exhibition "White," opening on 15 Mar 2025. The exhibition features the artist’s latest series of eight acrylic works in white employing his signature machine-painting approach. The stark white lays bare the similarities and differences, progressions and contradictions, illuminating Xie's deeper exploration and understanding of reality through his distinctive artistic methodology.

Since his first self-made three-axis painting machine inspired by cutting plotters, Xie has dedicated himself to re-approaching painting through the act of "making." Often in his work, the image embodies an intricate interplay between artist, machine, and canvas through Xie’s intuitive engagement with form. In “White,” however, unified in dimensions and color–the color of the probably purist form, the group of eight paintings spotlight a series of progressive transformations that advance to the breathtaking proximity between the paralleling vertical lines, approaching the limits of the relationship between the rigid machine and the fluid paint.

數字時代的白上白 9.50 _ 2024 _ 側面?

For Xie, who has spent years working intimately with various mechanical paintbrushes—saw blades of different serrations, steel needles of varying sizes—and diverse paint viscosities, the precision limits can be told rather empirically than deductively. Yet with juxtapositions of the works made in different precisions, from seemingly less developed to top-notch, similarities and differences in the series stoically speak to the overwhelming sentiment in modern production of constantly progressing and updating.

Titled White on White in the Digital Age, the latest series appears even more radically objective when deprived of the chromatic rhythms in Xie’s past works. Rather than something inherent to “the object,” it is a permeating sense of objectivity exuded from the “making”——the mechanical and numerical control and the formal and ideal deduction. And it is this “making” with the modern-day approach where Xie dives deep into the ways of constructing and knowing “the objective" overarched by modernity. As he iterates, "Rather than deriving images from reality, I incline to explore and create with the methods which turn out as works that connect to reality.”

The core of this series lies in the eternal conflicts and paradox within the ways of constructing and knowing “the objective.” For Xie, "white" is a symbol of inherent paradox: "There is no absolute white; white always entangles with black." Under varying light and angles, the paintings in white exhibit starkly contrasting visual effects: when moving around the pieces, the interplay of horizontal and vertical lines creates opposing light-dark relationships seen from two different sides; while at certain stances, the square in the square canvas together with the intricate details vanish, rendering the canvas seemingly empty. Somewhere between material white and shifting shadow, complex weaving and minimalist forms, and digital simulation and sublime light shimmers Xie’s evocative read on the natural duality in Tao Te Ching and Zhuangzi: "When yang reaches its limit, it becomes yin; when yin reaches its limit, it becomes yang.” [1]

[1] translated by Wing-Tsit Chan in A Source Book in Chinese Philosophy (Princeton, NJ: Princeton University Press, 1963), 160.

關于藝術家

謝墨凜1979年出生于溫州，先后畢業于中央美術學院壁畫系及英國愛丁堡美術學院繪畫專業，現工作生活于北京。從開始親手改裝制作第一臺繪畫機器開始，謝墨凜逐漸形成了自己在繪畫中的獨特路徑。他對"機器"的擁抱既是源于他對繪畫形式感更精確表達的需求，也同時是觀念意義上的。"機器”不僅可以被藝術家用來替代傳統工具對繪畫這種創作形式做出新的探索，其實踐本身也對應著中國當下文化里對技術帶來的可能性的多重想象。

謝墨凜的個展曾舉辦于復星藝術中心、北京公社、佩斯香港等地。謝墨凜的作品曾展出于奧地利列奧尼格博物館、韓國SongEun藝術空間、北京松美術館、上海龍美術館、舊金山亞洲藝術博物館、賓夕法尼亞州迪金森學院、荷蘭波伊曼·凡·布寧根博物館、美國亥俄州立大學城市藝術中心、明尼蘇達州古斯塔夫阿道爾夫學院 Hillstrom 美術館、邁阿密盧貝爾家族收藏館、溫州昊美術館、北京泰康空間、北京尤倫斯當代藝術中心、北京中央美術學院美術館等。謝墨凜的作品被荷蘭De Heus-Zomer收藏、上海復星藝術基金會、法國 DSL 基金會、瑞士Uli Sigg收藏、紐約多姆斯收藏、北京泰康收藏等美術館及機構收藏。

Xie Molin was born in 1979 in Wenzhou, China. He received his BFA from the Central Academy of Fine Arts (China) and his MFA from Edinburgh College of Art (Scotland). He currently lives and works in Beijing. From the beginning of refitting the first painting machine himself, Xie Molin gradually formed his own unique path in painting. His embrace of the “machine" stems not only from his need for a more precise expression of the stylistic quality of painting but also from the conceptual meaning. "Machine" can be used by artists to replace traditional tools to make a new exploration of the creation form, and this practical experience itself also corresponds to the multiple imaginations of the possibilities brought by technology in the current Chinese culture as well.

Xie’s solo exhibitions have been held at Fosun Foundation (Shanghai), Beijing Commune (Beijing), Pace (Hong Kong), etc. His artworks have been exhibited in Museum Liaunig (Carinthia), Songeun Art Space (Seoul), Song Art Museum (Beijing), Long Museum (Shanghai), Asian Art Museum (San Francisco), Dickinson College (PA), Museum Boijmans Van Beuningen (Rotterdam), Urban Arts Space of Ohio State University (OH), Hillstrom Museum at Gustavus Adolphus College (MN), Rubell Family Collection (Miami), How Art Museum (Wenzhou), Taikang Space (Beijing), Ullens Center for Contemporary Art (Beijing), the Art Museum of China Central Academy of Fine Arts (Beijing), etc. His works have been collected by De Heus-Zomer Collection (Netherland), Fosun Art Foundation (Shanghai), DSL Collection (France), Uli Sigg Collection (Switzerland), Domus Collection (New York), Taikang Art Collection (Beijing), etc.

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正在展出｜北京公社正在展出謝墨凜個展『白色』