{"id":10798,"date":"2014-06-10T09:02:00","date_gmt":"2014-06-10T09:02:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=10798"},"modified":"2023-04-22T09:24:20","modified_gmt":"2023-04-22T09:24:20","slug":"zhang-hui-imprints","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/zhang-hui-imprints\/","title":{"rendered":"Zhang Hui: Imprints"},"content":{"rendered":"\n<p><a href=\"https:\/\/www.randian-online.com\/np_event\/zhang-hui%EF%BC%9Aplaza\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Zhang Hui solo exhibition: Plaza<\/strong><\/a><\/p>\n\n\n\n<p><a href=\"https:\/\/www.randian-online.com\/np_space\/long-march-space\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Long March Space<\/strong><\/a>&nbsp;(4 Jiuxianqiao Road, Chaoyang District, Beijing),&nbsp;<strong>Apr 19\u2013Jun 22, 2014<\/strong><\/p>\n\n\n\n<p>The most impressive paintings in<a href=\"http:\/\/www.longmarchspace.com\/exhibition\/list_225_imagedetail.html?locale=en_US\" target=\"_blank\" rel=\"noreferrer noopener\">&nbsp;\u201cGroundless\u201d, the previous exhibition by Zhang Hui at Long March Space<\/a>, depicted life rings. Isolated from ordinary context, the robustness of these objects\u2014in spite of their smooth, oddly narrow shape\u2014was brought to the fore out of empty (though not insubstantial) painted fields.<\/p>\n\n\n\n<p>If the works in that show were literally \u201cgroundless,\u201d the works in this new exhibition \u201cPlaza\u201d have been bestowed again with a sense of environment. A plaza conjures thoughts of display\u2014open, yet fluid space for people and events, a public place supporting and witnessing situations of whatever kind. The idea of theater\u2014always integral to Zhang\u2019s work\u2014is not remote from a plaza, being in many ways a stage upon which action unfolds.<\/p>\n\n\n\n<p>Coupled with this is a certain aura of possession conveyed through the idea of the \u201cblueprint\u201d. It infuses the show, visually, as the color blue\u2014that familiar, powerful tone not unlike Yves Klein\u2019s\u2014which has its own aesthetic attraction for the viewer and, one imagines, the artist. It is used for the ribbon-like depiction of an apartment block (\u201cBlueprint, Second Floor\u201d, 2014), for example, and a scene of a couple being served by an air hostess (\u201cBlueprint, Communication 1\u201d, 2012\u201313).\u00a0<em>Blueprint<\/em>\u00a0is the title of this leading series in the exhibition, and is explained in the exhibition text in terms of the reality of existence depending on \u201cthe machinations and designs of mankind and the subsequent creations to arise from such planning\u201d \u2014 a distinctly humanistic perspective, which seems to deny chance.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"526\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-78.png\" alt=\"\" class=\"wp-image-10802\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-78-300x239.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-78-150x120.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-78-376x300.png 376w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-78.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\">Zhang Hui, \u201cBlueprint. Second Floor\u201d, acrylic on canvas, 200 x 250 cm, Courtesy of LONG MARCH SPACE<br>\u5f20\u6167\uff0c\u300a\u84dd\u56fe.\u4e8c\u697c\u300b\uff0c\u5e03\u9762\u4e19\u70ef\uff0c200 x 250 cm\uff0c2014\uff0c\u56fe\u7247\u7531\u957f\u5f81\u7a7a\u95f4\u63d0\u4f9b<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"410\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-79.png\" alt=\"\" class=\"wp-image-10805\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-79-300x186.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-79-150x93.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-79-483x300.png 483w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-79.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\">Zhang Hui, \u201cBlueprint. Communication I\u201d, acrylic on canvas, 225 x 362 cm, Courtesy of LONG MARCH SPACE<br>\u5f20\u6167\uff0c\u300a\u84dd\u56fe.\u4ea4\u6d41 1\u300b\uff0c\u5e03\u9762\u4e19\u70ef\uff0c225 x 362 cm\uff0c2014\uff0c\u56fe\u7247\u7531\u957f\u5f81\u7a7a\u95f4\u63d0\u4f9b<\/figcaption><\/figure>\n\n\n\n<p>The feel of this notion across the show can be called possessive for the way this blue hue seems to be in everything; on sawn-off tree stumps in the painting \u201cBlueprint, Accident\u201d (2014), blue is revealed inside the trunk; in \u201cBlueprint, Spread\u201d (2014) and \u201cBlueprint, footprints\u201d (2012-14), it covers\u2014even replaces\u2014the soles of sports shoes. In a much more sinister way, while this blue seems to be inside trees and beneath objects and infilling speech (in a bubble in the exchange with the air hostess), it is also seen on human fingers and palms. Three paintings like this (\u201cBlueprint, Interior\u201d and \u201cBlueprint, Exterior\u201d, both 2012, and \u201cBlueprint, Partial\u201d, 2013) somehow hint at the painter himself as orchestrator, or orchestrated\u2014just as other beings and objects are. Overall, a strange sense of inevitability pervades the works, with the same force among them visible as a color, either hidden inside or otherwise present. Blue itself is a color at the cooler end of the spectrum often interpreted as conveying calm; in this exhibition, it simultaneously evokes passivity and influence in a way that borders on the uncanny.<\/p>\n\n\n\n<p>An artist who began with theater design and used installation as part of the \u201cPost-Sense Sensibility\u201d group before settling on painting, Zhang Hui has consistently explored the layers of reality, finding holes in it. A painting is simply another layer on which things can appear to us and are experienced and explored. Duration, too, is something that intrudes into these newer works. The painting entitled \u201cBlueprint, Solidification\u201d (2014) appears at first simply to show a grid of white rectangles\u2014perhaps a floor or wall. Upon closer or later inspection one sees the outlines of simple figures in a grouping (as of a crowd seen from above) materialize in the milky paintwork. This discovery places the viewer in a state of surprise and involves them and the painting in a mutual time frame, where recognition (of further content: the figures) develops and is confirmed. Surprise is theatrical, and the time of the realization plays out in its own way, also. Even as the ribbon-like images of the apartment and airplane scene elsewhere in the&nbsp;<em>Blueprint<\/em>&nbsp;series might look as if they could blow easily away, so this image instead instills itself, offering more to the viewer if one notices its depth.<\/p>\n\n\n\n<p>Despite the number of works in this exhibition, some paintings deliver a clear sense of their significance where others seem more incidental. The work \u201cBlueprint, Fold\u201d (2012), showing paper outspread after having been crumpled up, is one such work. The piece \u201cBlueprint, Pleasant Sensation\u201d (2009-10, 2013, which mimics a New Year greetings card with a large blue snowflake on it at bottom right and shows a waiter figure comically covered in snow), again, has its roots in the permutations of reality and surface (and, possibly, sardonic humor) that Zhang wishes to go into, yet may not instill itself deeply. Those works which deal more readily with scenes or figuration\u2014rather than articles or objects\u2014are more persuasive in this exhibition, not least because of their more direct link to human action. In them it seems Zhang\u2019s case deepens most bravely.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"828\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-80.png\" alt=\"\" class=\"wp-image-10808\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/PG1hnJv5-image-80-239x300.png 239w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-80-120x150.png 120w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-80.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\">Zhang Hui, \u201cBlueprint. Accident\u201d, acrylic on canvas, 225 x 182 cm, Courtesy of LONG MARCH SPACE<br>\u5f20\u6167\uff0c\u300a\u84dd\u56fe.\u610f\u5916\u300b\uff0c\u5e03\u9762\u4e19\u70ef\uff0c225 x 182 cm\uff0c2014\uff0c\u56fe\u7247\u7531\u957f\u5f81\u7a7a\u95f4\u63d0\u4f9b<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"453\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-81.png\" alt=\"\" class=\"wp-image-10811\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-81-300x206.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-81-150x103.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-81-437x300.png 437w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-81.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\">Zhang Hui, \u201cBlueprint. Spread\u201d, acrylic on canvas, 112 x 162 cm, Courtesy of LONG MARCH SPACE<br>\u5f20\u6167\uff0c\u300a\u84dd\u56fe.\u6f2b\u5ef6\u300b\uff0c\u5e03\u9762\u4e19\u70ef\uff0c112 x 162 cm\uff0c2014\uff0c\u56fe\u7247\u7531\u957f\u5f81\u7a7a\u95f4\u63d0\u4f9b<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"886\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-82.png\" alt=\"\" class=\"wp-image-10814\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/yFe1NurI-image-82-223x300.png 223w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-82-112x150.png 112w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-82.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\">Zhang Hui, \u201cBlueprint. Footprints\u201d, acrylic on canvas, 200 x 150 cm, Courtesy of LONG MARCH SPACE<br>\u5f20\u6167\uff0c\u300a\u84dd\u56fe.\u811a\u5370\u300b\uff0c\u5e03\u9762\u4e19\u70ef\uff0c200 x 150 cm\uff0c2014\uff0c\u56fe\u7247\u7531\u957f\u5f81\u7a7a\u95f4\u63d0\u4f9b<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"528\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-83.png\" alt=\"\" class=\"wp-image-10817\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-83-300x240.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-83-150x120.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-83-375x300.png 375w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-83.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\">Zhang Hui, \u201cBlueprint. Interior\u201d, acrylic on canvas, 96 x 120 cm, Courtesy of LONG MARCH SPACE<br>\u5f20\u6167\uff0c\u300a\u84dd\u56fe.\u5185\u90e8\u300b\uff0c\u5e03\u9762\u4e19\u70ef\uff0c96 x 120 cm\uff0c2014\uff0c\u56fe\u7247\u7531\u957f\u5f81\u7a7a\u95f4\u63d0\u4f9b<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"798\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-84.png\" alt=\"\" class=\"wp-image-10820\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/AXDdoqL0-image-84-248x300.png 248w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-84-124x150.png 124w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-84.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\">Zhang Hui, \u201cBlueprint. Solidification\u201d, acrylic on canvas, 300 x 240 cm, Courtesy of LONG MARCH SPACE<br>\u5f20\u6167\uff0c\u300a\u84dd\u56fe.\u51dd\u56fa\u300b\uff0c\u5e03\u9762\u4e19\u70ef\uff0c300 x 240 cm\uff0c2014\uff0c\u56fe\u7247\u7531\u957f\u5f81\u7a7a\u95f4\u63d0\u4f9b<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"408\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-85.png\" alt=\"\" class=\"wp-image-10823\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-85-300x185.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-85-150x93.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-85-485x300.png 485w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-85.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\">Zhang Hui, \u201cBlueprint. Fold\u201d, acrylic on canvas, 225 x 364 cm, Courtesy of LONG MARCH SPACE<br>\u5f20\u6167\uff0c\u300a\u84dd\u56fe.\u8936\u76b1\u300b\uff0c\u5e03\u9762\u4e19\u70ef\uff0c225 x 364 cm\uff0c2014\uff0c\u56fe\u7247\u7531\u957f\u5f81\u7a7a\u95f4\u63d0\u4f9b<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"266\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-86.png\" alt=\"\" class=\"wp-image-10826\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-86-300x121.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-86-150x60.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-86-500x202.png 500w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-86.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\">Zhang Hui, \u201cBlueprint. Pleasant Sensation\u201d, acrylic on canvas, 182 x 450 cm, Courtesy of LONG MARCH SPACE<br>\u5f20\u6167\uff0c\u300a\u84dd\u56fe.\u5feb\u611f\u300b\uff0c\u5e03\u9762\u4e19\u70ef\uff0c182 x 450 cm\uff0c2014\uff0c\u56fe\u7247\u7531\u957f\u5f81\u7a7a\u95f4\u63d0\u4f9b<\/figcaption><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\"><\/h3>\n","protected":false},"excerpt":{"rendered":"<p>Zhang Hui solo exhibition: Plaza Long Ma &hellip; <a href=\"http:\/\/www.randian.art\/zh-hant\/zhang-hui-imprints\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":10829,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[6742,6743,255,6745,6746,6744,6747,4002,939],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.8 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Zhang Hui: Imprints - \u71c3\u70b9 Ran Dian<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/www.randian.art\/zhang-hui-imprints\/\" \/>\n<meta property=\"og:locale\" content=\"zh_TW\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Zhang Hui: Imprints - 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