张博夫个展 —— 飞慢
2020年6月7日 - 7月12日
Zhang Bofu Solo Exhibition —— The Fled & The Measured
June 6-July 12, 2020
飞慢 —— 绘画何以继续
The Fled & the Measured: How Can Painting Continue
Five years later, Space Station is honored to announce the launch of Zhang Bofu’s second solo exhibition The Fled & the Measured. The phrase “the fled and the measured” is a serendipitous creation of the painter’s three-year-old daughter and aptly sums up his life over the years, during which the painter’s life took a big turn, and these changed circumstances caused many creative issues to be put aside and transformed. “Because of the realization that all this time I was just pretending to face some problems, I was no longer able to hang the subject behind the curtain, and for a while I could no longer face the painting as it is.”
In Zhang’s recent works, the theme of trees and fire has emerged as a metaphor, which, in his own words, may not be a choice but a demand – “choosing no port in a storm”. With simple symbols and metaphors, he attempts to reduce and normalize the way painting is constructed and expresses his feelings straightforwardly. The cypress is the most common tree species found around life. Thoreau called it the “free tree” in Walden Lake, because its state of life does not change with the seasons and remains independent. As time passes through the canopy of the cypress, condensing into one thing, the cypress becomes a symbolic vehicle for the hope of transcendence. As an element closely related to human life, the flame, being an old metaphor, is one of the earliest basic concepts of human understanding of the world. The change of the flame is symbolic of the change of the vital force and the unceasing will. Also because of the altered state of matter in combustion associated with abstract entities, in some customs people use the flame as a link to the ultimate channel to complete certain rituals as a way to seek spiritual solace. As the metaphorical tree and fire have a certain similarity in morphology, as well as ontologically dialectical relationships, the painter intentionally strengthens the connection between the two, making them confused within a whole and formed a comprehensive metaphorical relationship.
At this point, painting will no longer be developed due to formal problems, nor will it travel to and fro in the role of intertextuality of the history of painting, or entangle in the alienated expression of meaning. Rather, it arises from the subject’s inescapable sense of life experience, the desire for expression and the need for a bottom line of control, as the most direct response to the sense of powerlessness of fallenness. In this context, painting is a condensation-and-reference bound to all the subjective conditions that go with time, i.e., the other thing that is stuck at that time, a confirmation of what Dasein is. The Fled and the measured, as a paradox between the objective prescription of time (temporality) and the individual’s inner knowledge (the sense of time), is the intuition-triggered suspension of time (Schopenhauer’s intuitive transcendence), the asynchrony of difference (Bergsonian La durée), and the trapped situation of individual which is vanishing.
When the individual is in an unavoidable situation, objectivity and its provisions are no longer in question. In the face of the deep valley of nothingness, one tries to open one’s own infinite door by crossing fact-limited boundaries from within (Levinas) with a determination that one has no choice but to do so. In the face of life, all people are uninitiated, confused and hesitant because of the fear of the unknown path, and therefore constantly reflect on beings and directions. In the present particular context of reality, this is both an individual and a more general search for meaning. When one looks to the ungraspable infinity, that is, to the sublime, one looks to the truth.
#张博夫个展 ——飞慢 #
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