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谢墨凛

展览时间：2018年5月16日至2018年6月23日

Xie Molin

Exhibition Period: 16th May, 2018 - 23rd June, 2018

北京公社现正展出以谢墨凛本人名字命名的展览“谢墨凛”。这是艺术家谢墨凛在北京公社的第三次个展,展览将持续至2018年6月23日。

从2004年开始，谢墨凛先用刻字机介入绘画创作，确立了使人与机器协作探索绘画可能性的兴趣和方向；进而通过制作三轴绘画机，其作品朝着光影、肌理、轨迹和色彩等更为抽象的特性持续推进。本次展览主要展出了谢墨凛近几年来的绘画探索。

《铄》系列尝试了新型混合颜料，其中干扰色材料的特性使得画作表面具有更强烈的反光特性，对光源的亮度、色温及照射角度和距离更为敏感。不同于传统的观看方式，《铄》系列鼓励观众在画作前移步观看，人的运动引发作品的运动感，这是材料和轨迹有机结合带来的新的感官体验。《棘》系列中，颜料在锯齿形刮板推挤剃薄的过程中，形成单向流动的连续剑刺状的纹理。对颜料进行不同的几何形状排列和色彩组合，形成了画面之间微妙的差异。这种重复和差异性回应着艺术家对生命的观察和体验，生命在时间维度中单向流逝，脆弱又顽强，无常而波动，它们既相似相续，又多彩各异。如果说《铄》系列追求机器操作的规律性和材料的特殊性融合的极致感，那么《棘》系列则在冷静的制作过程中强调了其所独特蕴含的表现主义特征。

Ji No. 32 ｜棘 No. 32 ｜ 2018 ｜acrylic on canvas｜ 布面丙烯 ｜ 80 x 64 cm

绘画的结果是否有突破和创新，是我们从表象进入谢墨凛绘画的一个切入口。而同样重要的另一个问题，也是谢墨凛在近两年工作中的切身体会和行动的对象，即绘画的过程和步骤的启发性。一张画不是被“画”出来，而是被“制作”出来的。这里的“画”指的是传统的工具和工序，而“制作”不同于“画”，不仅改变了材料和工具，创造出了新的绘画面貌，重新建立了一整套绘画的步骤、逻辑甚至是定义。绘画不再仅仅是一个被材料赋形后的客观对象，而象征着一种行动，一些和绘画结果脱离只有间接因果关系的动作和思考（譬如对限制的认知，对任何一道工序的改进等）。对绘画步骤的探索即是对绘画语言探索的重要部分。

机器作为艺术家肢体的延伸，其人手无法企及的边界令艺术家着迷，而机器无可避免的限制性反而加强了艺术创作的深度。人、机器和作品之间形成丰富有机的互动关系，这是谢墨凛的创作对绘画及当代艺术的一种推进和启发。

Shuo No. 4 ｜铄 No. 4 ｜ 2018 ｜acrylic on canvas ｜ 布面丙烯 ｜ 175 x 230 cm

谢墨凛,1979年出生于中国温州，先后毕业于中央美术学院壁画系及英国爱丁堡美术学院绘画专业，现工作生活于北京。他的作品曾于多个美术馆展出，其中包括尤伦斯当代艺术中心、中央美术学院美术馆、昊美术馆、荷兰波伊曼·凡·布宁根博物馆、美国亥俄州立大学城市艺术中心、明尼苏达州古斯塔夫阿道尔夫学院Hillstrom美术馆、迈阿密卢贝尔家族收藏馆、旧金山亚洲艺术博物馆、宾夕法尼亚州迪金森学院等。

Beijing Commune is pleased to present the artist Xie Molin’s eponymous new exhibition “Xie Molin”. This is Xie Molin’s third solo exhibition at the gallery, and it will continue until June 23rd, 2018.

From 2004 onwards, Xie Molin initially utilized the cutting plotter to intervene in painting creation, and established his interest and direction of how humans and machines collaborate altogether to explore the possibilities of painting. And then, by designing a triaxial linkage painting machine himself, his works continued to advance towards more abstract features namely light, texture, trajectory, and colors. This exhibition mainly features Xie Molin’s latest achievements in the exploration of painting in recent years.

Ji No. 29 ｜ 棘 No. 29 ｜ 2018｜ acrylic on canvas ｜ 布面丙烯｜ 80 x 64 cm

The series of “Shuo” tried new types of mixed pigments, in which the features of interference color make the surface of the paintings have more intensely reflective characteristics, and the artworks become more sensitive to the brightness, color temperature, irradiation angle and distance of the light source. Different from the traditional pattern of viewing, “Shuo” encourages the audience to move step by step in front of the paintings while viewing them. The movement of the audience triggers a sense of motion in the artworks. This is a new sensory experience brought about by the integration of materials and trajectories. In terms of “Ji” series, the pigments constitute a continuous dagger-like texture in a one-way flow during the process of being extruded and shaven by the zigzag scraper. Different geometrical arrangements and color combinations of the pigments create subtle variations between different paintings. The repetition and variation of the works reflect the artist's observation and experience upon life. Life flows in one direction in the dimension of time, it is fragile and tenacious, impermanent and fluctuating. These works have both similarities and continuity but are also rich in diversity. If "Shuo" pursues the extreme sense of integration of the regularity of machine operation and the particularity of materials, then"Ji" somehow emphasizes its unique expressionistic features in the artist’s calmly creative process.

Ji No. 27 ｜ 棘 No. 27 ｜ 2018 ｜ acrylic on canvas ｜ 布面丙烯 ｜ 126 x 84 cm

Whether the results of the paintings have breakthroughs and innovations, this is an entry point for us to understand Xie Molin's paintings from their appearance. Another factor which is also equally important in Xie Molin’s personal experience and action in his past few yearsof work, that is, the inspiration from the processes and steps of painting. A painting is not "painted" but "made". The “paint” here refers to the traditional tools and processes, while “make” is different from “paint” - it not only transforms the materials and painting tools but also creates a new painting appearance, and re-establishes a set of painting steps, logic and even the definition. Painting is no longer just an object shaped by materials, it also symbolizes an action, or certain indirect causal action and thoughts deviated from the results of painting (such as the recognition of limitations, the improvement of certain creative process, etc.). The exploration of painting process is also an important constituent part in the exploration of painting language.

As an extension of the artist's two hands, the machine leads the artist to the fascinating inaccessible boundaries which are beyond the reach of human hands, and in the meanwhile its inescapable limitations in a way intensify the depth of artistic creation. With the abundant and dynamic interactive relationship between humans, machinery andartworks, Xie Molin’s practice provides an inspirational perspective for the painting and contemporary art.

Ji No. 28 ｜ 棘 No. 28｜ 2017 ｜ acrylic on canvas ｜ 布面丙烯 ｜ 80 x 64 cm

Xie Molin was born in Wenzhou in 1979. He graduated from the China Central Academy of Fine Arts (BFA) and Edinburgh College of Art (MFA). He currently lives and works in Beijing. His artworks have been exhibited in Ullens Center for Contemporary Art, Beijing; the Art Museum of China Central Academy of Fine Arts, How Art Museum; Museum Boijmans Van Beuningen, the Netherlands; Urban Arts Space, Ohio State University, U.S.; Hillstrom Museum, Gustavus Adolphus College, U.S.; Rubell Family Collection, Miami, U.S.; Asian Art Museum, San Francisco; Dickinson College, Carlisle, PA, U.S.; and others.

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