正在展出｜北京公社正在展出谢墨凛个展『白色』

日期：2025-03-19 15:14:08 来源：北京公社

展览 >正在展出｜北京公社正在展出谢墨凛个展『白色』

正在展出 Current

谢墨凛‍‍‍

白色‍‍‍‍‍‍‍‍‍

Xie Molin‍‍‍‍‍‍‍‍‍‍‍‍

White

2025.03.15 - 2025.05.10

北京公社欣然呈现谢墨凛个展“白色”，展览于2025年3月15日开幕，展出艺术家沿用他的机器绘画创作方式所最新绘制的一组八幅白色丙烯作品。在纯然的白色中，相似与差异、演进与矛盾被更赤裸地摆在眼前，映照出谢墨凛在他独特的艺术创作方法中对现实更为深入的探索与理解。

从他模拟刻字机而创造出第一台三轴绘画机器开始，谢墨凛的艺术创作便试图从方法上以“制作”的方式重新进入“绘画”。在他的创作中，谢墨凛常常通过对形式的直觉感受来联结艺术家、机器与画面之间的互动关系，从中生成各种形式化的图像；在此次的展览中，他则有意在全然相同的尺幅与颜色的画面內展现一系列不断朝向冷峻坚硬的机器与液态绵软的颜料之间关系之极限的演进变化（随着画面中的方形不断缩进，机器牵动的颜料惊心动魄地越来越细密）。

实际上，对于常年与各种样式的机械画刀（锯齿大小不同的锯片、粗细不同的钢针等）和各种粘稠度的颜料朝夕相处的谢墨凛来说，并不难预见这一系列递进的精密度能达到的极限在哪里。然而在这一系列作品中更为重要的是，将这些看上去像是由粗至细的演进并置时，作品之间的相似与差异折射出某种在真实的现代生产的“制作”中所一直隐含着的关于演进与迭代的情绪。

数字时代的白上白 9.55 _ 2024

相较于谢墨凛以往为人熟悉的理性而精密但仍带有色彩韵律的作品，《数字时代的白上白》显得更为极致地“客观”。这种“客观”并非从属于对象的一种性质，而是通过运用机器的精确把控与形式的推算演进的“制作”过程所产生的一种感觉。也正是在这一过程中，不断加深着谢墨凛对于现代化笼罩下的“客观世界”的构建与认识的理解。正如他所说：“相比从现实里获得画面，我更喜欢从方法中生成出跟我的现实之间有联结的作品。”

数字时代的白上白 8.45 _ 2024 _ 细节‍‍‍‍‍‍‍‍

构建和认识“客观”的过程里的矛盾重重是这一系列作品的核心，而“白色”对谢墨凛而言具有这种内在矛盾的象征意义：“世间没有真正的大白，白中必有黑。”在不同的距离与角度产生的光影效果下，展览中的白色作品呈现出种种截然相悖的视觉效果：从作品两侧的来回移动，画面中横向排列形成的方形与横竖交叠形成的方形，会呈现出完全相反的明暗关系；而在某一个位置，横竖交叠形成的方形与机器绘制出的精密细节都会消隐，画面内似乎“空无一物”。在纯然的白色与变幻的明暗、复杂的排列与至简的形式、数字的模拟与崇高的光影之间，或许正如谢墨凛在阅读《道德经》和《庄子》时所感受到的神奇而自然的连接：“阳极生阴，阴极生阳。”

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.

数字时代的白上白 9.50 _ 2024 _ 侧面‍

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.

关于艺术家

谢墨凛1979年出生于温州，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。从开始亲手改装制作第一台绘画机器开始，谢墨凛逐渐形成了自己在绘画中的独特路径。他对"机器"的拥抱既是源于他对绘画形式感更精确表达的需求，也同时是观念意义上的。"机器”不仅可以被艺术家用来替代传统工具对绘画这种创作形式做出新的探索，其实践本身也对应著中国当下文化里对技术带来的可能性的多重想象。

谢墨凛的个展曾举办于复星艺术中心、北京公社、佩斯香港等地。谢墨凛的作品曾展出于奥地利列奥尼格博物馆、韩国SongEun艺术空间、北京松美术馆、上海龙美术馆、旧金山亚洲艺术博物馆、宾夕法尼亚州迪金森学院、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、温州昊美术馆、北京泰康空间、北京尤伦斯当代艺术中心、北京中央美术学院美术馆等。谢墨凛的作品被荷兰De Heus-Zomer收藏、上海复星艺术基金会、法国 DSL 基金会、瑞士Uli Sigg收藏、纽约多姆斯收藏、北京泰康收藏等美术馆及机构收藏。

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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