观止相生——张子康＆邵译农
策展人
纳尔森·拉米雷茨·德·阿雷拉诺·康德
主办
D+美术馆
协办
玖空间（上海）
展览时间
2026年10月10日-11月15日
展览地点
深圳南山区华侨城创意文化园香山东街3号 D+美术馆
“观止相生——张子康＆邵译农”双个展于2026年10月10日在D+美术馆欣然开幕。本次展览由纳尔森·拉米雷茨·德·阿雷拉诺·康德（Nelson Ramirez de Arellano Conde）担任策展人。展览持续至2026年11月15日，将展出两位艺术家共37件绘画及装置作品。
观止相生
张子康与邵译农之间，存在一种耐人寻味的“互文”。2025年，张子康的个展“生成”于上海展出，策展人是邵译农。邵译农在序言中写道：张子康的绘画“提供了一种超越常规学术框架的‘生命观看’的母本”。这不是客套的策展辞令。真正理解一个艺术家的人，往往是另一个在相似境遇中摸索的艺术家。他们都在做同一件事：让绘画从“图像制造”的惯性中抽身，回到“观看”本身。
张子康的绘画近作，画面中的人物没有清晰的轮廓，墨块与肌理层层叠压，形象在具象与抽象之间不断徘徊，处于持续的生成与消解之中。策展人将这种状态描述为“在流动与重组中探索新的可能”。但更准确地说，张子康所追求的并非“新的可能”作为一种风格产出，而是一种观看状态的重新激活：让形象在生成与消解的循环中“活着”，延长图像被凝视的时间。
Perceiving and Becoming
Between Zhang Zikang and Shao Yinong lies a thought-provoking intertextuality. In 2025, Zhang Zikang’s solo exhibition BECOMING opened in Shanghai, curated by Shao Yinong. In the exhibition catalogue, Shao observed that Zhang’s paintings “offer a matrix for a ‘vision of life’ that transcends conventional academic frameworks.” This observation moves beyond standard curatorial rhetoric: an artist is often understood most profoundly by a peer navigating analogous existential territory. Both artists share a singular imperative: to dislodge painting from the inertia of mere image production and return it to the contemplative act of seeing itself.
Zhang Zikang’s recent series expands upon the core ethos of Above Boundaries. The figures populating his canvases eschew sharp contours; visceral blocks of wash and layered textures coalesce, keeping forms in perpetual tension between figuration and abstraction, emergence and dissolution. The curator articulates this state as “exploring new possibilities amid flux and recombination.” More precisely, however, Zhang does not pursue stylistic novelty as an ultimate objective, but rather seeks an active reactivation of sight: enabling forms to exist within continuous cycles of emergence and erasure, thereby sustaining the viewer’s gaze.
《生》
张子康
综合材料
53.5×69cm 2025
这一实践背后，来自张子康对“水墨精神”的深度思辨。他认为，水墨的当代延展不是材料或技法的问题，而是“水墨的精神与中国精神的相连”。所谓“中国精神”在这里并非某种可辨识的民族图式，而是一种观照世界的方式：不追求形式的完成与封闭，而让“未完成”本身成为意义的能动机制。画面里这种悬而未决的质感，不是创作上的犹豫，而是一种主动的美学选择——拒绝让图像固化成刻板类别，从而为凝视保留呼吸的余地。
Underpinning this methodology is Zhang’s critical reading of the spirit of shuimo (ink-wash). He maintains that the contemporary resonance of ink-wash is neither bound to medium nor constrained by traditional technique, but resides in the continuity between the ink-wash ethos and a broader Chinese ontology. Here, cultural ethos denotes an epistemological mode of perceiving the world rather than an ensemble of recognizable national motifs: a sustained refusal of formal finality, allowing incompletion to operate as an active apparatus for generating meaning. The suspended quality of his canvases reflects not artistic hesitation, but a deliberate aesthetic strategy. He resists allowing images to crystallize into rigid categories, preserving a breathing space for contemplation.
《时间》
张子康
综合材料
68.5×74cm 2025
张子康兼具美术馆管理者、策展人、出版人等多种身份，常常被视为其艺术实践的背景，但更值得关注的是这些经历如何塑造了他的绘画方法论。他在创作中“更注重思考历史脉络，以及历史与当下的创新连接”。这意味着他的“边界”不仅指向形式语言，更指向图像在历史时间中的位置：一幅画如何既承载水墨传统的基因，又不被这一传统所限定？他的回答是让边界处于持续的松动状态，而非跨越或取消边界。这是一种更为诚实的姿态。
Zhang’s multifaceted career—as museum administrator, curator, and publisher—is frequently framed as mere biographical background. However, these institutional engagements directly inform his pictorial methodology. In his studio practice, he interrogates historical lineage alongside the vital intersections between memory and contemporaneity. For Zhang, boundaries pertain not only to formal syntax, but also to the temporal position of the image: examining how painting can inherit the critical DNA of ink-wash traditions without being subsumed by historical orthodoxy. His intervention maintains these frontiers as permeable thresholds rather than attempting their outright dissolution—an approach rooted in intellectual candor.
《鸣》
张子康
综合材料
69.5×138cm 2025
邵译农的创作路径与张子康截然不同。他早年从装置与摄影出发，2017年回归绘画，2020年疫情期间创作了十八幅画作，描绘日常物象、墙面、地砖、水渍、窗户——几乎都是最寻常、取自生活肌理的片段。
但正是在这种“平淡”中，一种知觉的裂缝悄然打开。薛梅在展览前言中精准地指出：这些物象“乍一看了无新意，但是如果注视得再久一些，我们就会陷入一种知觉的裂缝。眼前的一切似乎都不甚熟悉，经验失灵，物象模糊”。邵译农将这种状态命名为“无知无觉”——不是麻木，而是一种主动的知觉悬置。他通过虚化的背景、抽空的地理信息、缺席的人类活动，制造出一种“陌生化”效果，让熟悉的物象从日常经验的惯性中脱落出来。
Shao Yinong’s trajectory traces a distinct formal arc. Having developed his practice across installation and photography, he returned to oil painting in 2017. During the period of isolation in 2020, he completed a series of eighteen canvases depicting domestic motifs: distressed walls, floor tiles, water stains, domestic foliage, and window panes—episodes drawn from the everyday fabric.
Yet, within this apparent banality emerges an acute perceptual rupture. As critic Xue Mei observed, while these subjects appear unremarkable upon initial inspection, prolonged looking immerses the viewer in an existential fracture where habitual assumptions collapse and objects blur into defamiliarization. Shao designates this condition as unwitting perception: not an affective numbness, but an intentional suspension of habituated sight. Through muted, atmospheric grounds stripped of geographical signifiers and human presence, he engineers an estrangement that liberates mundane artifacts from domestic utility.
《寒夜孤雪》
邵译农
布面油画
80x120cm2020
这一实践与邵译农长期的东方精神探索一脉相承。在绘画中，这种关怀转化为对“看”本身的重新训练：认真描绘一个潮湿泛黄的墙角，观察叶子棱角的光影变化，追问“为什么树枝的张力和角度是这样富有生命力”。这种凝视不是对物的占有，而是一种近乎修行的“等待”——等待物象从功用的网络中挣脱，露出其陌生的、不可被完全认知的面孔。
评论者敏锐地注意到，邵译农的绘画“周旋于渺小的物，用无限控制有限，把那些看似遥不可及的东西拉得足够的近”。这种“拉近”的力学，与张子康“悬置”的力学形成有趣的对照：张子康让形象远离可识别性，邵译农则让熟悉之物变得不可识别。路径相反，指向的却是同一种观看的觉醒。
This process remains in continuity with Shao’s long-standing investigation into Eastern spiritual philosophies. Within the pictorial space, this concern materializes as a re-attunement of vision: methodically capturing the damp texture of a weathered wall, following the subtle refraction of light on foliage, or contemplating why the structural tension of a dormant branch possesses such intense vitality. This visual engagement avoids domesticating the object; it functions as a form of contemplative waiting—allowing matter to untether itself from pragmatic utility and reveal impenetrable interiorities.
Critics have noted that Shao frames the finite through the register of the infinite, bringing remote presences into immediate sensory proximity. This mechanic of spatial intimacy creates an operative counterpoint to Zhang Zikang’s aesthetics of suspension: while Zhang defamiliarizes recognizable forms through meditative distance, Shao renders everyday phenomena enigmatic through intimate proximity. Though their formal strategies diverge, both trajectories converge upon an awakening of critical sight.
《松间雾影》
邵译农
布⾯油画
60×80cm 2025
将张子康与邵译农并置，最引人注目的不是风格差异，而是他们对“完成”的共同拒绝。
张子康的画面是“未完成”的，因为形象始终处于生成与消解的张力中。邵译农的画面同样是“未完成”的，因为物象拒绝被日常经验完全捕获。前者的未完成是一种形式策略，后者的未完成是一种知觉策略。但两者都指向同一个方向：绘画不应是意义的封装，而应是意义的持续酝酿。
这恰恰是东方视觉经验在当代语境中最具生命力的转化方式。传统水墨的“留白”“气韵”“写意”等概念，在今天如果仅仅作为风格标签被挪用，只会沦为符号的消费。张子康与邵译农的实践提示了另一条路径：将东方感知中“不执著于相”的精神，转化为对图像生产逻辑本身的反思。张子康的“边界之上”不是边界的取消，而是让边界保持可渗透的状态；邵译农的“无知无觉”不是知觉的放弃，而是让知觉从惯性中解放出来。
When placed in curatorial dialogue, the work of Zhang Zikang and Shao Yinong reveals not discordant painterly idioms, but a shared refusal of definitive closure.
Zhang’s canvases remain open because form resides in constant flux between appearance and disappearance. Shao’s paintings remain equally unresolved because the depicted subject actively resists full cognitive assimilation. The incompletion of the former operates as a formal inquiry; that of the latter functions as a phenomenological disruption. Both strategies affirm that painting should not merely enclose predetermined meanings, but nurture continuous epistemic gestation.
It is here that historical visual methodologies undergo their most potent contemporary transformation. Concepts such as negative space (liubai), vital resonance (qiyun), and expressive brushwork (xieyi), when reduced to purely stylistic tropes, become hollow cultural signifiers. The practice of these two artists outlines an alternate lineage: transposing the philosophical tenet of non-attachment to external forms into a rigorous critique of contemporary image production. Zhang’s Above Boundaries maintains frontiers as porous membranes; Shao’s unwitting perception liberates sensory awareness from ideological habit.
《寅卯辰巳》
邵译农
艺术装置
尺寸各异2024
邵译农在策展张子康“生成”展览时写道：张子康的绘画“不解释、不宣称，却以沉默而饱满的方式，唤起观者内心深处对存在的共响”。这句话几乎可以直接用来描述邵译农自己的绘画。两位艺术家都在做同一件事：让绘画回到凝视的原初状态——不是去看“什么”，而是让“看”本身成为一种值得停留的经验。
观止相生，指向的正是这种经验的双重性：止息惯性视觉，悬置凝视。当绘画不再急于说出什么，它才可能真正被听见。
Reflecting upon Zhang’s solo exhibition BECOMING, Shao observed that Zhang’s paintings “explain nothing, make no proclamations, yet in a silent, full-bodied manner, evoke deep inner resonance with existence.” This assessment applies with equal precision to Shao’s own output. Both artists undertake identical critical labor: restoring painting to a primordial register of looking—not merely to identify a motif, but to establish the act of seeing as an enduring, transformative experience.
Perceiving and Becoming articulates this dual phenomenological movement: disrupting routine visual consumption and suspending the gaze. Only when the painted image relinquishes the compulsion to explain does it command genuine contemplation.
（文/纳尔森·拉米雷茨·德·阿雷拉诺·康德，哈瓦那双年展负责人，林飞龙艺术中心馆长，国际知名策展人 来源：Dplus美术馆）
艺术家简介
张子康，1964年出生于河北，现为中央美术学院教授，深圳国际美术馆馆长，所创作品曾在意大利、德国、韩国、日本、美国等国家以及中国香港、澳门、北京、上海等地区举办展览。
主要展览：第十一届佛罗伦萨国际当代艺术双年展（意大利）；2018年中德国际艺术交流大展；2022年“之间”-张子康当代水墨作品展（香港）；2023年中日韩国际现代艺术交流展（日本)；2023年 野性生长——亚洲艺术共同体展（韩国女子大学美术馆）；2024年“自在虚空——张子康”；2024年 NordArt 2024国际当代艺术大展（德国）。
邵译农，1961年出生于青海西宁，现工作、生活于北京。1982年毕业于青海师范大学油画专业，1987年毕业于中央美术学院油画系第三届助教班。邵译农是一位很具独特性和创造性的艺术家。他的艺术跨度较大，涵盖了不同媒介和观念。他早期先后从事绘画、摄影、装置，2020年后回归绘画创作。
邵译农早期的绘画带有“时效”特点。后来他（与慕辰合作）的摄影作品在形式上呈现出绝对客观的图像，又传递出对其蕴涵的历史意义的解读。在进行了多年摄影创作后，邵译农转向了装置的创作，而最近6年的作品则转向了对中国传统美学挖掘和利用，并以此重新界定了物、自然、空间与人的关系。
