After the Image
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展览前言 | Exhibition Preface
在图像之后
在当代视觉文化中，图像不再作为再现的稳定终点而存在，而是作为一种过渡性的状态，由历史沉积、感知协商与物质转化共同生成。《在图像之后》并不将这种不稳定性视为可见性的危机，而是将其确立为一种结构性前提：图像在此被理解为一个持续生成、拆解并不断重组的过程性存在，横跨时间、物质与感知的不同层面。
展览围绕四种艺术实践展开，它们共同勾勒出图像在不同存在论状态中的迁移路径——从生成到消散。
在陈赟的创作中，图像首先作为一种考古性的结构被建立。宗教图像、文化杂糅与个人记忆在画面中彼此交织，形成具有空间与时间复合维度的视觉构成。图像在此并非再现性的对象，而是一种层叠的历史传递机制，其视觉形式作为可被继承并不断转化的系统而存在。
这一结构在陆霜的实践中进入不稳定状态。通过矿物颜料与壁画传统的再激活，图像在控制与偶然之间不断生成与偏移。在这一过程中，图像不再是封闭的构图系统，而成为秩序与偶发性持续协商的场域。材料的物理属性与绘画意图并置而不趋于统一，从而使形式始终处于生成之中。
相较之下，李笑丹的实践维持图像作为文化连续性的机制。她借由古典绘画传统与东方美学，在视觉中建立起一种以生成、破碎与修复为内在逻辑的结构。图像在此并非以叙事方式呈现变化，而是在无常与转化之间，将时间性内化为形式法则。破裂并不指向终结，而成为持续生成的条件，使图像在承载历史深度的同时，以一种脆弱却持续的方式对当代感知保持开放。
这一连续性在张永宏的实践中抵达临界点。通过缝制、切割、编织与层叠等物质操作，图像逐渐脱离再现系统，转化为触觉、情绪与符号交织的时间性残余。在此，图像不再作为一个稳定的视觉系统运作，而是在情感、记忆与物质痕迹之间重新显现为碎片化的场域。视觉结构不再成立，而是散落为劳动、记忆与物质持续性的碎片。在这一由生成至消散的整体结构中，“之后”既是一种时间性条件，也是一种认知性距离。它并不意味着图像序列的终结，而是指向一个图像持续处于不稳定状态中的空间——生成、扰动、维系与消散在此同时发生。
最终，《在图像之后》所提出的，并非图像作为对象的可见性问题，而是图像在形式与物质、历史与感知之间持续协商的存在论场域。所留下的，并非单一的视觉真理，而是一片不断变化的地形，在其中“观看”本身被持续重构。
After the Image
In contemporary visual culture, the image no longer appears as a stable endpoint of representation. It operates instead as a transitional condition—formed through historical sedimentation, perceptual negotiation, and material transformation. After the Image takes this instability not as a crisis of visibility, but as a structural premise: the image is understood here as something that is continuously made, unmade, and reconfigured across different regimes of time, matter, and perception.
The exhibition unfolds through four artistic positions that trace a shifting ontology of the image—from its formation to its dissolution.
For Chen Yun, the image emerges as an archaeological structure, in which religious iconography, cultural hybridity, and personal memory are interwoven into spatial-temporal constructions. Her work frames the image as a site of layered historical transmission, where visual forms function as inherited yet transformable systems.
This structural condition becomes unstable in the practice of Lu Shuang, where mineral pigments and mural traditions are reactivated through processes of controlled disruption. Here, the image is no longer a fixed composition but a negotiated field between order and contingency. Material behavior and painterly intention coexist without resolution, generating forms that remain in continuous formation.
In contrast, Li Xiaodan’s practice sustains the image as a system of cultural continuity. Drawing from classical pictorial traditions and Eastern aesthetic systems, she constructs visual fields in which formation, fracture, and repair operate as an internal logic. Change is not narrated, but embedded within the structure of the image itself. Rupture does not signify an end, but becomes a condition for renewal, allowing the image to remain both historically grounded and perceptually open in a state of fragile continuity.
This continuity reaches a critical threshold in the practice of Zhang Yonghong, where the image is gradually displaced by material process. Through stitching, cutting, weaving, and layering, representation dissolves into tactile, emotional, and symbolic residues. Here, the image no longer operates as a stable visual system, but re-emerges as a fragmented field of affect, memory, and material trace. The visual no longer holds as a coherent system; it disperses into fragments of labor, memory, and material duration.
Across these four positions, after functions both as temporal condition and epistemic distance. It marks not a succession beyond the image, but a space in which the image persists in unstable states—emerging, destabilizing, sustaining, and dissolving.
Ultimately, After the Image proposes that the image is not an object to be seen, but a field of ongoing negotiation between form and matter, history and perception. What remains is not a singular visual truth, but a shifting terrain in which seeing itself is continuously reconfigured.
Artist Biographies
陈赟 Chen Yun
陈赟（1993年生于福建，现工作生活于北京）的创作根植于一种独特的文化交叉地带：她成长于福建穆阳的一个天主教家庭，该地长期处于西方宗教图像与中国传统建筑结构的交汇之处。这些早期的成长经验，结合她对欧洲教堂与经院空间的深入考察，共同构成了她作品中“考古式”建构的基础。
陈赟主要以坦培拉（Tempera）进行创作，这一媒介因其迟缓且精确的特性，成为她进行“时间修行”的手段。通过层层覆盖的色层，她构建出一种时间的物理厚度，使作品成为一个独立的、建筑性的空间。在陈赟的画中，画框不再是图像的边界，而是承载记忆衰老与历史风化的“理想废墟”。她的绘画实践是一场深度的智性挖掘，通过对宗教与古典图像的解构，揭示出信仰体系与个人经验之间层叠的张力，使其创作始终处于一种“舶来传统”与“本土命运”之间的协商过程。
Chen Yun (b. 1993, Fujian, China) currently lives and works in Beijing. Her practice is rooted in a unique cultural intersection: growing up in a Catholic family in Muyang—a town defined by the historic convergence of Western religious iconography and traditional Chinese architectural structures. These formative experiences, coupled with extensive observations of European ecclesiastical spaces, establish the foundational "archaeological" framework of her work.
Chen Yun primarily utilizes tempera, a choice driven by the medium’s inherent slowness and demand for precision. She treats tempera not merely as a technique, but as a meditative act—an exercise in "painting time." By methodically layering pigments, she constructs a physical "thickness" of time, where each work functions as a self-contained, architectural space. For Chen, the frame is not a boundary; it is an "ideal ruin" that encapsulates fading memory, temporal decay, and the material evidence of history. Her paintings function as sites of intellectual excavation, deconstructing iconography to reveal the dissonant layers between belief systems and personal experience.
陆霜 Lu Shuang
陆霜（2000年生于湖南，现工作生活于北京）于2023年毕业于广州美术学院壁画系岩彩专业。她的实践植根于矿物颜料深厚的物质历史，将其视为探索当代图像不稳定性与表达边界的核心媒介。
陆霜的创作源于一种直觉式的原始生命力，她将绘画视为艺术家与时间流逝之间的一场对话。她将画布处理为一种动态的历史沉积，如同历经千年的古代壁画，在其衰落与留存中呈现出一种悲剧性的韧性。陆霜的创作方法在于平衡“必然因素”（即她主观审慎的构图布局）与“偶然因素”（即颜料自身的物理特性与时间的作用），她通过人为的裂纹、脱落与打磨，迫使画面进入一种“受控的崩解”状态。在这种破坏性的动作中，理想秩序与现实冲撞，重获了一种肆意自由的结构。对陆霜而言，图像是一种“破裂的秩序”，她无意追求形式的完美，而是通过这一过程，赋予画面一种经得起时间淘洗的真实感。
Lu Shuang (b. 2000, Hunan, China) graduated from the Guangzhou Academy of Fine Arts in 2023 with a focus on mural painting and Yan Cai (mineral pigments). She currently lives and works in Beijing. Her practice is rooted in the deep material history of mineral pigments, which she utilizes as an anchor for exploring the instability of contemporary representation.
Lu Shuang’s work is driven by an instinctive vitality, where the act of painting becomes a dialogue between the artist and the passage of time. She treats the canvas as a living, historical sedimentation, akin to the degradation and resilience of ancient murals. Her methodology navigates a tension between "inevitable factors"—her own subjective layouts—and "accidental factors"—the autonomous physical behavior of the pigments, which she encourages through deliberate interventions like cracking, peeling, and grinding. By subjecting her compositions to this process of controlled destruction, she stages a collision between ideal order and raw reality. For Lu, the image is a "ruptured order" that seeks a new, authentic freedom.
李笑丹 Li Xiaodan
李笑丹（1991年生于河北，现工作生活于北京）毕业于中央美术学院壁画系，先后获得学士及硕士学位。作为深受学院派严格训练的艺术家，李笑丹的创作核心在于通过当代绘画语言，实现对东方美学的转译与重构。
其艺术实践遵循“格物”与“抒情”的双重路径。她擅长综合运用油画、绢本、纸本设色等多种媒介，在具象与抽象之间构筑平衡。李笑丹并不将传统视为静止的遗迹，而是将其转化为一种动态的生命过程。通过对花木盛衰、器物静物的细腻刻画，她探讨了自然法则与人文精神的内在联系。李笑丹的视觉语言具有一种“柔韧而克制”的特质。她游走于东西方古典美学之间，将不同文化脉络中的精神内核熔炼于笔端。在她的画面中，色彩温润，留白考究，不仅展现了精湛的造型功力，更传达出一种超越时代的文人格调。
Li Xiaodan (b. 1991, Hebei, China) graduated from the Mural Painting Department of the Central Academy of Fine Arts (CAFA) with both her Bachelor’s and Master’s degrees. She currently lives and works in Beijing. Trained within the rigorous academic tradition, Li’s practice is defined by a synthesis of Western technical mastery and the spirit of the Eastern literati.
Li’s methodology is anchored in the philosophical duality of Ge Wu (the investigation of things) and Shu Qing (lyrical expression). She does not treat tradition as a static heritage but as a living process. By fluently traversing oil, silk, and mineral pigments, she interrogates the "middle state"—the balance between representation and abstraction, and between the historical past and contemporary subjectivity. Her works often focus on the natural cycles of growth and decay, using motifs such as flora and antique vessels as conduits to explore human nature and the passage of time. Her practice is characterized by a "restrained nobility," where color and empty space (liubai) are meticulously calibrated to convey a contemporary transformation of the literati tradition.
张永宏 Zhang Yonghong
张永宏（1968年生于新疆，现工作生活于北京）于1993年毕业于中央美术学院民间美术系连环画专业。她的创作以一种“意识流”的方式展开，打破了媒介的传统藩篱，自由穿梭于织物、缝纫机、陶瓷与数字影像之间，构筑起一种独特的叙事维度。
张永宏将缝纫机视为“绘画”的延伸。在她的实践中，针脚并非连接布料的技术手段，而是追溯记忆与情感的路径。通过拆解、缝合、叠加与织补，她将日常衣物——如褪色的围巾、磨损的牛仔布——转化为一种具有地质感的记忆景观。她并不试图去描绘现实，而是让现实在反复的拆解与重构中“溶解”。她将生命中隐秘的创伤、温情与期许，通过这种“触感织物”的物理介入，内嵌于材料的纹理之中。张永宏的艺术是一场关于记忆的考古，她笔下的画面并非静止的视觉呈现，而是一种持续流动的过程，将观者引导至一场关于生命痕迹与感知重塑的深度对话。
Zhang Yonghong (b. 1968, Xinjiang, China) graduated from the Folk Art Department of the Central Academy of Fine Arts (CAFA) in 1993. Her practice is defined by a rigorous, "stream of consciousness" approach that defies traditional medium boundaries. Moving fluidly between textiles, sewing machines, ceramics, and digital tools, Zhang creates a visual language where the boundary between "drawing" and "sculpting" vanishes.
Her primary medium—the sewing machine—is not used for craft, but as a conceptual tool for "drawing with memory." By tearing, stitching, layering, and re-stitching ordinary fabrics and garments into complex topographies, Zhang engages in a form of temporal archaeology. The needle does not merely join fabric; it traces the "geological layers" of human experience. For Zhang, the act of sewing is an exercise in resilience: she takes the ordinary materials of life—faded scarves, worn denim, tangled threads—and transforms them into psychological landscapes that oscillate between the fragility of the human condition and the solidity of earth. In her practice, the image is no longer a static visual surface, but an open, dissolving entity.