Zhumingzhen’s paintings are still and blazing. He is washing for this melancholy summer, carefully combing the roots of plants that are underdeveloped in spring, or giving a hint of a bright color dot, or giving a slight scratch to lure them to wake up, or bloom again. Finally, there is an Eden built of blue sky, white clouds, grass and flowers, just for the pleasure of insects and birds. This also made me have the impulse to drill into the walls, even if I turned into an ant or a beetle, wandering in the wanton light. Zhu Mingzhen’s paintings are not to record the changes of seasons, but to define the summer of 2022 for us.
——Bao Lin (Professor and doctoral tutor of Academy of fine arts, Tsinghua University)
2022.06.13

  

PART 01

“Curator zhangsiyong said that, as an explorer who has been engaged in abstract art for a long time, zhumingchen has always summarized himself from the form of pictures or theoretical interpretation, just like his usual humorous Poetry: this spring is a little sad / throws the sadness of spring into the water / hopes to be as beautiful as the flowers of spring… As a messenger of time, zhumingchen can write visually at his fingertips and” how can we comfort? ” It’s almost out of the self gaze. Zhumingzhen often asks about the meaning of the goal of leisure and free life. He mentioned with his friends in the art circle, “as a painter, what can I do besides painting day after day and year after year?” His artistic practice and dialectical thinking endow secular life with aesthetic differences, and thus build a private garden with charming paths.

Zhu Mingzhen reflected and congealed the background construction and landscape extraction of the picture. Driven by the mutual evolution, he created the nihility of the current natural state and the sense of life. In the nomadic rhythm, the artistic vision is promoted. In the artistic psychological portrait of sublation and extraction, it focuses on hunting. In the overall and instantaneous displacement, it not only exaggerates the pleasure of the game, but also implies the spiritual pain. The pleasure level is the surface lyric of his art, and the pain is the enigmatic existence that Zhu Mingchen’s works bring to the audience. The pain is the internal cause of his daily painting. Among them, the daubing of concrete forms, the reappearance of monochrome, the fabrication of circles, the overturning of planes, the care of scattered points, the simplicity of forms, the cultivation of linearity, and the support of writing summon the approaching state of “there is light if there is light”, and reach the free Transcendence of “I think, therefore I am”. In the de standardized aesthetic jungle, “where will I go?” The aesthetic generation of this particular pain. “
——From Jiangnan Metropolis Network

           

               

PART

Exhibition site

PART 03

On site photos

PART 04

Exhibition interview

PART 05

Exhibition posters

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