“观止相生——张子康＆邵译农双个展”今日在深圳开展

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》