1977 生于新疆
2003 畢業(yè)于四川美術(shù)學(xué)院油畫系
     現(xiàn)居重慶

個(gè)展
2004 “splendour of gold” 藝術(shù)季節(jié) (新加坡)
2007 “別意”惠欣個(gè)展（北京 季節(jié)畫廊）
展覽
2007 同感 K 畫廊 成都
2007 “核變”藝術(shù)展marella gallery (意大利 米蘭)
     “果凍時(shí)代”藝術(shù)展（上海美術(shù)館）
2006 “當(dāng)代藝術(shù)四人聯(lián)展”（中國,臺灣）
     超越的維度—中國新繪畫展（南京四方美術(shù)館）
      嬉戲的圖象—2006中國當(dāng)代藝術(shù)邀請展（深圳美術(shù)館）
2005 “抓壯丁” , 北京季節(jié) (中國, 北京)
2004 “現(xiàn)代中國” , 藝術(shù)季節(jié) (新加坡)
     “ARTSingapore 2004” (新加坡)
     “中國國際畫廊博覽會” (中國, 北京)
     “彼此” 當(dāng)代藝術(shù)作品展 (圖盧茲, 法國)
2003 “青春就是權(quán)利” (中國, 上海)
     “第二屆貴州雙年展” (中國, 貴陽)
     轉(zhuǎn)向- <<當(dāng)代美術(shù)家>> 首屆年度邀請展 (重慶美術(shù)館)
     重慶美術(shù)館開館展 (中國, 重慶)
     重慶市首屆油畫展 (中國, 重慶)

HUI XIN
1977 Born in Xinjiang, China
2003 Graduated from Oil Painting Department, Sichuan Fine arts
     Institute
     Living in Chongqing China

SOLO EXHIBITION
2007 “Far away”
     Artseasons Gallery, Beijing, China
2004 “SPLFNDOUR OF GOLD”
     Artseasons Gallery, Singapore

EXHIBITION
2008 Inf Antization
     Taipei Museum of Contemporary Art, Taiwan, China
2007 “The pit change” Art Exhibition
     Marella Gallery, Milan, Italian
     “The Same feeling: Contemporary Emerging Artists Exhibition”,      Chengdu. China
     “Inf Antization”, Shanghai Art Museum
    “The Reveling Waves”, Shanghai Duolun Museum
2006 “The Contemporary Arts Association Exhibition”??
     Min Art Gallery, Taiwan, China
     “Beyond Dimension: Chinese New Painting”?
     Nanjing Square Gallery of Contemporary Art
     “Frolic Picture—2006Contemporary Art of China Lnvitation      Exhibition”
     Shenzhen Art Museum
2005 “ZHUA ZHUANG DING”
     Artseasons Gallery, Beijing, China
2004 “CHINA NOW”
     Artseasons Gallery, Singapore
     “ARTSingapore 2004”, Singapore
      China International Gallery Explosion, Beijing, China
     L’un,L’autre,Toulouse, France
2003 “Power is Young” Shanghai, China
     “The Second Oil Painting Biennale of Guizhou”, Guiyang, China
     “The Turning-The First Annual Invitation Exhibition by Contemporary
     Artists”, Chongqing Art Museum, China
     “Art Education of Experiment Opening Exhibition of Chongqing      Museum”, Chongqing China
     “The First Oil Painting Exhibition”, Chongqing Museum, China

另一種“美”術(shù)
作為多年的朋友，在惠欣提出由我來寫這些文字的時(shí)候，我是欣然領(lǐng)命的，可及至提筆，才發(fā)覺言說別人的工作的難處。所幸自學(xué)生時(shí)代起，大家的工作就是在一次次的醉酒與長談中得以推進(jìn)的，可謂知根知底，或許可為我不自量力強(qiáng)為此文的根據(jù)吧。
惠欣藝術(shù)創(chuàng)作上的發(fā)端，頗有些類似于某些老派的學(xué)院藝術(shù)家的經(jīng)歷。他只是迷戀于某種工具和材料帶給他的手工快感，又流連于純粹的審美生理快感。對于其時(shí)對現(xiàn)代主義與當(dāng)代藝術(shù)不甚關(guān)心的他來說，如果不是周遭環(huán)境里的耳濡目染，我相信他會義無反顧地成為一個(gè)不怎么優(yōu)秀的使用噴筆的學(xué)院藝術(shù)家的。
但有趣的是，這樣看似的“先天不足”，卻不但沒有使惠欣的工作淪入到由于一成不變的工作方式而極可能導(dǎo)致的“圖式化”的無聊游戲中，反而使他很快失去了對把玩語言與執(zhí)著于形式的興趣，而把注意力轉(zhuǎn)到了對圖像的選擇與構(gòu)成方式的考慮上。這也就是從2003年到現(xiàn)今惠欣作品中呈現(xiàn)出來的變化與努力。從早期以魚為主題，帶有些許夢囈意味的作品，到現(xiàn)在拼貼了許多傳統(tǒng)繪畫與民間美術(shù)圖像的畫面，絕非“黔驢技窮”式的簡單的題材轉(zhuǎn)換，它提示的更是一個(gè)藝術(shù)家以為依憑的方法論的變化。
首先要注意到的是，與其他同樣利用現(xiàn)成圖像來進(jìn)行創(chuàng)作的藝術(shù)家相比，惠欣的繪畫一開始就由于其特殊的工作方式而呈現(xiàn)出語言上的反繪畫性。噴繪作為一種技術(shù)手段賦予了畫面冷靜的機(jī)械化特質(zhì)。從出發(fā)點(diǎn)上來講，他是在模擬數(shù)碼時(shí)代中特有的圖像輸出方式。與從格哈德·李希特那里獲得了靈感的許多同道相比，在精神上惠欣歪打誤撞地更接近早期的照相寫實(shí)主義一些。他對這種毫無經(jīng)典審美意味的工作方式的樂此不疲，也是我料定他無法成為一個(gè)優(yōu)秀的學(xué)院藝術(shù)家的原因。
而2004年在完成了他的首個(gè)個(gè)展之后，惠欣開始思考自身工作的進(jìn)一步發(fā)展。在向外尋求資源以為佐助的過程中，他看到了從波普藝術(shù)那里獲得動(dòng)能的可能性。更為關(guān)鍵的是，他更向內(nèi)從心性出發(fā)找到了自己展開工作的母題或言之概念。這種概念混合了他對制造單純審美生理快感的熟稔與我經(jīng)常笑言的惠欣所富有的“民間智慧”。這所謂“民間智慧”，是因?yàn)樗�具有一種我所不及的對世俗生活細(xì)節(jié)的敏感。其中就包括了對于世俗生活中文化消費(fèi)趣味的把握與熱愛。如此我們才會看到，在這之后的作品中，惠欣發(fā)展了一種絢麗耀目的繁復(fù)的趣味。繪畫中單純直接的審美生理快感，被以一種近乎偏執(zhí)的態(tài)度更進(jìn)一步地強(qiáng)調(diào)再強(qiáng)調(diào)。取代了以往單一的曖昧的圖像信息，多種駁雜而具體的繪畫元素被共同置入被壓縮了縱深的平面中。來自于傳統(tǒng)繪畫的高古雅意與民間美術(shù)的粉艷趣味的沖突被以一種裝飾化的手法所調(diào)和而并行不悖，統(tǒng)一在了冷靜的圖像狂歡的氛圍下。雖然乍看之下，在圖像資源的選擇上，惠欣的作品與90年代的“艷俗藝術(shù)”有一定的重合，但應(yīng)該看到的是，后者是從意識形態(tài)出發(fā)，對傳統(tǒng)與民間審美的“策略化”利用，從根本上講是反傳統(tǒng)與民間審美的。與此不同，在惠欣的作品里，看到的是不調(diào)侃不解構(gòu)的態(tài)度與建構(gòu)一種新的審美趣味的積極愿望。在這樣的努力中，對圖像的選擇與營造出來的具有東方意味的氣質(zhì)，與某些論調(diào)中的“販中國化”作為比照，更像是一種生長于中國的年輕藝術(shù)家的自然選擇，或許可以說成是某種“泛中國化”。在此，“泛中國化”的意思是，對中國文化資源的不妄自否薄，不刻意賣弄，而是在一種更開闊的視野里，作出建構(gòu)一種具有包容與生發(fā)性的生動(dòng)而自立的文化系統(tǒng)的努力。
因此，作為一個(gè)1977年生人的藝術(shù)家，惠欣提供的獨(dú)特個(gè)案，顯示的不僅是不同于前行的藝術(shù)家的藝術(shù)價(jià)值取向，同時(shí)也在對年輕藝術(shù)家人群武斷而籠統(tǒng)的判斷聲與所謂“潮流”里，給出了不一樣的回答。在那些予人閃耀的柔軟的富麗的晶瑩的或是其他種種體味的畫面背后，我想更重要的是一個(gè)藝術(shù)家和他的工作系統(tǒng)顯示出的建設(shè)性與可拓展性。
當(dāng)然，也許我這許多的言語不過是對他的藝術(shù)工作的“盲人摸象”式的判斷，既片面也無趣。在惠欣來講，藝術(shù)，也許不過就是另一種“美”術(shù)罷了。
高瑀 2007年1月

Having been friends for a long time, when Hui Xin asked me to write something for him, I was most happy to do so.? It was only when I came to take up my pen that I realised the difficulty in writing about other people.? Luckily ever since we were students our work has been pushed onwards with innumerable drunken nights and long discussions.? You could say we know each other through and through; perhaps that’s why I feel confident in my basis for writing this essay.?
The pinnacle of Hui Xin’s creativity is full of something similar to the experience of an older generation of academic artists.? He is deeply enamored with certain of his tools and materials and the joy of using them, and the pure aesthetic of physical pleasure derived from them.? As for this man who is not deeply concerned with modernism or the contemporary aspects of his art works, if it were not for the environment that surrounds him, I’m sure he would become nothing but an average artist working in spray paint from the Academy.??
What is interesting is that what is an apparent deficiency does not make Hui Xin’s work fall into the monotonous methodology that produces the boring game of producing pictures.? Rather it makes him lose interest in playing games with language or manipulating form, putting his whole attention into considering his choices and construction of the picture.? This is the change and direction that has appeared in Hui Xin’s works from 2003 onwards.? In his early works there was something like a dream world, with fish as his subject, up until the present he works with building a collage of certain traditional and folk art images, it is not the simple fact of his running out of ideas and changing theme, what it really shows is that his methodology has undergone certain changes.
Of primary importance is that, compared with other artists who utilize ready-made images in their creative process, from the start Hui Xin’s paintings have demonstrated a non-painting language in his unique work method.? Spray painting, as a technical method, lends the characteristics of coolness and a mechanical feel to the canvas.? From his starting point, he simulates the production of images that is particular to the digital age.? Unlike many of his contemporaries that have been inspired by Gerhard Richter, spiritually Hui Xin comes closer to the realism of early photography.? He never tires of the joy to be found in this non-classical aesthetic mode of work.? That is why I imagine he cannot become merely an academically excellent artist.???????
Following the conclusion of his first ever solo exhibition in 2004, Hui Xin began to consider the development of his own work.? Aided by external sources in his search, he saw the possibilities and capacity present in Pop art.? More crucial was that he managed to find a mother tongue that grew out of his own inner feelings.? This kind of idea combined together with the ripeness of his pleasure in pure aesthetic joy and the “folk knowledge” that I so often tease Hui Xin in saying he is rich in.? This “folk knowledge” is his sensitivity to the details of secular life and its practices that I am totally lacking in myself.? Which includes a grasp and love of the interest in consumerism in secular culture.? Only in this way will we discover in his following works, that Hui Xin developed an interest in the complexities of what is considered beautiful.? The previously pure aesthetic pleasure has been reinforced by an almost prejudiced attitude.? The previously singular ambiguous information in his paintings has been replaced by multiple heterogeneous images combined together and compressed into a dense pattern on the plane surface.? Graceful images from classical paintings and the bright colours of folk art have been harmonized by a decorative ethos that allows their originally conflicting aspects to settle together in harmony.? The quiet images romp merrily together.? Even at first glance, in his choice of source material, Hui Xin’s works have a certain connection with the “Glamourous Secular” art of the nineties.? However what we ought to notice is that those coming after that period take on these principles with deliberation, making use of the tactics of the traditional and folk aesthetic, which goes to some extent to reject and overturn that very aesthetic itself.? By contrast, in Hui Xin’s works we see no provocative or subversive attitude, but a vigorous desire to establish a new kind of aesthetic.? With this as his aim, creating the strong sense of the Oriental that is present in his choice of image and composition, when compared with certain peddlers of China-culture, would seem the more natural choice of a young artist who has grown up in China.? You could say it was “Chinese all over”.? That is to say not questioning the depth of Chinese cultural resources, not deliberately selling them, but rather through a wider perspective, making efforts to establish a lively and receptive independent cultural system.??????????????
Therefore, as an artist born in 1977, Hui Xin provides us with a unique case.? He not only presents a different direction in artistic values to those who came before him, but at the same time speaks out against the loss of technique and the general trends amongst other young artists, providing a different solution.? Behind the canvasses full of brilliant softness, rich and crystalline, or rich in different tastes, I think what is most important is the establishment and development of an artist and his own method of work.
Naturally, it is possible that my scribblings about his work are like the judgments of the three blind men sizing up an elephant, only focusing on parts and rather lacking in interest.? With Hui Xin, art is perhaps only a kind of aesthetic and nothing more.
January 2007
2007年1月

返回首頁查看更多

惠欣使用一種近似流行廣告繪畫的技法來完成他對圖像的描繪。無論以構(gòu)圖、造型、質(zhì)感和色彩的關(guān)系，使得畫面看上去像一幅電腦繪畫，極具后工業(yè)技術(shù)感。藍(lán)天下起舞的仙鶴、陽光中幽綠的竹林、祥云間傲視的俊龍……這些原本東方化的經(jīng)典視覺形象，被藝術(shù)家“乾坤挪移”般置身在超現(xiàn)實(shí)情景中�；菪揽偸强桃獾卦诋嬅嬷袨橛^眾設(shè)置一個(gè)愉快、美麗的情景。藝術(shù)家竭盡所能的把世俗文化中對于“美”的視覺體驗(yàn)疊加在作品中。驚艷的視覺效果帶來的感觀愉悅，頗似當(dāng)代文化帶來的諸多刺激。的確年青一代對于生活美學(xué)品味的追求，也受到了大眾流行文化的影響，他們更喜歡以直接、輕松的方式去表現(xiàn)和體驗(yàn)生活。
我曾開玩笑的對惠欣說：“你才是中國真正意義的“艷俗”藝術(shù)家，你把世俗文化中傳統(tǒng)的形像以最艷麗的手法表現(xiàn)出來�！被菪涝诶L畫中的圖像挪置，完全不同于九十年代中國“艷俗”繪畫的語意�；菪雷髌窂�(qiáng)調(diào)是畫面撲面而來的美感，并不疊加更多政治、文化意義的判斷，他更喜歡以一種簡單的方式完成他對傳統(tǒng)文化在今天語境的注解。這些經(jīng)典的東方文化符號在惠欣的作品中是被最簡單圖解的。從畫面中可以看到，圖象的意義遠(yuǎn)遠(yuǎn)超出其繪畫的本身，這種刻意的安排，顯得頗有“設(shè)計(jì)感”。這可以從美國藝術(shù)家杰夫·昆斯的繪畫作品中找到異曲同工之處。繪畫的場域在這里變得越來越大，藝術(shù)家對經(jīng)典傳統(tǒng)圖象的再生和重新演繹，完全顛覆了傳統(tǒng)繪畫的方法和標(biāo)準(zhǔn)。惠欣根本無視所謂傳統(tǒng)繪畫的技術(shù)要求，在這里畫布只是藝術(shù)家表達(dá)的一個(gè)載體，一個(gè)信息媒介。從電腦設(shè)計(jì)到制圖放樣，到繪畫完成，這看似流水線的枯燥工作方式，其實(shí)藝術(shù)家在享受這種工作的快感。這時(shí)藝術(shù)家更像個(gè)設(shè)計(jì)師。這種新的工作方式，已經(jīng)成為年青一代繪畫的相當(dāng)普遍的現(xiàn)象。
惠欣的作品顯現(xiàn)出獨(dú)特的當(dāng)代視覺形象，這使得繪畫作品本身已成為公共圖象的另一載體�；菪赖睦L畫以一種最“西方”的表現(xiàn)形式，來釋放一種最“東方”的美學(xué)意境。美的更“艷”，美的更“俗”，這恰恰是其作品最打動(dòng)人的地方。

朱彤2006
摘自（“驚艷”的視覺——我看惠欣的繪畫）

Preface
Hui Xin utilizes a technique that brings his work close to popular advertisements.? Whether it be the effect of composition, form, texture and colour, the end result is something that looks computerized, full of a post-industrial feel.? The dancing cranes, shady bamboo thickets, dragons in rosy clouds – these classical images of Oriental origin have been chosen by the artist and placed in a surrealist setting, as if he were rearrange the world to suit himself.? Hui Xin always seeks to produce a joyful and beautiful image for his audience in his artwork.? He layers secular visual impressions of “Beauty” together in his work, the sensual pleasure one feels before the startling visual effects is stimulating in a way akin to modern culture itself.? We may be certain that popular mass culture has indeed had its effects on the younger generation of artists and their demands to experience an aesthetically pleasing life.? They prefer to use a direct approach, a more casual form to experience and manifest their experience of life.
I have joked with Hui Xin, saying “You are the only true “glamour” artist, you represent the traditional forms of popular culture with splendid style.”? Hui Xin’s composition of his pictures is different to the work of any other artist included in the term “glamour” art.? What is emphasized in Hui Xin’s works is the experience of the images jumping off the canvas; it is free from the piling up of any ideas of political and cultural significance.? He prefers to use a simple form to make his observations about traditional images in a modern context.? These classic symbols of Oriental culture have been stylized in Hui Xin’s paintings.? In his work we can see that a picture can be far and away from the basic idea of a painting.? This results in a deliberate arrangement, with a distinct feeling of ‘design’.? There is an underlying similarity here with the works of American artist Jeff Koons.? The possibilities of painting are expanded, the rebirth and re-enactment that the artist brings to the traditional image is full of the standards and techniques of that tradition.? The canvas is nothing more than an information media, a carrier for his demands of the traditional painting techniques that he only appears to overlook.? From being designed on a computer, to the print-out, to the final painting of the picture – what may seem to us to be work as monotonous as that on a production line, affords the artist considerable pleasure.? The artist is given the opportunity to act as a designer too.? Such a novel work ethic has already become relatively common amongst the young generation of artists.
In Hui Xin’s works we see the appearance of a unique contemporary visual form, which turns the painted picture another carrier of the public image.? Hui Xin’s paintings utilize a ‘Western’ form of representation to release/translate the ‘Eastern’ aesthetic world.? A Beauty that is more ‘glamorous’ and more ‘secular’, which is precisely what is exciting about his artwork.

Zhu Tong? 2006
An excerpt from

返回首頁查看更多

自述
我今天想做的事就是把我昨天做的事“否定”。