艺文深圳 | 那特画廊（深圳）开幕新展|戏剧|油画|绘画|艺术家|视觉|那特画廊

终身映画

Lifelong Picture

学术主持｜吕澎

Academic Host｜Lü Peng

艺术家｜张钊瀛

Artisit｜Zhang Zhaoying

展览总监｜李国华

Exhibition Director｜Li Guohua

策展人｜甘挺

Curator｜Gan Ting

展览统筹｜梁宇

Exhibition Coordinator｜Liang Yu

展期 Duration

2025.11.09 - 2026.01.15

地址Address

中国深圳市福田区福中路184号深圳市当代艺术与城市规划馆L2层2-7号那特画廊

L-Art Gallery, Room No. 2-7, 2/F, Shenzhen Museum of Contemporary Art and Urban Planning, 184 Fuzhong Rd, Futian District, Shenzhen, China

张钊瀛个展「终身映画」在那特画廊（深圳）开幕倒计时中。此次展览延续了艺术家创作的“终身”系列，以“映画”为线索，深入探讨图像、历史与当代视觉经验之间的复杂关系。

展览于11月09日下午15:30开幕，持续到

2026

1

15

日，欢迎莅临参观！

终身映画：欲望图像、历史拼贴与异托邦剧场

文/甘挺

导言：图像弑神的启幕

“那高大的歌利亚，如今何处？”身着粉红华服的牧羊少年大卫挺立在非利士人的包围中大喝道。他起誓说自己曾杀过狮子，也杀过熊，那些嘲笑锡安之神的人，今天将如狮如熊般灭亡！他反手屈膝，投石器已对准了射程之内的铜甲巨人歌利亚。布带绷直，千钧一发。这是一处充满诱惑力的时刻，是一个历史胜利或否定性的原型时刻。于是，歌利亚的头部被卡尔·马克思的头部取代，在这一幅文艺复兴时期回顾圣经故事的叙事长卷中，在千军万马黄金的铰链和发光的河流组成的古典磅礴中，资本主义消费社会最初兴起的典型图像——60、70年代电影和广告中的老爷车和身着泳装的中产男女滑入了图卷底部，参与并见证了现代资本主义的挑战者马克思的被击杀，连同他所象征的宏大理论与批判精神被砍下了头颅。

当我们在《战士-承诺》的画面中领会了张钊瀛在图像游戏中的逻辑暗示与启迪，我们就会明白，他不厌其烦的考察、挪用、拼贴，以及戏剧置景般的图像排布不仅是在尝试一种绘画中可以实现的荒诞剧的审美趣味和方法，更为重要的是，他在有意识的记录与构建一种当代现实——图像内爆，意义在媒介中消融，历史从一种纵深与复杂被扁平化为断裂的图像与符号，从充满因果、痛苦、斗争和意义的连续性过程被降维为一种可随意并置的瞬间和平面。不止于此，他进一步的以这种共谋般的策略在画面中创造了巨大深邃的异质空间，一个可进入的异托邦剧场，以种种不相容的奇异将当代迷狂的视觉结构砸在我们脸上，并充满天真与野心的以一种嬉戏去标记历史在现实中的延宕，以弥合他所能把握的历史的传递。

战士—承诺 Warrior—The Pledge，2025

布面油画 Oil on canvas

210×150 cm ×6

战士—承诺 Warrior—The Pledge（局部）

景观社会：欲望图像与历史拼贴

暗示着某种连续性的“终身”系列来到了“映画”的段落。它首先与张钊瀛新作中的电影元素相关；其次“映“（投影/映照）与”画“（图像/绘画）同时作为名词和动词，概括了张的方法论：映照这个时代视觉的疯狂，面对景观社会，只能用一种图像的过度才能揭示与之相关的奥秘；并以后现代的拼贴昭示所有历史时刻已成为可随时取用的平面碎片，却依然在历史的丧失和永恒的当下之中竭力反照和指涉现实。

我们很容易在张钊瀛的作品面前感到，这是一块代表了当今世界视觉经验顶峰的画布，没有留白，没有气孔，密集而饱和的符号翻涌——古典绘画杰作、历史人物肖像、电影画面片段、消费主义图腾……林林种种，储备就绪，而真实生活已被这庞大的表征所取代。当张以画面来呼应居伊·波德的“景观社会”，他领会并呈现的是其核心机制，过度的图像符号对人类欲望的捕获、引导和激发。在《“潘”先生的盛宴》中，小扬·勃鲁盖尔的《味觉》作为挪用的背景，它所描绘的丰盛食物和宴饮场景是前现代社会的欲望图景，指向了一种生理性的、直接与生命生存和欢愉相关的需求；更多的现代食物——汉堡、意面和鸡尾酒也被叠加和拼贴在画面中，并且再一次的出现了汽车、泳装美女、中产男女的玩乐——现代消费主义的一套符号系统，至此将生命欲求直接赋值为过度的欲望。更有意味的是，象征着本能和性欲的潘神企图诱惑的女神维纳斯，其头部被60、70年代电影海报中的西方男子头像所替代。现代社会的爱欲是否也已在对性与美的图像消费中错位和迷失？

终身美丽—“潘”先生的盛宴｜Lifelong Beauty-Pan’s Feast，2023-2024

布面油画｜Oil on canvas

260×170 cm

詹明信在关于后现代文化的理论中提到的“历史感的消失”——在资本主义消费社会的图像洪流中，历史不再以深度的叙事或经验的形式被记忆，而被转换为图像、符号和感官的表层，在一系列的碎片化提取、挪用、拼贴、复制和传播中，形式被模拟，而本质和意义已被撤销。张钊瀛在他堆叠又摊平的视觉剧场中，正是打造了历史意识已崩塌，历史的纵深已无法追溯的剧目。然而张自身并不是一个全然的后现代主义者，他的挪用和戏仿并不是一种零度倾向；但同时也无法说他有任何现代主义批判的激情，他只是有着个体在一种现实同时也是历史进程中的强烈自觉，并渴望回应和指涉现实与历史，如他亲口所说：历史和今天的问题仍然在显现，我需要传递信息。

东方故事—孔雀绿｜Oriental Tales—Peacock Green，2024-2025

布面油画｜Oil on canvas

237×150 cm

君士坦丁大帝在此次展览作品《东方故事》系列中被启用，就是一条关于当今资本主义现实的确切信息。该系列其中一幅被挪用的原作描绘了一段伪史事件：君士坦丁大帝跪于教皇西尔维斯特一世面前，宣布将罗马城及整个西罗马帝国的统治权献于教皇及其继任者。这系列关于权力、宗教和战争的画面上有秩序的排布着宝石阵列，闪闪发光，法度严明，不仅冷酷豪奢的冰封了一段虚假的历史叙事，还有那让人怀想的古典庄严结构与宏大场景。人类生活的主题并未变化，但无论是权力更迭、澎湃战争，还是宗教热忱，已然淹没在现代冰冷的交换价值中。德勒兹和加塔利说，资本是一幅“由以往一切构成的斑驳之画”。张钊瀛以绘画之形式到内容灵敏的响应了这些关于当代现实的睿智看法，“当资本主义真的到来，随之而来的，是文化大规模的去神圣化。”

异托邦剧场

现在，我们需要回到在开头部份提到的，张钊瀛在绘画中所意图实现的一种荒诞剧的审美以及方法。对戏剧的调用是一种将绘画当代艺术化的宝贵尝试：视觉-身体-情境多重维度被开启，打破了绘画发展到极简主义后被人诟病的观念僵局。张在绘画中的剧场性实践，不仅体现在其构图和场景的组织方式上——他并非单纯的、连贯性的“画”图象，而是像导演一样“布置”场景，添加人物与形象，安排它们的位置；在自然与做作的平衡之间，让画面看上去是一种“拟真”，一种人工化构造的场面，由此提醒观众切换 “观看对象”至“体验场域”。

而且，最重要的，他的剧场以一种“荒诞剧“的逻辑构造了一个异托邦空间——一个以绘画的巨大的物质性在场，在画面中呈现与现实既同构又相悖的另类空间。繁杂图像的挪用和拼贴，各种符号被剥离了原来的语境，造成叙事逻辑断裂、意义悬置，张以此在画面中打造一种深刻的荒诞感。如作品《艺术岛》，委拉斯开兹的侏儒弄臣、霍尔拜因的亨利八世、库尔贝的画家本人等一众艺术史人物降临于安杰利科所绘的宗教史长卷，与圣父们在底比斯沙漠共度一种修道生活。这些人物的存在不依赖于因果律，只是共同被困于一个时间断裂的画面空间中。张钊瀛一贯坚持的“可以进入”的大尺幅（4米宽）令我们一头扎进这个沙漠之岛，此时，巨大的画布，精心的置景成为了一个象征性舞台，我们参与其中，又在其外。这种幻真但与真实空间并不相容的空间——就是福柯所提供的关于当代社会空间、文化与权力运作的感知工具——异托邦。异托邦是系统之外的例外空间，它以自身的异质性映照和指涉主流空间。

东方故事—艺术岛 Oriental Tales—Art Island（局部）

在《艺术岛》的异托邦剧场中，张钊瀛拉开漫长的画布，排布了一幕人物众多的荒诞剧，在这巨大的离奇空间里安置了一个在历史的起点窥伺未来的提示，关于当代现实的提示——经典价值已然失落：如同从前统领于神之信仰，艺术史叙事也已失效，艺术的碎片散置、跌落，同人类的命运一样，已成为无主之物。

最后，此次展览新作中，香港电影元素的挪用更强化了张对戏剧的调用，以及异托邦剧场的意味。香港电影所唤起的地域性集体记忆、深受好莱坞叙事结构和资本逻辑的影响，直接与全球化语境之下文化身份在不同空间中的流转相关。与艺术家惯习挪用的西方古典画中的宗教场面拼贴，这一切异质的总和，粘合成明暗相间的“文化异托邦”灯火盛典：悬殊的身份与欲望、迥异的地理与流俗；功夫与神父、粤语笑话与基督教真理……并置不兼容，但确然是当代社会文化混生的真实样貌。

因此，异托邦剧场并非乌托邦是虚无之地，它是一块映射现实的颤动飞地——在这里，感觉和观念、幻想与思考、拥抱与批判同时大获全胜。

1.「英」马克.费舍，《想象世界末日比想象资本主义末日更容易》，《资本主义现实主义》，南京大学出版社，2024，第11页

2.同上

Lifelong Picture: Images of Desire, Historical Collage, and Theater of Heterotopia

By Gan Ting

Introduction: The Prelude to the Deicide of Images

“Where is the giant Goliath now?” cried the young shepherd David, clad in resplendent pink, standing tall amidst the surrounding Philistines. He vowed that he had slain lions and bears, and those who mocked the God of Zion would perish like lions and bears that day! With a bent knee and a reverse grip, his sling was aimed at the bronze-armored giant Goliath within range. The cloth strap tensed, the moment was critical. It was a moment full of temptation, a prototypical moment of historical victory or negation. Thus, Goliath’s head was replaced by that of Karl Marx. In this narrative long scroll from the Renaissance period, which revisits the biblical story, amidst the classical grandeur of golden hinges and glowing rivers, typical images from the early rise of capitalist consumer society—vintage cars from 1960s and 70s films and advertisements, and middle-class men and women in swimwear—slid into the bottom of the scroll. They participated in and witnessed the slaying of Marx, the challenger of modern capitalism, along with the decapitation of the grand theory and critical spirit he symbolized.

When we grasp the logical implications and inspirations of Zhang Zhaoying’s image games in his work Warrior—The Pledge, we understand that his meticulous investigation, appropriation, collage, and theatrically arranged images are not merely attempts at an aesthetic and method of absurd theater achievable in painting. More importantly, he is consciously recording and constructing a contemporary reality—the implosion of images, the dissolution of meaning in media, and the flattening of history from depth and complexity into fragmented images and symbols. History, once a continuous process full of cause and effect, suffering, struggle, and meaning, is reduced to a dimension of juxtaposed moments and surfaces. Beyond this, he further employs this complicit strategy to create vast, profound heterogeneous spaces within the picture—an accessible theater of heterotopia. With various incompatible bizarrerie, he thrusts the contemporary frenzied visual structure into our faces, marking with innocence and ambition the lingering of history in reality through play, in an effort to bridge the transmission of history as he perceives it.

The Society of the Spectacle: Images of Desire and Historical Collage

The "Lifelong" series, suggesting a certain continuity, has now reached the "Picture" segment. It relates, first, to the cinematic elements in Zhang Zhaoying’s new works; secondly, "project/reflection" (映) and "image/paint" (画) function as both nouns and verbs, summarizing Zhang’s methodology: reflecting the visual madness of this era, confronting the society of the spectacle, where only an excess of images can reveal its related mysteries; and using postmodern collage to signify that all historical moments have become flat fragments, yet still striving to reflect and refer to reality amidst the loss of history and the eternal present.

It is easy to feel before Zhang Zhaoying’s works that this is a canvas representing the pinnacle of today’s world’s visual experience—no blank spaces, no breathing pores, only dense and saturated symbols surging—masterpieces of classical painting, historical portraits, film stills, consumerist totems… a myriad of elements, stocked and ready, while real life has been replaced by this vast representation. When Zhang echoes Guy Debord’s "society of the spectacle" with his imagery, he comprehends and presents its core mechanism: the capture, guidance, and stimulation of human desire by excessive image symbols. In Pan's Feast, Jan Brueghel the Younger’s The Sense of Taste serves as the appropriated background, depicting abundant food and banquet scenes—a pre-modern tableau of desire, which leads to physiological needs directly related to survival and pleasure. More modern foods—hamburgers, pasta, cocktails—are superimposed and collaged into the picture, and once again, cars, beauties in swimsuits, and middle-class men and women at play appear—the entire symbolic system of modern consumerism, here directly turning life’s demands into excessive desire. More significantly, the head of the goddess Venus, whom the instinct- and lust-symbolizing Pan attempts to seduce, is replaced by the head of a Western man from a 1960s or 70s movie poster. Has love and desire in modern society also become displaced and lost in the consumption of images of sex and beauty?

Fredric Jameson, in his theory on postmodern culture, mentioned the "disappearance of a sense of history"—in the flood of images of capitalist consumer society, history is no longer remembered as deep narrative or experience but is transformed into images, symbols, and sensory surfaces. In a series of fragmented extraction, appropriation, collage, replication, and dissemination, form is simulated, while essence and meaning are revoked. In his stacked yet flattened visual theater, Zhang Zhaoying precisely creates a spectacle where historical consciousness has collapsed, and the depth of history can no longer be traced. However, Zhang himself is not a complete postmodernist; his appropriation and parody are not of a zero-degree tendency. Yet, it cannot be said that he possesses the passion of modernist critique either. He simply has a strong individual awareness within a reality that is also a historical process, eager to respond and refer to reality and history. As he himself said: The problems of history and today are still manifesting, I need to pass on the message.

The presentation of Constantine the Great in the exhibition’s Oriental Tales series is a precise message about the reality of contemporary capitalism. One of the appropriated original works in this series depicts a pseudo-historical event: Constantine the Great kneeling before Pope Sylvester I, declaring the donation of the city of Rome and the rule of the entire Western Roman Empire to the Pope and his successors. On these images concerning power, religion, and war, arrays of gems are orderly arranged, glittering, strict in composition, not only freezing a false historical narrative with extravagance but also that nostalgic classical solemn structure and grand scene. The themes of human life have not changed, but whether it is the transfer of power, surging wars, or religious fervor, they are already submerged in the cold exchange value of modernity. Deleuze and Guattari said that capital is a "motley painting of all that ever was." Zhang Zhaoying, in both form and content of his painting, sensitively responds to these insightful views on contemporary reality. "When capitalism truly arrives, what follows is the large-scale desacralization of culture."

The Theater of Heterotopia

Now, we need to return to the aesthetic and method of absurd theater that Zhang Zhaoying intends to achieve in his painting, as mentioned at the beginning. The invocation of theater is a valuable attempt to contemporize painting art: multiple dimensions of visual-body-situation are opened, breaking the conceptual impasse that painting faced after minimalism. Zhang’s theatrical practice in painting is manifested not only in his composition and scene organization—he does not simply and coherently "paint" images but "arranges" scenes like a director, adding characters and figures, arranging their positions; balancing between the natural and the contrived, making the picture appear as a "simulation," an artificially constructed scene, thereby reminding the viewer to switch from "viewing an object" to "experiencing a field."

And most importantly, his theater constructs a heterotopian space with the logic of an "absurd play"—an alternative space presented within the picture through the massive physical presence of painting, both isomorphic and contradictory to reality.

The appropriation and collage of images, the stripping of various symbols from their original contexts, result in broken narrative logic and suspended meaning. Zhang thereby creates a profound sense of absurdity within the picture. Like in the work Art Island, figures from art history—Velázquez’s dwarf jester, Holbein’s Henry VIII, Courbet’s self-portrait of the artist, etc.—descend upon the religious historical scroll painted by Fra Angelico, sharing a monastic life with the Holy Fathers in the Theban desert. The existence of these characters does not depend on causality; they are merely trapped together in a picture space where time is fractured. Zhang Zhaoying’s consistent use of large, "enterable" formats (4 meters wide) plunges us headlong into this desert island. At this moment, the huge canvas and theatrical scene become a symbolic stage; we participate in it yet remain outside. This illusory space, yet incompatible with real space— the perceptual tool provided by Foucault for understanding the operation of contemporary social space, culture, and power—is the heterotopia. Heterotopia is an exceptional space outside the system, reflecting and referring to the mainstream space through its own heterogeneity. In the heterotopian theater of Art Island, Zhang Zhaoying unfurls a long canvas, arranging an absurd play with numerous characters. Within this vast and bizarre space, he places a hint peeping into the future from the starting point of history, a hint about contemporary reality—classical values are already lost: just as they were once governed by divine faith, the narrative of art history has also lost. The fragments of art are scattered and fallen, like human destiny, they have become godless.

Finally, in the new works of this exhibition, the appropriation of elements from Hong Kong cinema further strengthens Zhang’s invocation of theater and the sense of the heterotopian play. The regional collective memory evoked by Hong Kong cinema, deeply influenced by Hollywood narrative structures and capital logic, is directly related to the flow of cultural identity in different spaces under the context of globalization. Collaged with the religious scenes from Western classical paintings that the artist habitually appropriates, this sum of heterogeneous elements coalesces into a flickering "cultural heterotopia" festival of lights: disparate identities and desires, vastly different geographies and customs; kung fu and priests, Cantonese jokes and Christian truths… juxtaposed and incompatible, yet indeed the true appearance of contemporary socio-cultural hybridity. Therefore, the heterotopian theater is not a utopia, a non-place; it is a trembling enclave reflecting reality—here, sensation and concept, fantasy and thought, embrace and critique all triumph simultaneously.