荷兰海牙皇家美协美术馆  Mesdagzaal展厅，Weissenbruchzaal展厅，Hardenbergzaal 展厅

艺术家：张子康(中国北京）， 童振刚（中国北京）， 钟鼐（荷兰海牙）

策展人： Wim van der Beek , Mieke Mulders, Age Hartsuiker 

开幕式：2026年8月29日星期六 15点整

开幕致辞 ：美术家协会主席 Ed van der Kooy

学术主持：AICA国际批评家协会 Wim van der Beek 

地址：Lange Voorhout 15 / 2514 EA Den Haag 

开馆时间：周二至周日 12点至17点

重写之页——叠印与新生

2026年8月29日国际当代艺术展《重写之页——叠印与新生》（Palimpsest: Overlapping and Renewal）将在荷兰海牙Pulchri Studio（海牙Pulchri皇家美术家协会美术馆）拉开帷幕。本次展览由荷兰资深艺术评论家、AICA国际艺评协会会员Wim van der Beek担任主策展，Age Hartsuiker、Mieke Mulders联合策展，张子康、童振刚、钟鼐三位拥有差异化创作脉络却精神内核相通的艺术家联袂参展，完整展期持续至2026年9月20日。展览占据场馆Mesdagzaal、Weissenbruchzaal、Hardenbergzaal三大连通展厅，总面积超550平方米，依托这座拥有179年历史、与梵高渊源深厚的老牌皇家艺术机构，搭建起东方与西方、实体与虚拟、传统媒介与数字艺术深度碰撞的国际学术交流现场。

Pulchri Studio始建于1847年，是荷兰历史最悠久、受王室长期扶持的艺术家自治协会，也是海牙画派、荷兰印象主义运动的核心发源地。场馆坐落于海牙皇室文化轴线Lange Voorhout 15号，毗邻皇家美术学院、国立博物馆与皇家剧院，建筑空间层层沉淀古典写实、现代主义革新、当代艺术实验多重时代印记，天然呼应本次展览“Palimpsest重写本”的核心概念。10米挑高的主展厅恰好适配本次展出的巨型垂吊式作品、综合媒介、墙面投影数字影像、屏显数字艺术等多元创作，三间展厅动线流畅贯通，形成层层递进的观展节奏，百年建筑自带的时间肌理，与三位艺术家“叠加、擦拭、重构、再生”的创作逻辑形成深度共振。

本次展览获得海牙皇家美术学院、阿姆斯特丹市立美术馆、荷兰Drenthe美术博物馆、德国新伊森堡当代艺术中心ZKNI等多家欧亚重要艺术机构学术支持；媒体传播矩阵覆盖荷兰国家美术报、北方报业联合集团三十余城地方媒体、荷华商报、欧洲版星岛日报及荷兰两大权威专业艺术期刊《Pallet Kunstmagazine》《Tableau fine Art Magazine》，同步面向国际艺术学者、公立美术馆机构、全球资深藏家与大众艺术爱好者分层传播，兼具学术研讨、跨文化美育、艺术品流通推广多重价值。

展览以“Palimpsest——重写本”为核心叙事概念，锚定一个朴素且贯穿全场的艺术思考：艺术从来不是一次落笔便盖棺定论的固化成品，而是持续叠加、反复擦拭、不断重构、循环再生的动态实践过程。在兼具厚重历史底蕴与开放当代视野的海牙Pulchri皇家美术馆空间内，张子康、童振刚、钟鼐三位艺术家依托各自独树一帜的媒介体系、文化背景与创作路径展开平等对话，在形式、材料、精神三重维度的层层叠印之中，完整铺陈出当下当代艺术丰富多元的表达可能性。

张子康的艺术创作，根植于扎实深厚的学术积淀与清醒自觉的东方文化立场。身兼深圳国际美术馆馆长、资深艺术管理者、国际策展人多重身份，数十年深耕美术馆运营与全球艺术交流的经历，并未束缚其绘画表达，反而赋予作品沉静内敛、克制厚重的独特精神力量。他以纸本线性创作为核心载体，笔触兼具德国表现主义富有张力的表达特质，线条奔放舒展却又收放有度，画面形象游走于具象叙事与纯粹抽象的边界之间，无固定范式。张子康将个体生命经验、民族文化记忆与当下时代感知全部凝缩于纸面之上，擅长在看似破碎、开放、未完成的视觉形式内部，搭建完整自洽的精神内核，每一幅作品都承载着一位深耕行业数十年的艺术先行者，对绘画本体价值、艺术本质恒久持续的追问与深度思辨。

童振刚深耕数字影像与线上当代艺术领域，以极具时代特质的数字媒介持续拓宽当代艺术的表达边界。创作跳出传统实体展厅、物理画布的空间桎梏，本次展览将集中呈现其大量数字艺术作品，采用墙面投影、高清显示屏多形式同步展出。流动光影、动态图像、循环迭代的虚拟画面构建虚实交织、可无限延展的开放视觉场域，数字媒介本身便是天然的“重写本”，图像能够随时修改、多层覆盖、循环迭代，作品的意义也在持续生成、不断流动，不存在唯一固定解读。童振刚的创作直面当下全民数字化生存的真实时代图景，重新定义观众感知艺术、接收艺术、传播艺术的完整方式，让艺术挣脱实体边界，在虚拟与现实的双向穿梭之中，长久保有不竭的生命力与开放解读空间。本次展览，童振刚带来多维度完整创作序列：核心代表作《咒语》系列垂吊装置作品，共4至6幅，单幅尺寸宽2.4米、高12米，作品自上而下垂悬陈列，借助主展厅十米挑高空间形成极具压迫感与仪式感的纵向视觉动线。巨型垂吊作品以多层综合材料反复叠加、刮擦，层层痕迹彼此掩映，完美呼应“重写羊皮纸”的叠印内核；展厅各处搭配多组墙面投影、大屏播放的数字艺术影像，动态画面持续层叠、消隐、再生，与实体垂吊作品形成虚实对照；同时辅以一批小型纸上实验新作，以实体巨作、纸上绘画、数字影像三重创作形态。四十余年国际参展历程中，他足迹遍布全球三十余个国家，举办九十余场个人展览、上百场国际重磅联展，作品被海内外多家重要美术馆、国际私人收藏机构永久馆藏，是东西方数字与综合材料艺术交流的核心代表人物。

钟鼐以综合材料作为自身核心视觉语言，在画布平面之上构筑质感厚重、内核极简的物质精神世界。作品整体以黑白灰为主基调，局部点缀清淡浅蓝，摒弃繁杂艳丽的色彩与装饰性冗余表达，将创作重心完全落脚于材料本身自带的原生力量。他把纸张、线条、颜料多层堆叠、交错缠绕，在反复覆盖、撕扯、打磨的创作过程中，完整留存时间冲刷过的全部痕迹。画面每一层肌理都是一次书写，每一处凹凸起伏都是一段封存的记忆，在有限二维平面之内，营造出极具冲击力的空间纵深感与精神厚度，始终在形式消解、结构重建的动态平衡之间，维持沉静绵长、持续涌动的视觉张力。作为荷兰Pulchri皇家美术家协会在册会员，常年往返荷兰、葡萄牙、中国三地创作，2023年曾于本馆举办个人展览，获得荷兰艺术评论界高度认可，是连接中欧在地艺术生态的关键纽带。

三位艺术家分别从纸本线性语言、数字影像媒介、综合材料建构三条完全不同的创作路径切入，媒介载体、视觉面貌各有分野，却精准一致地诠释“重写、叠印、新生”的展览内核：艺术在层层覆盖之中孕育全新表达，在解构破碎之后完成自我重建，在跨文化对话之中持续生长。张子康以静态纸本线条完成精神层面的叠印思辨；童振刚打通实体装置与数字投影、屏显影像，以虚实双线演绎持续迭代的重写逻辑；钟鼐依托实体材料的堆叠撕扯，定格时间层层留存的物质印记，三者形成静态、动态、虚拟、实体全方位的视觉对话。

《重写之页——叠印与新生》不止是一场中荷两国艺术家的交流群展，更是传统与当代、实体媒介与数字虚拟、东方精神叙事与西方视觉体系之间的深度共振。整场展览打破艺术家分区陈列的传统模式，依托贯通式展厅流动动线，让纸本思辨、数字虚拟投影、大屏影像、巨型垂吊装置、材料实体绘画自然交织，在层层叠印的视觉文本之中，直观呈现当代艺术永不停歇、不断向前的原生生命力。开幕同期，场馆将举办策展导览、三方艺术家联合对谈、欧亚艺术学者圆桌论坛系列学术活动，配套中、英、荷、德四语种专业学术文本，面向全球艺术圈层同步传播，为2026年荷兰海牙献上一场兼具学术高度、国际影响力与收藏价值的标杆性跨国当代艺术大展。

Tentoonstelling in Mesdagzaal，Weissenbruchzaal，Hardenbergzaal 29 Augustus t/m 20 September 2026

Kunstenaar : Zikang Zhang （Beijing China)  , Zhengang Tong (Beijing China) , Zhongnai (Den Haag)

Curator :  Wim van der Beek , Mieke Mulders, Age Hartsuiker 

Opening: Zaterdag 29 Augustus 2026 om 15:00 uur door Wim van der Beek, Kunstrecensent

Pulchri Studio: Lange Voorhout 15 / 2514 EA Den Haag/ open di-zo 12-17 uur

《 Palimpsest 》— The Collapse of Form

On August 26, 2026, the landmark international contemporary art exhibition Palimpsest: Overlapping and Renewal will officially open to the public at Pulchri Studio, exhibition curated by veteran Dutch art critic and AICA member Wim van der Beek,  the exhibition unites three prominent artists — Zhang Zikang, Tong Zhengang and Zhongnai — whose distinct creative trajectories converge on a shared spiritual pursuit. The exhibition will remain on view until September 20, 2026. 

Occupying three interconnected galleries, Mesdagzaal, Weissenbruchzaal and Hardenbergzaal, the show spans more than 550 square meters. Hosted by Pulchri Studio, a 179-year-old historic art institution with profound ties to Vincent van Gogh, the exhibition builds an authoritative international academic platform that facilitates in-depth collisions between Eastern and Western aesthetics, physical and virtual mediums, as well as traditional craftsmanship and digital art.

Founded in 1847, Pulchri Studio is the oldest artist association under long-term royal patronage in the Netherlands, and the birthplace of the Hague School and Dutch Impressionism. Nestled on Lange Voorhout, the royal cultural axis of The Hague, the building stands alongside the Royal Academy of Art, national museums and the Royal Theatre. Its architecture bears multi-layered traces of classical realism, modernist revolution and contemporary art experiments, forming a physical echo of the exhibition’s core concept of the “palimpsest”. The main Mesdagzaal gallery boasts a ten-meter-high ceiling, perfectly suited for monumental hanging installations, mixed-media works, wall-projected digital art and screen-based moving images. The three galleries are seamlessly connected to create a progressive viewing rhythm. The building’s centuries-old spatial texture resonates profoundly with the artists’ shared creative logic: layering, erasing, reconstructing and regenerating.

Centered on the conceptual framework of the “palimpsest”, the exhibition puts forward a straightforward yet profound artistic proposition: art is never a fixed, conclusive product finished in a single stroke, but an ongoing dynamic practice defined by endless layering, repeated erasure, constant reconstruction and cyclical rebirth. Within Pulchri Studio’s space that balances profound historical heritage and open contemporary vision, Zhang Zikang, Tong Zhengang and Zhongnai launch equal dialogues through their unique medium systems, cultural backgrounds and creative methodologies. Across overlapping dimensions of form, material and spirit, they fully unfold the diverse expressive possibilities of contemporary art today.

Zhang Zikang’s artistic practice is rooted in rigorous academic accumulation and clear-cut cultural self-awareness. As the director of Shenzhen International Art Museum, a senior art administrator and an internationally renowned curator, his decades of experience running museums and facilitating global art exchange never restrict his painting creation; instead, it endows his works with a calm, restrained and profound spiritual power. His practice centers on linear works on paper, whose brushwork carries the intense expressive tension of German Expressionism. Bold yet disciplined lines blur the boundary between figuration and pure abstraction without rigid stylization. Zhang condenses personal life experience, cultural memory and contemporary perception onto paper. Within seemingly fragmented, open and unfinished visual forms, he constructs a complete and self-consistent spiritual core. Every piece embodies the persistent inquiry and profound meditation on the essence of painting from a pioneer who has devoted decades to the art industry.

Tong Zhengang specializes in digital moving images and online contemporary art, continuously expanding the boundaries of contemporary creation with highly timely digital mediums. Breaking free from the constraints of traditional exhibition halls and physical canvases, he presents an extensive body of digital artworks throughout the show, displayed simultaneously via wall projections and high-definition screens. Flowing light, dynamic footage and cyclically iterative virtual visuals weave an infinitely expandable open visual field where the digital medium inherently functions as a palimpsest. Images can be modified, overlaid and iterated endlessly, allowing artistic meaning to evolve and flow without a single definitive interpretation. His creations confront the reality of universal digital existence today, redefining how audiences perceive, receive and disseminate art, enabling art to break free from physical limits and sustain enduring vitality and interpretive openness across virtual and real realms.

For this exhibition, Tong Zhengang presents a complete multi-dimensional body of work. His landmark hanging installation series Spells includes four to six individual pieces, each measuring 2.4 meters wide and 12 meters tall, suspended vertically from ceiling to floor. Leveraging the ten-meter ceiling height of the main gallery, these monumental works generate an immersive, ritualistic vertical viewing experience. Crafted with repeated layers of mixed media that are scraped and superimposed, the overlapping traces of the pieces perfectly embody the palimpsest theme of layered imprints and rebirth. Complementing the hanging sculptures, multiple groups of wall projections and large-screen digital moving images run continuously across the galleries; dynamic visuals constantly overlap, fade and regenerate, forming a virtual counterpoint to his physical installations. A selection of experimental paper works rounds out his presentation. Together, monumental hanging sculptures, paper works and digital visuals interpret the core curatorial idea of “overlapping and renewal” from both physical and virtual perspectives. Over a forty-year international career, Tong Zhengang has staged more than ninety solo exhibitions and participated in over a hundred major international group shows across thirty-plus countries. His works are permanently collected by national art museums and prominent private collections worldwide, establishing him as a core bridge for artistic exchange between Eastern and Western digital and mixed-media art.

Zhongnai takes mixed media as his primary visual language, constructing a dense yet minimalist material and spiritual world on canvas. His works are dominated by black, white and grey tones, occasionally accented with pale blue. Rejecting gaudy colors and decorative flourishes, he focuses entirely on the inherent power of raw materials. He layers, interweaves, tears and polishes paper, lines and pigments, fully preserving every trace left by time in the process. Every texture on the canvas counts as a form of writing, every uneven undulation a preserved memory. Within a limited two-dimensional plane, he creates striking spatial depth and spiritual weight, maintaining a quiet yet enduring tension between the dissolution and reconstruction of form.  As an artist member of Pulchri Studio, Zhongnai splits his working time between the Netherlands, Portugal and China. He held a solo exhibition at this very venue in 2023, curated and reviewed by the show’s lead curator Wim van der Beek, earning widespread acclaim from Dutch art critics and local artist communities. He serves as a vital link connecting art ecosystems in China and the Netherlands.

Though the three artists adopt distinct creative paths — paper linear language, digital moving images, and mixed-media construction respectively — they converge to interpret the core meaning of palimpsest, overlapping and renewal. Art gains new expression through layering, reconstructs itself after deconstruction, and flourishes through cross-cultural dialogue. Zhang Zikang delivers meditations on spiritual layering through static paper lines; Tong Zhengang unites physical installations with projected and screen-based digital imagery, illustrating the iterative logic of the palimpsest through both virtual and tangible works; Zhongnai freezes material traces of time through stacked and torn physical mediums. Together, they create an all-round visual dialogue spanning static, dynamic, virtual and physical forms.

Far more than a simple exchange exhibition between Chinese and Dutch artists, Palimpsest: Overlapping and Renewal represents profound resonance between tradition and contemporaneity, physical objects and virtual digital media, Eastern spiritual narrative and Western visual systems. Abandoning the traditional segmented layout separated by artist, the fluid interconnected gallery layout interweaves paper meditations, digital projections, large-screen moving images, monumental hanging installations and mixed-media paintings seamlessly. Within these layered visual texts, the ceaseless forward vitality of contemporary art is laid bare.