开幕时间：2015年3月7日周六下午4点

展览时间：2015/3/7-2015/5/3

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C-空间很高兴呈现《费拉》——张书笺（1987，湖南省）的第二次个展。与艺术家的第一次个展《自画像》相隔五年，在这次展览中呈现的是他最新一系列的画作。 我们能够从画面上感受到他在这段时间里在材料上和绘画技巧上的探索及他自身对当下社会的人类状态的反思 。

人脸是张书笺在实践中探究的主要题材。在“塑造”他画中的人物时——就如最初在《织皮》系列中重新想像在丢勒和达芬奇等大师的素描中人物的皮肤——用一种扭曲的方式给予这些本被简化的人物形态一种非自然的生命。在高度写实和超现实之间，他在这一系列的画像中微妙地抽出及强调皮肤质感上的细节。在形成属于他自己的视觉语言的同时，他在画面中描绘的主题亦渐渐被他对于身处的社会环境的观察和反思主导。

“费拉”是一个源于阿拉伯的流浪牧羊人的名词，后来被德国历史学家奥斯瓦尔德·斯宾格勒（1880-1936）用作形容一些不附属于主流社会的群体的代名词，同时也隐喻着他们远离社会从众性的特殊的存在。基于这个名字及它的意义，张书笺在这组画作中探讨“费拉”在现代中国的语境里在意义上的变化，即其顺民的含义。他们体现一种纯粹而只受当下的即时性影响的苦楚，同时深受主流社会的腐败压抑。

《费拉》将于2015年3月7日开幕并持续开放至2015年5月3日。

C-Space is pleased to present Fellaheen - the second solo exhibition of Zhang Shujian (b.1987, Hunan province). Almost five years after the artist’s first solo exhibition – Self-Portrait, Fellaheen comprises of works from his most recent series, from which the exhibition derives its title. The artist’s experimentation in material and technique, as well as his recent concerns and contemplations on the human condition are evident in the representation of his selected subjects.

The human face is a subject that Zhang examines intensively in his artistic practice as a painter. He takes his time in “sculpting” his subjects – as initially suggested in his previous series – Skin Weave, where he reimagined the skin of figures depicted in sketches by masters such as Dürer and Da Vinci, bringing these abstracted forms to life in a distorted manner. As a continuation of this exploration, in a style in-between hyperrealism and surrealism, Zhang extracts and highlights details in these portraits in a delicate manner. While having established a language that is uniquely his own, the subject matter conveyed in his works has become driven more heavily by his desire to express his personal observations and reflections in a wider context.

“Fellaheen” is a term derived from the nomad shepherds of Arabia, which was employed by German historian Oswald Spengler (1880-1936) in describing groups of people that lived outside of mainstream society, as well as their embracement of existence outside social conformity. Adapting this term in a series of portraits, Zhang explores the fellaheen in its modern context in China, in which the term has taken on a different meaning, referring to the mass of the abjectly obedient citizens deeply affected by the corruptions of mainstream society, which embodies a sense of authentic suffering that is faced with the immediacy of the present.

Fellaheen opens March 7, 2015 and will run through May 3, 2015.