Lives and Works: Wuhan
Zhan Rui was born in China in 1980. He graduated from Hubei Academy of Fine Arts with a B.A. in painting in 2004. He received a M.A. from the Fine Arts Dept., University of the Arts in London in 2006. Currently, he lives and works in Wuhan, China. Zhan Rui’s works are in the permenent collections of M+ Museum for Visual Culture (H.K.); Union Art Museum (Wuhan, China); Wuhan Art Museum (Wuhan, China); in addition to major private collections of Uli Sigg and Budi Tek; etc.
Zhan Rui’s recent major exhibitions include: "7278/12" (2016, Gallery 55, Shanghai, solo); “Asian Art Superhighway” (2016, Cheongju Art Museum, South Korea); “Intro” (2016, IL Ponte Gallery, Italy); “Everything is going to be alright” (2015, Union Art Museum, Wuhan, China, solo); “Soft abstraction as Constellation - China of Methods” (2015, Hong Kong Convention and Exhibition Centre, Hong Kong); “Huayu Art Prize” (2015, Art Sanya, Sanya, China)’ “The Other · The Distance” (2014, Hubei Museum of Art, Wuhan, China / Kaohsiung Museum of Fine Arts, Taiwan); Re-Modernization: 3rd Documentary Exhibition of Fine Arts” (2014, Hubei Museum of Art, Wuhan, China); "Gradualness” (2013, Wuhan Art Museum, China / Beijing Today Art Museum, China); “After good health, money is the best thing to have” (2012, The Yangtze River Space, Wuhan, China); “The Stock Exchange, Weather and Sex” (2011, Boers-Li Gallery，Beijing, China, solo); “Visual Structure” (2011, A4 Contemporary Arts Centre, Chengdu, China); etc.
Time is expressed in the form of a series of events in Zhan Rui’s creation. No matter the change of weather, or the stock market’s ups and downs, or the attendance record... a variety of information and data of the modern day life wold be scooped by him from the institutionalized everyday world, and then pigeon holing them in a periodic time frame like a knot. Similar to the visual rehearsal of Saussure’s modern linguistic theories, a minimalist model of visual epidermis becomes an individual language system created by the artist. The colors and geometric shapes won’t overlap each other within a single system. At the same time, they would jointly cover fully the the information domain, without a single miss. Through changing the specific color and geometrical shape, Zhan Rui reproduced the ups and downs of each event. The principles of syntax of his work builds a language circuit between the signifier and the signified. When the viewer’s eye return to focus on information along the circuit, they would suddenly realize people, events, time and space form every single episode of life in the grids. By then, they are set aside of the concrete life. Dominated by Logos’ desire, the different other becomes the same subject.
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