艺术头条 
雅昌拍卖图录 
前言｜Preface
20世纪30年代，奥地利诺贝尔奖得主，生物学家康德拉·洛伦兹曾提出过著名的“Kindchenschema(婴儿模式)”用以解释人类为什么会对具有幼态特征的事物偏爱有加——放大比例的脑袋、大眼睛与圆润饱满的面部轮廓——一如张占占笔下那些能够给予人心治愈力量的经典形象。
In the 1930s, the Austrian Nobel Prize winner and biologist Kondra Lorenz proposed the famous "Kindchenschema" to explain why humans have a strong preference for things with juvenile characteristics—— The enlarged head, big eyes and round and full facial contours are just like the classic images in Zhang Zhanzhan's paintings that can give healing power to people's hearts.
在人类作为生物的原始DNA中，出于延续基因的本能驱使，对幼态事物的喜爱会在个体到达育龄之后作为潜意识产生强烈的影响。所以如何解释众多的观者看到张占占的作品能够获得“治愈感”，那些清澈的双眼与光滑的脸庞，唤起的或许便是每个观众最为直接的、区别于福柯式性欲望的关怀欲望。
In the original DNA of human beings as living things, driven by the instinct to continue genes, the love for juvenile things will have a strong subconscious impact after the individual reaches childbearing age. So how to explain that many viewers can get a "sense of healing" after seeing Zhang Zhanzhan's works. Those clear eyes and smooth faces may evoke each viewer's most direct desire for care, which is different from Foucault's sexual desire.
相较于在当代艺术，或是说在美术馆类空间中具有仪式异化感场域中的作品，张占占笔下的形象，或许在初见的时刻，由画布上的图像映射在视网膜时，就已然通过最为直接的视知觉，将作为有机生命普世存在的集体共情悄然传递给了观者，并如同少量酒精或是催产素对于机体的作用，无意致幻但却能使多巴胺大量产生，以色彩与线条组成的图像如同神经递质一般，唤起了由感官系统所主导的情感愉悦。
Compared with works in contemporary art, or in museum-like spaces that have a sense of ritual alienation, the images in Zhang Zhanzhan's paintings may have already been reflected on the retina when the images on the canvas were first seen. Through the most direct visual perception, the collective empathy that is the universal existence of organic life is quietly conveyed to the viewer. It is like the effect of a small amount of alcohol or oxytocin on the body. It is unintentionally hallucinogenic but can produce a large amount of dopamine, thus Images composed of colors and lines act like neurotransmitters, evoking emotional pleasure driven by the sensory system.
正如张占占本人在创作自述中所说的“对我来说，（创作）感受应该是第一位的。”他并非是进行“文本研究型创作”或是藉由当代艺术开放性做圄于理论、玩弄概念作品的艺术家，也没有在由写实绘画转向平面性形象创作的下一步，踏入形而上的“形式探索”。在张占占的创作历程中他的每一步都分外清晰——艺术家更像是冒险家，在很多人还沉浸在他作品中那些可爱、治愈的PUPU熊和YOYO兔的时候，这一次的展览他给大家带来了更多儿时内心的记忆点，或许可以直击同时代人最柔软与敏感的内心深处。在绘画方式上，他坚定而清醒地了解，自己想要表达什么、给观者带来怎样的情绪价值。无疑在当下的艺术环境，他是最能“玩转”情绪的艺术家。张占占画面中的那些人与物，引导着观者走进自我的内心世界，带着温暖的能量，将隐秘细腻的情绪再次放大，达到自我边界的突破。
As Zhang Zhanzhan himself said in his creative statement, "For me, (creative) feeling should be the first priority." He is not doing "textual research-based creation" or making use of the openness of contemporary art to build theory, artists who play with conceptual works have not stepped into metaphysical "form exploration" in the next step of shifting from realistic painting to two-dimensional image creation. Every step of Zhang Zhanzhan's creative process is extremely clear - the artist is more like an adventurer. When many people are still immersed in the cute and healing PUPU bears and YOYO rabbits in his works, this exhibition makes himbrings you more childhood memories, which may directly touch the softest and most sensitive hearts of contemporaries. In terms of painting methods, he firmly and clearly understands what he wants to express and what emotional value he brings to the viewer. There is no doubt that in the current art environment, he is the artist best able to "play with" emotions. The people and objects in Zhang Zhanzhan's paintings guide the viewer into his or her inner world, with warm energy amplifying the secret and delicate emotions to achieve a breakthrough in the boundaries of the self.
在张占占的画面里，他习惯的就是那几种不多的色彩，一如艺术家本人给人的气质感受，安静、内敛而不张扬。视觉上他以特质清晰的形象见长，作品中也无意做绘画炫技或是知识的炫耀，他从不构筑艺术家傲慢自大的神圣权威感，与刻意陌生化带来的狡猾距离感，面对画布与自我世界以外的他者，张占占有着分外的坦然与真诚，他希望他的作品能够一直陪在你的身边。
In Zhang Zhanzhan's paintings, he is accustomed to a few colors, just like the artist's own temperament, which is quiet, restrained and not ostentatious. Visually, he is known for his distinctive and clear images, and there is no intention to show off his painting skills or knowledge in his works. He never constructs the artist's arrogant sense of sacred authority, and faces the cunning sense of distance brought about by deliberate defamiliarization. Zhang Zhan possesses an extraordinarily calm and sincere attitude towards others outside the canvas and his own world. He hopes that his works can always stay with you.
“前卫艺术”鼓励思辨与批判，但智识的开发与观点的表达在毫厘之差的时刻往往容易沦为“国王的新衣”。我想张占占的作品能够在离心机一般冰冷的现代都市收到欢迎，除却作品饱含的田园牧歌式的温暖情感怀想，一定还因为那份源自真实生命体验的真诚与干净。对于在绩效社会中被理性与标准所捆绑的大多数来说，逃离精确计算的表格与庞杂生活的琐碎，能够提供精神与情绪休憩之所，大约便是张占占的作品在当下不可或缺的缘由所在。
"Avant-garde art" encourages speculation and criticism, but intellectual development and expression of opinions will easily become "the king's new clothes" at the slightest moment. I think that Zhang Zhanzhan's works are well received in modern cities that are as cold as centrifuges, in addition to the pastoral warm emotional nostalgia contained in his works, it must also because of the sincerity and cleanliness derived from real life experience. For most people who are bound by rationality and standards in a performance society, Zhang Zhanzhan can help them to escape from the precise calculation tables and the trivialities of complex life and have a place of mental and emotional rest. This is probably why Zhang Zhanzhan's works are indispensable today.
——赵倩颖(策展人/Artdepot艺术仓库创始人）
20世纪30年代，奥地利诺贝尔奖得主，生物学家康德拉·洛伦兹曾提出过著名的“Kindchenschema(婴儿模式)”用以解释人类为什么会对具有幼态特征的事物偏爱有加——放大比例的脑袋、大眼睛与圆润饱满的面部轮廓——一如张占占笔下那些能够给予人心治愈力量的经典形象。
In the 1930s, the Austrian Nobel Prize winner and biologist Kondra Lorenz proposed the famous "Kindchenschema" to explain why humans have a strong preference for things with juvenile characteristics—— The enlarged head, big eyes and round and full facial contours are just like the classic images in Zhang Zhanzhan's paintings that can give healing power to people's hearts.
在人类作为生物的原始DNA中，出于延续基因的本能驱使，对幼态事物的喜爱会在个体到达育龄之后作为潜意识产生强烈的影响。所以如何解释众多的观者看到张占占的作品能够获得“治愈感”，那些清澈的双眼与光滑的脸庞，唤起的或许便是每个观众最为直接的、区别于福柯式性欲望的关怀欲望。
In the original DNA of human beings as living things, driven by the instinct to continue genes, the love for juvenile things will have a strong subconscious impact after the individual reaches childbearing age. So how to explain that many viewers can get a "sense of healing" after seeing Zhang Zhanzhan's works. Those clear eyes and smooth faces may evoke each viewer's most direct desire for care, which is different from Foucault's sexual desire.
相较于在当代艺术，或是说在美术馆类空间中具有仪式异化感场域中的作品，张占占笔下的形象，或许在初见的时刻，由画布上的图像映射在视网膜时，就已然通过最为直接的视知觉，将作为有机生命普世存在的集体共情悄然传递给了观者，并如同少量酒精或是催产素对于机体的作用，无意致幻但却能使多巴胺大量产生，以色彩与线条组成的图像如同神经递质一般，唤起了由感官系统所主导的情感愉悦。
Compared with works in contemporary art, or in museum-like spaces that have a sense of ritual alienation, the images in Zhang Zhanzhan's paintings may have already been reflected on the retina when the images on the canvas were first seen. Through the most direct visual perception, the collective empathy that is the universal existence of organic life is quietly conveyed to the viewer. It is like the effect of a small amount of alcohol or oxytocin on the body. It is unintentionally hallucinogenic but can produce a large amount of dopamine, thus Images composed of colors and lines act like neurotransmitters, evoking emotional pleasure driven by the sensory system.
正如张占占本人在创作自述中所说的“对我来说，（创作）感受应该是第一位的。”他并非是进行“文本研究型创作”或是藉由当代艺术开放性做圄于理论、玩弄概念作品的艺术家，也没有在由写实绘画转向平面性形象创作的下一步，踏入形而上的“形式探索”。在张占占的创作历程中他的每一步都分外清晰——艺术家更像是冒险家，在很多人还沉浸在他作品中那些可爱、治愈的PUPU熊和YOYO兔的时候，这一次的展览他给大家带来了更多儿时内心的记忆点，或许可以直击同时代人最柔软与敏感的内心深处。在绘画方式上，他坚定而清醒地了解，自己想要表达什么、给观者带来怎样的情绪价值。无疑在当下的艺术环境，他是最能“玩转”情绪的艺术家。张占占画面中的那些人与物，引导着观者走进自我的内心世界，带着温暖的能量，将隐秘细腻的情绪再次放大，达到自我边界的突破。
As Zhang Zhanzhan himself said in his creative statement, "For me, (creative) feeling should be the first priority." He is not doing "textual research-based creation" or making use of the openness of contemporary art to build theory, artists who play with conceptual works have not stepped into metaphysical "form exploration" in the next step of shifting from realistic painting to two-dimensional image creation. Every step of Zhang Zhanzhan's creative process is extremely clear - the artist is more like an adventurer. When many people are still immersed in the cute and healing PUPU bears and YOYO rabbits in his works, this exhibition makes himbrings you more childhood memories, which may directly touch the softest and most sensitive hearts of contemporaries. In terms of painting methods, he firmly and clearly understands what he wants to express and what emotional value he brings to the viewer. There is no doubt that in the current art environment, he is the artist best able to "play with" emotions. The people and objects in Zhang Zhanzhan's paintings guide the viewer into his or her inner world, with warm energy amplifying the secret and delicate emotions to achieve a breakthrough in the boundaries of the self.
在张占占的画面里，他习惯的就是那几种不多的色彩，一如艺术家本人给人的气质感受，安静、内敛而不张扬。视觉上他以特质清晰的形象见长，作品中也无意做绘画炫技或是知识的炫耀，他从不构筑艺术家傲慢自大的神圣权威感，与刻意陌生化带来的狡猾距离感，面对画布与自我世界以外的他者，张占占有着分外的坦然与真诚，他希望他的作品能够一直陪在你的身边。
In Zhang Zhanzhan's paintings, he is accustomed to a few colors, just like the artist's own temperament, which is quiet, restrained and not ostentatious. Visually, he is known for his distinctive and clear images, and there is no intention to show off his painting skills or knowledge in his works. He never constructs the artist's arrogant sense of sacred authority, and faces the cunning sense of distance brought about by deliberate defamiliarization. Zhang Zhan possesses an extraordinarily calm and sincere attitude towards others outside the canvas and his own world. He hopes that his works can always stay with you.
“前卫艺术”鼓励思辨与批判，但智识的开发与观点的表达在毫厘之差的时刻往往容易沦为“国王的新衣”。我想张占占的作品能够在离心机一般冰冷的现代都市收到欢迎，除却作品饱含的田园牧歌式的温暖情感怀想，一定还因为那份源自真实生命体验的真诚与干净。对于在绩效社会中被理性与标准所捆绑的大多数来说，逃离精确计算的表格与庞杂生活的琐碎，能够提供精神与情绪休憩之所，大约便是张占占的作品在当下不可或缺的缘由所在。
"Avant-garde art" encourages speculation and criticism, but intellectual development and expression of opinions will easily become "the king's new clothes" at the slightest moment. I think that Zhang Zhanzhan's works are well received in modern cities that are as cold as centrifuges, in addition to the pastoral warm emotional nostalgia contained in his works, it must also because of the sincerity and cleanliness derived from real life experience. For most people who are bound by rationality and standards in a performance society, Zhang Zhanzhan can help them to escape from the precise calculation tables and the trivialities of complex life and have a place of mental and emotional rest. This is probably why Zhang Zhanzhan's works are indispensable today.
——赵倩颖(策展人/Artdepot艺术仓库创始人）
... 展开
策展人
赵倩颖Serena Zhao
展览备注
张占占Zhang Zhanzhan
当代艺术家, 1982年生于河北, 毕业于南京艺术学院。作品被多名知名收藏家及影视明星收藏。张占占的作品大都以孤独作为主题,以简练柔和的线条、简洁而标志性的红黑配色、可爱而沉默的动物形象进行传达。他的作品既是对孤独感及其 情境的描绘,也令人感受到当代社会生活中人们的共同处境，以此引动人们对于自身及与他人的关系等问题的关注与思考。
Zhang Zhanzhan, contemporary artist. Born in Hebei in 1982, graduated from Nanjing University of the Arts. His works have been collected by many well-known collectors and film stars. Most of Zhang Zhanzhan's works are based on the theme of loneliness, conveyed by simple and soft lines, simple and iconic red and black color schemes, and cute and silent animal images. His work is both a depiction of loneliness and its situation and also make people feel the common situation of them in contemporary social life and arouse people's attention and reflection on issues such as themselves and their relationships with others.
艺术总监｜Artistic Director
刘梓舟Liu Zizhou
联合出品｜Co-Production
A4X艺术中心A4X ART CENTER
ArtDepot艺术仓库
当代艺术家, 1982年生于河北, 毕业于南京艺术学院。作品被多名知名收藏家及影视明星收藏。张占占的作品大都以孤独作为主题,以简练柔和的线条、简洁而标志性的红黑配色、可爱而沉默的动物形象进行传达。他的作品既是对孤独感及其 情境的描绘,也令人感受到当代社会生活中人们的共同处境，以此引动人们对于自身及与他人的关系等问题的关注与思考。
Zhang Zhanzhan, contemporary artist. Born in Hebei in 1982, graduated from Nanjing University of the Arts. His works have been collected by many well-known collectors and film stars. Most of Zhang Zhanzhan's works are based on the theme of loneliness, conveyed by simple and soft lines, simple and iconic red and black color schemes, and cute and silent animal images. His work is both a depiction of loneliness and its situation and also make people feel the common situation of them in contemporary social life and arouse people's attention and reflection on issues such as themselves and their relationships with others.
艺术总监｜Artistic Director
刘梓舟Liu Zizhou
联合出品｜Co-Production
A4X艺术中心A4X ART CENTER
ArtDepot艺术仓库
... 展开
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