1977 生于新疆
2003 毕业于四川美术学院油画系
     现居重庆

个展
2004 “splendour of gold” 艺术季节 (新加坡)
2007 “别意”惠欣个展（北京 季节画廊）
展览
2007 同感 K 画廊 成都
2007 “核变”艺术展marella gallery (意大利 米兰)
     “果冻时代”艺术展（上海美术馆）
2006 “当代艺术四人联展”（中国,台湾）
     超越的维度—中国新绘画展（南京四方美术馆）
      嬉戏的图象—2006中国当代艺术邀请展（深圳美术馆）
2005 “抓壮丁” , 北京季节 (中国, 北京)
2004 “现代中国” , 艺术季节 (新加坡)
     “ARTSingapore 2004” (新加坡)
     “中国国际画廊博览会” (中国, 北京)
     “彼此” 当代艺术作品展 (图卢兹, 法国)
2003 “青春就是权利” (中国, 上海)
     “第二届贵州双年展” (中国, 贵阳)
     转向- <<当代美术家>> 首届年度邀请展 (重庆美术馆)
     重庆美术馆开馆展 (中国, 重庆)
     重庆市首届油画展 (中国, 重庆)

HUI XIN
1977 Born in Xinjiang, China
2003 Graduated from Oil Painting Department, Sichuan Fine arts
     Institute
     Living in Chongqing China

SOLO EXHIBITION
2007 “Far away”
     Artseasons Gallery, Beijing, China
2004 “SPLFNDOUR OF GOLD”
     Artseasons Gallery, Singapore

EXHIBITION
2008 Inf Antization
     Taipei Museum of Contemporary Art, Taiwan, China
2007 “The pit change” Art Exhibition
     Marella Gallery, Milan, Italian
     “The Same feeling: Contemporary Emerging Artists Exhibition”,      Chengdu. China
     “Inf Antization”, Shanghai Art Museum
    “The Reveling Waves”, Shanghai Duolun Museum
2006 “The Contemporary Arts Association Exhibition”??
     Min Art Gallery, Taiwan, China
     “Beyond Dimension: Chinese New Painting”?
     Nanjing Square Gallery of Contemporary Art
     “Frolic Picture—2006Contemporary Art of China Lnvitation      Exhibition”
     Shenzhen Art Museum
2005 “ZHUA ZHUANG DING”
     Artseasons Gallery, Beijing, China
2004 “CHINA NOW”
     Artseasons Gallery, Singapore
     “ARTSingapore 2004”, Singapore
      China International Gallery Explosion, Beijing, China
     L’un,L’autre,Toulouse, France
2003 “Power is Young” Shanghai, China
     “The Second Oil Painting Biennale of Guizhou”, Guiyang, China
     “The Turning-The First Annual Invitation Exhibition by Contemporary
     Artists”, Chongqing Art Museum, China
     “Art Education of Experiment Opening Exhibition of Chongqing      Museum”, Chongqing China
     “The First Oil Painting Exhibition”, Chongqing Museum, China

另一种“美”术
作为多年的朋友，在惠欣提出由我来写这些文字的时候，我是欣然领命的，可及至提笔，才发觉言说别人的工作的难处。所幸自学生时代起，大家的工作就是在一次次的醉酒与长谈中得以推进的，可谓知根知底，或许可为我不自量力强为此文的根据吧。
惠欣艺术创作上的发端，颇有些类似于某些老派的学院艺术家的经历。他只是迷恋于某种工具和材料带给他的手工快感，又流连于纯粹的审美生理快感。对于其时对现代主义与当代艺术不甚关心的他来说，如果不是周遭环境里的耳濡目染，我相信他会义无反顾地成为一个不怎么优秀的使用喷笔的学院艺术家的。
但有趣的是，这样看似的“先天不足”，却不但没有使惠欣的工作沦入到由于一成不变的工作方式而极可能导致的“图式化”的无聊游戏中，反而使他很快失去了对把玩语言与执着于形式的兴趣，而把注意力转到了对图像的选择与构成方式的考虑上。这也就是从2003年到现今惠欣作品中呈现出来的变化与努力。从早期以鱼为主题，带有些许梦呓意味的作品，到现在拼贴了许多传统绘画与民间美术图像的画面，绝非“黔驴技穷”式的简单的题材转换，它提示的更是一个艺术家以为依凭的方法论的变化。
首先要注意到的是，与其他同样利用现成图像来进行创作的艺术家相比，惠欣的绘画一开始就由于其特殊的工作方式而呈现出语言上的反绘画性。喷绘作为一种技术手段赋予了画面冷静的机械化特质。从出发点上来讲，他是在模拟数码时代中特有的图像输出方式。与从格哈德·李希特那里获得了灵感的许多同道相比，在精神上惠欣歪打误撞地更接近早期的照相写实主义一些。他对这种毫无经典审美意味的工作方式的乐此不疲，也是我料定他无法成为一个优秀的学院艺术家的原因。
而2004年在完成了他的首个个展之后，惠欣开始思考自身工作的进一步发展。在向外寻求资源以为佐助的过程中，他看到了从波普艺术那里获得动能的可能性。更为关键的是，他更向内从心性出发找到了自己展开工作的母题或言之概念。这种概念混合了他对制造单纯审美生理快感的熟稔与我经常笑言的惠欣所富有的“民间智慧”。这所谓“民间智慧”，是因为他具有一种我所不及的对世俗生活细节的敏感。其中就包括了对于世俗生活中文化消费趣味的把握与热爱。如此我们才会看到，在这之后的作品中，惠欣发展了一种绚丽耀目的繁复的趣味。绘画中单纯直接的审美生理快感，被以一种近乎偏执的态度更进一步地强调再强调。取代了以往单一的暧昧的图像信息，多种驳杂而具体的绘画元素被共同置入被压缩了纵深的平面中。来自于传统绘画的高古雅意与民间美术的粉艳趣味的冲突被以一种装饰化的手法所调和而并行不悖，统一在了冷静的图像狂欢的氛围下。虽然乍看之下，在图像资源的选择上，惠欣的作品与90年代的“艳俗艺术”有一定的重合，但应该看到的是，后者是从意识形态出发，对传统与民间审美的“策略化”利用，从根本上讲是反传统与民间审美的。与此不同，在惠欣的作品里，看到的是不调侃不解构的态度与建构一种新的审美趣味的积极愿望。在这样的努力中，对图像的选择与营造出来的具有东方意味的气质，与某些论调中的“贩中国化”作为比照，更像是一种生长于中国的年轻艺术家的自然选择，或许可以说成是某种“泛中国化”。在此，“泛中国化”的意思是，对中国文化资源的不妄自否薄，不刻意卖弄，而是在一种更开阔的视野里，作出建构一种具有包容与生发性的生动而自立的文化系统的努力。
因此，作为一个1977年生人的艺术家，惠欣提供的独特个案，显示的不仅是不同于前行的艺术家的艺术价值取向，同时也在对年轻艺术家人群武断而笼统的判断声与所谓“潮流”里，给出了不一样的回答。在那些予人闪耀的柔软的富丽的晶莹的或是其他种种体味的画面背后，我想更重要的是一个艺术家和他的工作系统显示出的建设性与可拓展性。
当然，也许我这许多的言语不过是对他的艺术工作的“盲人摸象”式的判断，既片面也无趣。在惠欣来讲，艺术，也许不过就是另一种“美”术罢了。
高瑀 2007年1月

Having been friends for a long time, when Hui Xin asked me to write something for him, I was most happy to do so.? It was only when I came to take up my pen that I realised the difficulty in writing about other people.? Luckily ever since we were students our work has been pushed onwards with innumerable drunken nights and long discussions.? You could say we know each other through and through; perhaps that’s why I feel confident in my basis for writing this essay.?
The pinnacle of Hui Xin’s creativity is full of something similar to the experience of an older generation of academic artists.? He is deeply enamored with certain of his tools and materials and the joy of using them, and the pure aesthetic of physical pleasure derived from them.? As for this man who is not deeply concerned with modernism or the contemporary aspects of his art works, if it were not for the environment that surrounds him, I’m sure he would become nothing but an average artist working in spray paint from the Academy.??
What is interesting is that what is an apparent deficiency does not make Hui Xin’s work fall into the monotonous methodology that produces the boring game of producing pictures.? Rather it makes him lose interest in playing games with language or manipulating form, putting his whole attention into considering his choices and construction of the picture.? This is the change and direction that has appeared in Hui Xin’s works from 2003 onwards.? In his early works there was something like a dream world, with fish as his subject, up until the present he works with building a collage of certain traditional and folk art images, it is not the simple fact of his running out of ideas and changing theme, what it really shows is that his methodology has undergone certain changes.
Of primary importance is that, compared with other artists who utilize ready-made images in their creative process, from the start Hui Xin’s paintings have demonstrated a non-painting language in his unique work method.? Spray painting, as a technical method, lends the characteristics of coolness and a mechanical feel to the canvas.? From his starting point, he simulates the production of images that is particular to the digital age.? Unlike many of his contemporaries that have been inspired by Gerhard Richter, spiritually Hui Xin comes closer to the realism of early photography.? He never tires of the joy to be found in this non-classical aesthetic mode of work.? That is why I imagine he cannot become merely an academically excellent artist.???????
Following the conclusion of his first ever solo exhibition in 2004, Hui Xin began to consider the development of his own work.? Aided by external sources in his search, he saw the possibilities and capacity present in Pop art.? More crucial was that he managed to find a mother tongue that grew out of his own inner feelings.? This kind of idea combined together with the ripeness of his pleasure in pure aesthetic joy and the “folk knowledge” that I so often tease Hui Xin in saying he is rich in.? This “folk knowledge” is his sensitivity to the details of secular life and its practices that I am totally lacking in myself.? Which includes a grasp and love of the interest in consumerism in secular culture.? Only in this way will we discover in his following works, that Hui Xin developed an interest in the complexities of what is considered beautiful.? The previously pure aesthetic pleasure has been reinforced by an almost prejudiced attitude.? The previously singular ambiguous information in his paintings has been replaced by multiple heterogeneous images combined together and compressed into a dense pattern on the plane surface.? Graceful images from classical paintings and the bright colours of folk art have been harmonized by a decorative ethos that allows their originally conflicting aspects to settle together in harmony.? The quiet images romp merrily together.? Even at first glance, in his choice of source material, Hui Xin’s works have a certain connection with the “Glamourous Secular” art of the nineties.? However what we ought to notice is that those coming after that period take on these principles with deliberation, making use of the tactics of the traditional and folk aesthetic, which goes to some extent to reject and overturn that very aesthetic itself.? By contrast, in Hui Xin’s works we see no provocative or subversive attitude, but a vigorous desire to establish a new kind of aesthetic.? With this as his aim, creating the strong sense of the Oriental that is present in his choice of image and composition, when compared with certain peddlers of China-culture, would seem the more natural choice of a young artist who has grown up in China.? You could say it was “Chinese all over”.? That is to say not questioning the depth of Chinese cultural resources, not deliberately selling them, but rather through a wider perspective, making efforts to establish a lively and receptive independent cultural system.??????????????
Therefore, as an artist born in 1977, Hui Xin provides us with a unique case.? He not only presents a different direction in artistic values to those who came before him, but at the same time speaks out against the loss of technique and the general trends amongst other young artists, providing a different solution.? Behind the canvasses full of brilliant softness, rich and crystalline, or rich in different tastes, I think what is most important is the establishment and development of an artist and his own method of work.
Naturally, it is possible that my scribblings about his work are like the judgments of the three blind men sizing up an elephant, only focusing on parts and rather lacking in interest.? With Hui Xin, art is perhaps only a kind of aesthetic and nothing more.
January 2007
2007年1月

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惠欣使用一种近似流行广告绘画的技法来完成他对图像的描绘。无论以构图、造型、质感和色彩的关系，使得画面看上去像一幅电脑绘画，极具后工业技术感。蓝天下起舞的仙鹤、阳光中幽绿的竹林、祥云间傲视的俊龙……这些原本东方化的经典视觉形象，被艺术家“乾坤挪移”般置身在超现实情景中。惠欣总是刻意地在画面中为观众设置一个愉快、美丽的情景。艺术家竭尽所能的把世俗文化中对于“美”的视觉体验叠加在作品中。惊艳的视觉效果带来的感观愉悦，颇似当代文化带来的诸多刺激。的确年青一代对于生活美学品味的追求，也受到了大众流行文化的影响，他们更喜欢以直接、轻松的方式去表现和体验生活。
我曾开玩笑的对惠欣说：“你才是中国真正意义的“艳俗”艺术家，你把世俗文化中传统的形像以最艳丽的手法表现出来。”惠欣在绘画中的图像挪置，完全不同于九十年代中国“艳俗”绘画的语意。惠欣作品强调是画面扑面而来的美感，并不叠加更多政治、文化意义的判断，他更喜欢以一种简单的方式完成他对传统文化在今天语境的注解。这些经典的东方文化符号在惠欣的作品中是被最简单图解的。从画面中可以看到，图象的意义远远超出其绘画的本身，这种刻意的安排，显得颇有“设计感”。这可以从美国艺术家杰夫·昆斯的绘画作品中找到异曲同工之处。绘画的场域在这里变得越来越大，艺术家对经典传统图象的再生和重新演绎，完全颠覆了传统绘画的方法和标准。惠欣根本无视所谓传统绘画的技术要求，在这里画布只是艺术家表达的一个载体，一个信息媒介。从电脑设计到制图放样，到绘画完成，这看似流水线的枯燥工作方式，其实艺术家在享受这种工作的快感。这时艺术家更像个设计师。这种新的工作方式，已经成为年青一代绘画的相当普遍的现象。
惠欣的作品显现出独特的当代视觉形象，这使得绘画作品本身已成为公共图象的另一载体。惠欣的绘画以一种最“西方”的表现形式，来释放一种最“东方”的美学意境。美的更“艳”，美的更“俗”，这恰恰是其作品最打动人的地方。

朱彤2006
摘自（“惊艳”的视觉——我看惠欣的绘画）

Preface
Hui Xin utilizes a technique that brings his work close to popular advertisements.? Whether it be the effect of composition, form, texture and colour, the end result is something that looks computerized, full of a post-industrial feel.? The dancing cranes, shady bamboo thickets, dragons in rosy clouds – these classical images of Oriental origin have been chosen by the artist and placed in a surrealist setting, as if he were rearrange the world to suit himself.? Hui Xin always seeks to produce a joyful and beautiful image for his audience in his artwork.? He layers secular visual impressions of “Beauty” together in his work, the sensual pleasure one feels before the startling visual effects is stimulating in a way akin to modern culture itself.? We may be certain that popular mass culture has indeed had its effects on the younger generation of artists and their demands to experience an aesthetically pleasing life.? They prefer to use a direct approach, a more casual form to experience and manifest their experience of life.
I have joked with Hui Xin, saying “You are the only true “glamour” artist, you represent the traditional forms of popular culture with splendid style.”? Hui Xin’s composition of his pictures is different to the work of any other artist included in the term “glamour” art.? What is emphasized in Hui Xin’s works is the experience of the images jumping off the canvas; it is free from the piling up of any ideas of political and cultural significance.? He prefers to use a simple form to make his observations about traditional images in a modern context.? These classic symbols of Oriental culture have been stylized in Hui Xin’s paintings.? In his work we can see that a picture can be far and away from the basic idea of a painting.? This results in a deliberate arrangement, with a distinct feeling of ‘design’.? There is an underlying similarity here with the works of American artist Jeff Koons.? The possibilities of painting are expanded, the rebirth and re-enactment that the artist brings to the traditional image is full of the standards and techniques of that tradition.? The canvas is nothing more than an information media, a carrier for his demands of the traditional painting techniques that he only appears to overlook.? From being designed on a computer, to the print-out, to the final painting of the picture – what may seem to us to be work as monotonous as that on a production line, affords the artist considerable pleasure.? The artist is given the opportunity to act as a designer too.? Such a novel work ethic has already become relatively common amongst the young generation of artists.
In Hui Xin’s works we see the appearance of a unique contemporary visual form, which turns the painted picture another carrier of the public image.? Hui Xin’s paintings utilize a ‘Western’ form of representation to release/translate the ‘Eastern’ aesthetic world.? A Beauty that is more ‘glamorous’ and more ‘secular’, which is precisely what is exciting about his artwork.

Zhu Tong? 2006
An excerpt from

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自述
我今天想做的事就是把我昨天做的事“否定”。