> Crutor's Words
Zhang Enli
With an anti-aesthetic formation, Zhang Enli stands aloof to what is accepted and celebrated in contemporary society, and sometimes even walks away to the opposite side, quietly depicting the scenes of object and heart in the process of oppression, rejection, damnation, subjugation and violence. His imagery is the rich reality that he got in touch with as he betrayed the hardly attractive world, expressing sensitivities from the depth of his heart that are unknown to the outside world. The swelling of these unknown internal monologues gives his paintings a sense of the provisional and the plebeian, in both form and content. His exhibited works are not about man, yet always about man. Man becomes a presence by absence, an uncertain ambivalence, a spectre in limbo. In the presence of objects, man has yet to come, or has left already. Zhang Enlis works have exiled the dimension of meaning. Quite different from those works with clear thoughts and ideas, his works represent a kind of fluctuating, unstable existence. The absence of meaning has maintained the primary intensity of expression and transcended the emptiness and limitations of signs. While keeping the void intact and stabilising meaning, he lets the audience understand the lack of meaning in their existential circumstances and achieve spiritual freedom in their explorations of the truth of existence and another world. In this sense, the artist is one who experiences rather than one who knows. In recurring experiences he calls up one fantasy after another, and Zhang Enlis art remains glistening at a distance, just like the Kafkaesque castle, which you cannot access or avoid.
  • Light
    Size: 10090cm
    Time: 2007
  • Hanging
    Size: 250250cm ?
    Time: 2012
  • Rest room
    Size: 280230cm
    Time: 2012
  • Knotted pipe 2
    Size: 160130cm ?
    Time: 2012
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National Art Museum of China