zfj-gallery

电话/Phone：13621188635

地址/Address：北京市朝阳区酒仙桥路4号/No.4，Jiuxianqiao Road，Chaoyang District，Beijing 100015，P.R.C

Phone: 13621188635

Address: No. 4 Jiuxianqiao Road, Chaoyang District, Beijing 100015, P.R.China

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zfj-gallery

Founded in 2001 and located in Beijing's 798 Art District—No. 4 Jiuxianqiao Road, Chaoyang District—Zhong Fang Jiao Gallery (zfj-Gallery) is a comprehensive gallery focused on contemporary art media. We are committed to building a platform for artists to exhibit and exchange ideas, regularly hosting exhibitions and academic events.

Based in Beijing, the gallery actively promotes interaction and dialogue between Chinese contemporary artists and outstanding international artists. By striving to balance artistic value with market potential, we aim to serve as a key hub connecting creators, collectors, and art enthusiasts.

zfj-Gallery 创立于2001年，坐落于北京798艺术区——朝阳区酒仙桥路4号，是一家专注于当代艺术媒介的综合型画廊。我们致力于为艺术家打造展示与交流的平台，定期举办展览及学术活动。

画廊以北京为基地，积极推动中国当代艺术家与国际优秀艺术家的互动与发声，并力求在艺术价值与市场潜力之间取得平衡，成为连接创作者、收藏者与艺术爱好者的重要枢纽。

recent exhibition:

本次展览源于一个哲学上的“不可能”：私人语言（Privatsphare）。它曾被认为是语言的理想原态一一种只指向个人
内在体验、绝对私密、无法被他人真正触及的表达。洛克说，语词在最初只代表说话者心中的观念；笛卡尔式的主体主义将人视为封闭的内在城堡，语言仿佛只是城堡向外的信号，而信号背后幽深的个体经验，始终孤绝无依。
然而维特根斯坦揭示，这样的语言并不成立。语言的规则必须在生活形式、在公共实践中被确立与检验。没有他人参与的语言游戏，就像一张只有自己看得见的表格，像盒子里的甲虫，无人能确认其形貌。
所谓的“私人感受”
，也只有在公共
表达的背景中才成立。私人语言在逻辑上悬空，无法被言说，这一悖论恰恰成为这场展览的起点。
参展的艺术家们以视觉、声音、材料与空间，展开一场悖论式的表达。他们使用可被公共感知的形式，却指向那些私密的、难以共享的私人语境。作品不是确切的翻译，而更像是一个个“悬停”在私人与公共之间的缝隙.⋯果我们进一步跟随德里达的思辨，语言从来不是中立的媒介，它承载着权力、历史与断裂。在单语主义的强势下，那些未被纳入公共语法的经验、那些被殖民或边缘化主体的“私语”，往往被排除在表达体系之外。布尔迪厄的“惯习”理论
提醒我们，表达本身已被社会结构塑造，而艺术有时就在这样的限制中，形成一种语言的抵抗——它既在系统中言说，又在言说中背叛系统。
因此，
“悬停”是一种状态，也是一种方法。
悬停在完全私密与完全可理解之间，悬停在个人记忆与集体记忆的边界，悬停在表达的冲动与表达的失效处。
我们邀请观者进入这场悬停的对话：一场并非关于答案的展览，而是一次在语言边界上的共处。

This exhibition originates from a philosophical impossibility: the private language (Privatsphäre). Once regarded as the ideal state of language—one that refers solely to an individual's inner experience, absolutely private, and utterly inaccessible to others—it evokes Locke's claim that words initially signify only the ideas within the speaker's mind, and Descartes' subjectivist view of the self as an enclosed inner citadel, where language serves merely as an outward signal from that fortress, leaving the profound depth of individual experience behind the signal forever isolated and forlorn.

Yet Wittgenstein revealed that such a language cannot exist. The rules of language must be established and tested within forms of life, within public practices. A language game without the participation of others is like a checklist visible only to oneself, or a beetle in a box whose form no one can verify. So-called "private sensations" acquire meaning only against the backdrop of public expression. The private language, logically suspended and unspeakable, forms a paradox that becomes the very starting point of this exhibition.

The participating artists engage in a paradoxical mode of expression through visual art, sound, material, and space. They employ forms accessible to public perception while pointing toward those intimate, unsharable private contexts. Their works are not precise translations but rather "hover" in the gaps between the private and the public. If we further follow Derrida's line of inquiry, language is never a neutral medium; it carries power, history, and rupture. Under the dominance of monolingualism, those experiences excluded from public grammar—the "private speech" of colonized or marginalized subjects—are often barred from systems of expression. Bourdieu's theory of habitus reminds us that expression itself is shaped by social structures, and at times, art constitutes a form of linguistic resistance within such constraints—speaking within the system while betraying it through speech.

Thus, "hovering" is both a state and a method. Hovering between the utterly private and the fully intelligible, hovering on the boundary between personal memory and collective memory, hovering at the point where the impulse to express meets the failure of expression.

We invite the viewer to enter this hovering dialogue—an exhibition not about answers, but about cohabiting the limits of language.

在历史的长河中，我们作为人类，曾经和现在，通过宗教、哲学、科学、文化等，从未停止尝试理解我们自己与世界，并演绎我们与宇宙的互动与共生。在时间和空间交织的维度网络中游走，形式与意义一直是不息流动的。

艺术，跨越了语言的障碍。它依托于创作的媒介，却超越不同符号体系架构中既定形式表意的局限。它提出疑问，开启对话。它构建一场交响乐。激烈的、悠扬的、明快的，深邃的，平静的，史诗的。。。我们如同游牧的灵魂，在理性与诗意的交织中徜徉，在历史中已成的规定与认知被撼动。却也因此，有机会拥抱新生的平衡与完整，并融入广袤的自由。

《流动的形Formless》由策展人张海伦与李雨谦携同来自世界不同大洲的艺术家与他们注入创作中的生命能量，最先登陆北京798艺术区的中方角画廊。让来自世界的这场流动的诗乐，在北京奏响。

“流动的形Formless” 将抽象形式视为开放的对话系统——形式在相互关系中获得生命。在这里，形不是静止的对象，而是一场不断发生的事件。

Throughout the long river of history, we as humans, both past and present, have never ceased our attempts to understand ourselves and the world—through religion, philosophy, science, culture, and more—interpreting our interaction and symbiosis with the universe. Moving through the dimensional network woven by time and space, form and meaning have always been in constant flux.

Art transcends the barriers of language. It relies on the medium of creation, yet surpasses the limitations of predetermined forms and meanings within different symbolic systems. It raises questions and initiates dialogue. It constructs a symphony—intense, melodious, lively, profound, tranquil, epic... Like nomadic souls, we wander at the intersection of rationality and poetry, where established norms and perceptions in history are shaken. Yet, it is precisely because of this that we have the opportunity to embrace a newfound balance and wholeness, integrating into a vast expanse of freedom.

"Formless Flow," curated by Zhang Hailun and Li Yuqian, brings together artists from different continents of the world and the life energy they infuse into their creations. The exhibition will first debut at China Square Gallery in Beijing's 798 Art District, allowing this flowing poetry and music from around the world to resonate in Beijing.

"Formless Flow" regards abstract forms as an open system of dialogue—forms come to life through their interrelationships. Here, form is not a static object but an ever-unfolding event.

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