ISBN 978-3-9523767-3-7

陈卉 CHEN HUI

陈卉 CHEN HUI

目录

Contents

P. 5

2005-2011作品 Works 2005-2011

P. 51

被解放的自由

——陈卉的故事和她的画 文: 王春辰

Freedom Liberated: The Story and Paintings of Chen Huiby Wang Chunchen

P. 57

“去火” 展览现场“Reduce Internal Fire” Exhibition Views

P. 64

简历 Biography

P. 66

版权 Imprint

本画册为陈卉个展“去火”而出版

2011年4月15日至7月30日展出于瑞士卢森麦勒画廊 北京-卢森

This catalogue was published on the occasion of Chen Hui’s solo exhibition “Reduce Internal Fire” at Galerie Urs Meile, Beijing-Lucerne, Lucerne, Switzerland, from April 15 - July 30, 2011

致谢

王春辰, 麦勒画廊 北京-卢森全体工作人员, 以及所有参与协助此项目的朋友。

Acknowledgements

Wang Chunchen, the staff at Galerie Urs Meile, Beijing-Lucerne, and to all the people who have participated or assisted in the realisation of this project.

2005-2011作品

Works 2005-2011

"Xiao Q" 2005oil on canvas, 50 x 40.3 cm

《小Q》2005布面油画, 50 x 40.3 cm

"Coffee by the Lips" 2005oil on canvas, 100 x 80 cm

《唇边的咖啡》2005布面油画, 100 x 80 cm

"Ni Ye and Cha" 2006oil on canvas, 120 x 90 cm

《尼也和茶》2006布面油画, 120 x 90 cm

"En Dai Mi En" 2006oil on canvas, 120 x 75 cm

《恩戴米恩》2006布面油画, 120 x 75 cm

"Xiao X" 2006oil on canvas, 150 x 75.3 cm

《小X》2006布面油画, 150 x 75.3 cm

"A and Z" 2006oil on canvas, 180 x 130 cm

《A和Z》2006布面油画, 180 x 130 cm

"Bee-Bored-Bird" 2006oil on canvas, 180 x 230 cm

《Bee-Bored-Bird》2006布面油画, 180 x 230 cm

"Vitamin X" 2006oil on canvas, 180 x 104 cm

《Vitamin X》2006布面油画, 180 x 104 cm

"Congregation" 2007oil on canvas, 97 x 145 cm

《聚会》2007布面油画, 97 x 145 cm

"TB" 2006oil on canvas, 145.5 x 97 cm

《TB》2006布面油画, 145.5 x 97 cm

"You and Me" 2007oil on canvas, 80 x 120 cm

《我们俩》2007布面油画, 80 x 120 cm

"Fei" 2007oil on canvas, 60 x 50 cm

《非》2007布面油画, 60 x 50 cm

"P" 2007oil on canvas, 40 x 30 cm

《P》2007布面油画, 40 x 30 cm

"Flying Fish" 2007oil on canvas, 120 x 63 cm

《会飞的鱼》2007布面油画, 120 x 63 cm

"Creamy Strawberry" 2007oil on canvas, 145 x 97 cm

《奶油草莓》2007布面油画, 145 x 97 cm

"X.Y.Z." 2007oil on canvas, 130 x 97 cm

《X.Y.Z.》2007布面油画, 130 x 97 cm

"Mr. Lulu" 2007oil on canvas, 60 x 50 cm

《璐璐先生》2007布面油画, 60 x 50 cm

"MSN" 2007oil on canvas, 110 x 170 cm

《MSN》2007布面油画, 110 x 170 cm

"Gleaners" 2008oil on canvas, 162.5 x 130 cm

《拾穗者》2008布面油画, 162.5 x 130 cm

"iPhone" 2008oil on canvas, 80 x 60 cm

《iPhone》2008布面油画, 80 x 60 cm

"Delighted" 2008oil on canvas, 130 x 180 cm

《开心》2008布面油画, 130 x 180 cm

"Creamy Strawberry" 2008oil on canvas, 130 x 93 cm

《奶油草莓》2008布面油画, 130 x 93 cm

"On Fire" 2009oil on canvas, 80 x 100 cm

《火了》2009布面油画, 80 x 100 cm

"Kaixin" (facebook) 2010oil on canvas, 130 x 93 cm

《Kaixin》(facebook) 2010布面油画, 130 x 93 cm

"A Rousing Tour in the Park" 2010oil on canvas, 130 x 180 cm

《游园惊梦》2010布面油画, 130 x 180 cm

"Please Call Me Loli" 2010oil on canvas, 97 x 130 cm

《请叫我小萝莉》2010布面油画, 97 x 130 cm

"Reduce Internal Fire" 2010oil on canvas, 65 x 50 cm

《去火》2010布面油画, 65 x 50 cm

"Playing Water" 2010oil on canvas, 97 x 130 cm

《戏水》2010布面油画, 97 x 130 cm

"Mengmeng" 2011oil on canvas, 100 x 80 cm

《萌萌》2011布面油画, 100 x 80 cm

"Twitter Time" 2011oil on canvas, 100 x 80 cm

《微博时刻》2011布面油画, 100 x 80 cm

被解放的自由 ——陈卉的故事和她的画Freedom Liberated: The Story and Paintings of Chen Hui

52 53

Freedom Liberated: The Story and Paintings of Chen Hui

by Wang Chunchen

Looking at Chen Hui’s paintings, if you are unfamiliar with the artist and her approach, you might simply think that she paints quite well, but may not feel an

inclination to investigate the matter further. However, I had a singular opportunity to learn more about her, which caused me to appreciate her and her paintings

from a whole new perspective and, more importantly, occasioned reflections on the multiple possibilities present in contemporary painting.

As a girl, Chen Hui was influenced by her father’s love of painting. From an early age, she displayed considerable talent in painting, but never particularly focused

on it. After taking the national university entrance exam, she applied to the Central Academy of Fine Arts (Beijing), but was not admitted. Instead, she enrolled at

the Central Academy of Drama (Beijing), where she majored in character design (an area of study focused on developing theatrical characters’ visual attributes,

including costume and make-up) in the faculty of Stage Design Arts, rather than studying painting. During this time, Chen Hui maintained her natural affinity for

painting, but there was no particular strengthening of her understanding of the medium; rather it was more akin to studying a foreign language, familiarizing

herself with it daily, working it out. After graduation, Chen Hui taught character design at the Communication University of China (Beijing). She certainly never

thought she would become a professional painter. She often participated in costume and make-up design for stage productions, conducting her own observa-

tions about the characters’ visual qualities and facial expressions, developing a deep understanding of popular fashion culture as it relates to character design.

Time passed for her very simply, without event, but the thread of the love she bears for painting has never forsaken her. As Chen Hui confided, although she never

sought to become a painter, she often accompanied her husband Xia Xiaowan to meet with painter friends and chat, recounting anecdotes. She had many op-

portunities to observe artists creating their paintings at close quarters. It is not true that Chen Hui had never considered painting, or that she lacked the requisite

conditions, but rather that, having never studied painting as a major, she doubted whether she was endowed with the necessary ability. Nor did she experience

any particular need, because she was unclear as to what she should paint. The more she saw and gained in character and understanding, the less she knew how

to set about painting after all those years spent in the arts as a mere companion to her husband. Ten long years had elapsed with days of this kind, but her love of

painting played on and on like music in her heart, soft and faint, heard emanating from a deep well within her personal consciousness.

At the same time, Chinese contemporary art was becoming all the rage. There is no doubt that Chinese contemporary art is the hybrid fruit of exchanges

between China and the world, primarily the West, and also comes as a result of the development of China’s own intrinsic social and cultural logic. Without the

backdrop of this globalization, China would never have opened up to its current multiplicity of themes for study and discussion. Take painting as an example:

this underwent a thousand-year historical development in the West, transiting through many heretical and revolutionary shifts, and culminating in modernism,

when some proclaimed the demise of painting or, after crossing over into post-modernism, that painting had lost its lustre. In actuality, in terms of the evolution

of media, painting has been enervated, vitiated and denied at different times, and all of this has had its positive significance in the sense that painting has never

dwindled away and is still with us to this day. But in terms of its significance to human existence, painting - in the wake of post-modernism - is assuming an ever-

greater prominence, and a sea change may also be noted in that painting is now presenting a more independent technique.

Though we pose questions regarding what the present age means and what contemporary art is, Chen Hui, who is naturally quiet and demure, has never par-

ticularly sought to do so. But in order to qualify for a promotion in academia, one needs to hold post-graduate credentials, and so she enrolled in an advanced

painting course. Chen Hui has always looked upon the prestigious Central Academy of Fine Arts with awe and reverence, but - as she jokes - she was timorous and

feared its grand masters, not to mention her husband’s classmates, who were all teachers there. She felt her less-than-good painting would abash her; therefore,

she quickly decided to enroll at the graduate school of China National Academy of Art (Beijing). Ultimately, she felt that when she graduated, she would take with

her nothing more than a diploma. She never fantasized about becoming an artist. For admission to this program, she had to submit a work. Therefore, without

thinking about it too much (or perhaps not quite daring to), she painted a character portrait, “Xiao Q”, drawing from her individual encounters with all manner of

people, some of whom were expecting her to work a beautifying alchemy on them. This painting won resounding critical acclaim from the teachers. Chen Hui

was astonished by the response, and also surprised that her aspiration to paint had survived, and that she had begun to master a highly visual painting style. More-

over, this work also allowed Chen Hui to project her mental picture outward and, most importantly, to link together and manifest what had been latent, hidden in

her id for all those years, to mobilize and deploy this nebulous consciousness of painting. A volcano may look placid and dormant viewed from the outside, but

when its force has inexorably built up, pent up deep beneath the Earth’s crust, after it erupts it can never be reined in or restrained. It is likewise akin to a brook

被解放的自由

——陈卉的故事和她的画

文：王春辰

看陈卉的画，如果不了解其人的话，只以为这个画家画得好，却无需往下深究。但我却遇到一次机会对她多些了解，这使我能从另一种角度去认识她和

她的绘画，更重要的是借以反思绘画在当代的多种意义。

陈卉自幼受父亲影响即喜爱绘画，颇显示出绘画的天赋，但并未过多地专注于此，只是保持了平常心的喜爱；高考虽报了中央美院，却未被录取；进入

中央戏剧学院后，就读于舞台美术系人物造型设计专业（也就是通常所说的化妆专业），而非纯粹的绘画专业。在中戏学习期间，陈卉像往常一样保

持了对绘画的自然喜爱，没有特别地强化自己画画的意识，只是像学习一门新语言一样每天在熟悉和揣摩它。毕业后，进入中国传媒大学工作，讲授人

物造型设计课程，绝没想过自己要当职业画家。因为自己学的是人物造型，平时会参与到一些形象设计之类的事情当中，对人物性格、人物表情得以从

独特的角度进行观察，也对与人物造型有联系的大众时尚文化有了更多了解。时间过得很简单、很单纯，但她喜欢画画的那根线没有离开她。陈卉自己

讲，虽然她没有动手去画，却常陪丈夫夏小万同画家朋友们谈天、聊各类轶事，多了很多近距离观察这些艺术家做画创作的机会。陈卉不是没有想过画

画，也不是没有这个条件，但是她一直以为自己没有读过专门的绘画专业，怀疑自己是否有这个能力。当然，陈卉也不是特别有这个需要，由于不清楚画

什么，加之看得多了，高山仰止，更不知该如何下手；就这么多年陪着丈夫做艺术，作为一个艺术的伴侣。这种日子一过，就有十年之久，很平实、很散

淡，可内心喜爱绘画这根弦总是在弹奏着，声音不高，微微弱弱，在自我的意识深处聆听着。

与此同时，中国当代艺术也在如火如荼地进行着。无疑，中国的当代艺术是中国在近百年来和世界、主要是和西方沟通交流的结果，它也是内在于自身

的社会逻辑和文化逻辑发展的结果。如果没有这样的全球化与世界化的时代背景，我们将无以开展关于中国的诸多命题的讨论和研究。例如绘画，它

在西方经过上千年的历史变化和发展，经历多次颠覆性、革命性的变化，以至于到现代主义，有人声称绘画死亡了，或在进入后现代主义之后，绘画似

乎辉煌不再。事实上，从媒介的历史演变来讲，绘画在不同的时期被弱化，或被否定，都有其历史的积极意义，迄今这种意义仍然没有消失。但就人存

在的世界意义而言，绘画相反在后现代主义之后更加鲜明地凸现出来，可谓今非昔比，即绘画以更加独立的方式呈现。

在我们提出何为当代、何为当代艺术的问题的时候，天性安静、平实的陈卉没有那么多企图，而是在晋升教职资格，须有研究生学历时，这才想起去读

一个绘画高研班之类的课程。始终抱有对中央美院那种高处仰望的敬重感，陈卉戏言，自己胆小，惧怕那些大师，何况丈夫的同学都在此处教学，画不

好，多不好意思。于是，奔艺术研究院而去，无非是一个文凭而已，全没要当艺术家的狂想。入学，总要交幅作品，这该要自己动笔。因此，也没多想（也

许不敢多想）就画了一幅人物肖像《小Q》，素材来源于她在个人经历中遇见的那类各色人等的对自我进行美化奢望的努力。该作品大受老师赞誉，也令

陈卉吃惊，惊于自己的绘画抱负还在，惊于自己开始有了要画什么的视觉方式。不仅如此，这幅作品还把陈卉的心性画了出来，最主要是把自己多年来

的潜意识勾连了出来，把自己不清楚的绘画意识给调动了起来。这就像自然内爆的火山，先是在地壳的深处积聚能量，从外表看，一切平静，而一旦喷

发，便喷涌而出，不可遏制、无法阻挡。这也像奔流的小溪，潺潺涓水，缓缓细流，一旦遇转折汇流起来，便势如破竹，来势凶猛，一泄千里。这是一种

释放的自由，是力量凝聚到一定之后的爆发。对陈卉而言，她被潜藏着，而潜藏永远都是一个谜，只有让这种潜藏释放，才能发掘所惊讶的宝藏。

艺术的能力是一种潜藏，是上苍赠予人类最宝贵的财富之一，对它的培育、发现乃至期待都是伴随人类历史而一路走来的。这就是人类的一种被解放

的自由，是将自我意识转化成艺术形式的自由；解放了这种能力，就获得了行动的自由，就产生了艺术的无穷想象。陈卉就是一个案例，她的经历正好

注解了这样的被解放的自由，也很典型地注解了绘画在当代的变化与转型。

54 55

陈卉从此而焕然一新：新在她为自己找到了安放艺术想象的心灵之所在；也新在她不从画中来，却入画中去。她离绘画很近，但又很远；近，让她与绘画

不弃不离，有了最自觉、最自然的感受，常年听闻着、孕化着自己对绘画的意识；远，是她不曾进到最复杂、最坚固的艺术堡垒中，不必使自己焦灼、矫

揉，也不必让自己纠结在条条框框中。正是这种状态让陈卉保留良好的艺术感觉和艺术想象。平和不等于碌碌无为，不事追求不等于不追求，关键是，

这些她不动手的时间里，她在动心，她不在画上动手，但在其他方面动手、动观察、动历练。陈卉的学画过程并不是全无绘画技能的经历，舞美算是一

种，观摩是一种，形象塑型也是，只是这些全不在规范的绘画范畴中，更不在各种热闹的视眼中。但对于陈卉，她用心、有心，而技术让她敬畏，所以她

没敢在技术上迷狂，而是在等待中静静地关注了社会百相、人生悲喜。等她上手作画时，这些人生际遇就变成了她笔下的斑斓景象，它们看似某一故事

的描摹，但又像某些瞬间的事件，聚合起各种社会情态，如时代透镜，虽光鲜奇艳，但怪诞荒谬。画家不是用抽象的论证来分析众生相和时代病症，而

是用典型化的视觉，描摹她对生活的感触、对世态现象的讽喻。

陈卉的画以捕捉人物的神态为特点。人物飘移的目光无所住处，若有所失，若有所思，大多处在无可名状的空间里。鲜艳、夸张的形象难以掩饰它们在

世界中的尴尬，置身于凌乱、无序的环境中，显得张皇迷离，它们完全被现代消费放逐了（如《拾穗者》、《火了》）。《游园惊梦》、《戏水》、《开心》营

造的现场感都有一种荒诞的意味，环境与人们的行为暗含着无尽的冲突和不协调，不乏无奈的幽默。陈卉还善于抓取当代人的生活肖像，用这些侧影

来反映丰富的现实状态，既有时尚的追求（《微博时刻》），也有自我形象的消解（《萌萌》），也有对内心焦虑的释放（《去火》），而《请叫我小萝丽》不

啻是对古典的优雅的颠覆和嘲讽。陈卉选取的这些场景都带有某种生活经验的变奏和异化。它们看似宁静，却包含着乖戾、甚至冲突。也就说，画家用

绘画的方式在述说她对世界的解读，它们不需要逻辑的阐释，也不需要理由的态度，用在场的无距离感让瞬间的言语逻辑失效，但又能紧紧抓住我们

在当代共同感受到的那种氛围，另创了一种对现实的再现和自圆其说的叙述。这里没有恒定的法则，没有崇高的乌托邦，而只有瞬间的诞生和逝去。

对于陈卉，她想把握的，以及她已经表达的，就是这样一种不可用套话修饰的野趣状态，画家用它来修正那些被压住的沉重，击碎惯常的视觉经验和

它们的意味。她是在本能里进行这样的怀疑和抵制，因而才会离堡垒很远，而让自己离自由表达更近。绘画以及宏大的当代艺术在今天尤其需要减

压、松绑，尤其需要生命本质的回归。在理性强大到蛮横的时候，就需要生命感性、直觉体验来消解，而陈卉用自己的经历实现了这样的消解，因而让

我们诧异，跟着会心一笑。生命的意义不在于惯常的牢笼束缚，而在于天然的姿态，只是它非常稀缺。这不是因为我们知道的少而追求自然，而是我们

被告知的太多而失去了体验和真实存在。艺术需要无知做解药，才能返回到原生，即生命的本身。

陈卉于是以最朴实的心态营造她被感知的世界，去营造一种被解放的自由。这是绘画在今天的一种新的意义和能力，它扩大了绘画的直接再现能力，

也就是绘画又回到了它的叙事能力上，但不再是简单的事实叙事，而是心理叙事、象征叙事和修辞叙事，其背后是一套新的观念叙事的复活：即当代

现实性下的视觉革新，造就了新的视觉主体世界，它们再次丰富了我们的感知。中国的当代绘画已经这样开始，它们创造了新的灿烂星空。对于我们来

说，正是从这样一个多元的角度去看陈卉的画，才能够体会她赋予绘画的那种新的自由。

that trickles along until, rounding a bend, it finds its confluence with another stream, and thereby gains the bamboo-smashing might, waxing to become the

turbulent, ferocious flood that spends its power over myriad leagues. The release of freedom after the bottling up of such force detonates an inexorable explo-

sion. Such secreted things, like that which Chen Hui had for so long kept hidden deep within her, usually languish away, locked forever in mystery, except when

sometimes released, whereupon breathtaking treasures then come to light.

Artistic ability is a hidden gift from god, and among humanity’s most precious treasure trove, and its cultivation, discovery and even expectation have all kept

humankind in fellowship, faring together down the same road. This then is a form of freedom, liberating humanity. It is freedom of self-consciousness, transliter-

ated into art. To liberate ability of this sort confers a behavioral freedom, which in turn spawns unbounded artistic imagination. Chen Hui is a case in point: her

experience serves as an illustration of such liberation of freedom, but it also catalogues the changes contemporary painting is undergoing as it mutates.

From this, Chen Hui has assumed an all-new look: she has newly found within herself a place for her soul’s artistic imagination to lodge. This is also new in that it

emanates not from the midst of her paintings, but rather pervades the core of her work. She is very close to her paintings, but also very far away. Close up, she

and her paintings do not forsake one another, and thus they have the most conscious, the most natural feel. She has listened ceaselessly, filled with her visions of

painting. From afar, she has never entered into that most complex, most redoubtable citadel of art, so she does not make herself anxious as she daubs corrections,

since one should not become entangled in conventions. It is this very state that allows Chen Hui to maintain a sublime sense of artistic feeling and imagination.

Her gentle temperament should not be mistaken for mediocrity; what appears to be inertia does not equate with inactivity. The key is that in these times of inac-

tivity she is moving her heart. She is not actively painting, but at another level she is working, engaged in observing, absorbing experiences. The course of Chen

Hui’s painting studies was not entirely devoid of painting skills. Lighting, costume, make-up and stage design consisted of one type, observation was another, but

all of these lie outside the category of standard painting techniques. Chen Hui is intent and determined, but technique fills her with awe and dread, so she dares

not get too carried away with technique, but quietly awaits attendance on numerous social encounters, human joys and sorrows. When she does start painting,

these life experiences transform into gorgeous scenes her brush describes. They appear to recount tales, but these are ephemeral affairs, an aggregate of sundry

social circumstances seen through a temporal perspective glass. They are bright and gaudy, but grotesque and burlesque. The artist eschews abstract rhetoric in

diagnosing the ills in contemporary public life, but uses a typical vision to describe her feelings about life and as an allegory for the state of worldly affairs.

Chen Hui’s paintings uniquely arrest their human figures, capturing their restless, meandering eyes that never alight on any one point, full of loss, full of thought.

Most vignettes play out in an unnameable terra incognita. The figures’ bright, eager expressions are powerless to mask their discomfiture at being interned in such

squalid, chaotic tableaux to which modern consumption has banished them, as in Gleaners and On Fire. In paintings such as A Rousing Tour in the Park, Playing Water

and Delighted, the scenes suggest absurd implications. The environment and her subjects’ behaviors indicate endless disharmony and discord, but there is no

lack of involuntary, helpless humor, either. Chen Hui is adept at snatching portraits from out of modern human existence, using them to reflect the current condi-

tions of prosperity and the slavish pursuit of fashion (Twitter Time), images of degradation (Mengmeng), the venting of heartfelt anxiety (Reduce Internal Fire), and

a complete subversion and jeer against classical grace (Please Call Me Loli). Chen Hui’s selection of these scenes is fraught with the ramifications and alienations

of various life experiences. Though they appear quiet, they are rife with surliness and even conflict, and thus inform us that the artist is using her paintings as a

vehicle to describe her interpretation of the world, thus requiring neither a logical explanation nor an attitude of reason. With no sense of distance, she induces

a failure of instantaneous verbal logic, and enables a tight grip on our shared sense of being in such an environment; she then goes on to create the record of a

transient reality to justify this narrative. There are no constants here, no towering utopias, only birth and passing away.

What Chen Hui wants to grasp and express is a state of ineffable wildness. Thus she opens up a refuge sheltering those bowed down and crushed by the sig-

nifications of commonplace visual experiences. It was from blind instinct that she entertained this doubt and resistance, and thus only by moving beyond her

safely zone could she more closely approach her freedom of expression. Painting and grandiloquent contemporary art stand nowadays in particular need of

decompression, an unshackling of the manacles, and they clamor especially for a return to the essence of life. When the power of reason becomes overbearing,

one needs living emotions and intuitive experience as an aid to digestion, but Chen Hui applies her own life experiences to achieve such digestion. We will be

surprised at what Chen Hui has created, and must give way to a hearty chuckle. The meaning of life is not about being bound in the usual prison, but rather lies in

a natural posture, but this is a real scarcity. This is not because we know too little and so seek nature, but because we have been told too much and have thereby

lost the experience and reality of existence. Art must heal by ignorance; only then may we return to the original source: that of life itself.

With her simple approach, Chen Hui has created the world she perceives, thereby unleashing the liberation of freedom. This adds new meaning and novel ability

to today’s painting, expanding the range of the capability of direct representation by drawing it back to its narrative skills. Simple facts, however, no longer form

this narrative; it has become a psychological narrative, a rhetorical narrative, the ideal underlying a new narrative of resurrection. A contemporary reality of visual

innovation, it generates a new worldview, one that enriches our perception time and again. Chinese contemporary art had just such a birth as this, creating bright

new stars. By showing us such a diverse point of view, Chen Hui’s paintings enable us to understand the new freedom she has conferred on art.

Translator: Ben Armour

“去火” 展览现场“Reduce Internal Fire” Exhibition Views

“去火”, 麦勒画廊 北京-卢森, 瑞士卢森, 2011 “Reduce Internal Fire”, Galerie Urs Meile. Beijing-Lucerne, Lucerne, Switzerland, 2011

“去火”, 麦勒画廊 北京-卢森, 瑞士卢森, 2011 “Reduce Internal Fire”, Galerie Urs Meile. Beijing-Lucerne, Lucerne, Switzerland, 2011

“去火”, 麦勒画廊 北京-卢森, 瑞士卢森, 2011 “Reduce Internal Fire”, Galerie Urs Meile. Beijing-Lucerne, Lucerne, Switzerland, 2011

64 65

陈卉

1974 生于中国江西

生活和工作在中国北京

个展

2011 “去火”，麦勒画廊 北京-卢森，瑞士卢森

2009 “奶油草莓”，麦勒画廊 北京-卢森，中国北京

2007 “无所谓——陈卉作品展”，四合苑画廊，中国北京

1999 “陈卉绘画展”，中国传媒大学，中国北京

联展

2010 “发现1——中国当代新锐艺术家作品展”，劲草空间，中国北京

“艺术北京外围展——年青力量”，环铁时代美术馆，中国北京

2007 “生活在宋庄”，宋庄美术馆，中国北京

“当代中国·差异的格局——灿艺术798首展”，灿艺术中心，中国北京

“2007年首届今日文献展——能量：精神·身体·物质”，今日美术馆，中国北京

2006 “春之畅想——杰孚画廊开幕展”，杰孚画廊，中国北京

“中国当代油画名家作品邀请展”，中外博艺画廊，中国北京

1998 “MEDIAWAVE光影艺术节”，匈牙利杰尔

设计项目

2008 话剧《明》人物造型设计，中国国家大剧院，中国北京

Chen Hui

1974 born in Jiangxi Province, China

lives and works in Beijing, China

Solo Exhibitions

2011 “Reduce Internal Fire”, Galerie Urs Meile, Beijing-Lucerne, Lucerne, Switzerland

2009 “Creamy Strawberry”, Galerie Urs Meile, Beijing-Lucerne, Beijing, China

2007 “Whatever”, Courtyard Gallery, Beijing, China

1998 “Chen Hui’s Paintings”, Communication University of China, Beijing, China

Group Exhibitions

2010 “New Face 1 – Group Exhibition of Chinese Contemporary Art”, Chintsao Space, Beijing, China

“Young Power – Art Intersections of Art Beijing”, Huantie Times Art, Beijing, China

2007 “Live in Songzhuang”, Songzhuang Art Museum, Beijing, China

“Contemporary Chinese Art · Situation of Difference – The First Show Of Can Art Center / 798”, Can Art

Center, Beijing, China

“The First Today’s Documents 2007 – Energy: Spirit · Body · Material”, Today Art Museum, Beijing, China

2006 “Fantasy in Spring – Jie Fu Gallery Opening Exhibition”, Jie Fu Gallery, Beijing, China

[“Chun Zhi Chang – Jie Fu Hualang Kaimu Zhan”]

“Invited Eminent Chinese Contemporary Painters Exhibition”, Boyi Gallery, Beijing, China

[“Zhongguo Dangdai Youhua Mingjia Zuopin Yiaoqing Zhan”]

1998 “MEDIAWAVE Art Festival”, Györ, Hungary

Design Projects

2008 Costume design for the drama “Ming”, National Centre for the Performing Arts, Beijing, China

出版：麦勒画廊 北京-卢森

编辑：麦勒画廊 北京-卢森

文章：王春辰

翻译：Ben Armour (英)设计：李建辉

摄影：Eric Gregory Powell, Patrick Bussmann, 孙建伟

© 2011 麦勒画廊 北京-卢森, 陈卉

未经出版人的书面许可, 本书所有内容不可用于任何形式及目的, 包括但不限于图片复印、抄录或其他信息存储及文字转换的复制及传播。

印刷：中国北京

Publisher: Galerie Urs Meile, Beijing-Lucerne

Editor: Galerie Urs Meile, Beijing-Lucerne

Text: Wang Chunchen

Translator: Ben Armour (E)

Designer: Li Jianhui

Photography: Eric Gregory Powell, Patrick Bussmann, Sun Jianwei

© 2011 Galerie Urs Meile, Beijing-Lucerne, Chen Hui

All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, including but not limited to

photocopying, transcribing or by any information storage and retrieval system, without written permission from the publisher.

ISBN-13: 978-3-9523767-3-7

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