没顶美术馆将于2024年6月22日呈现年轻艺术家王欣的个人项目“换头游戏”。王欣的创作通过观察⾃然、身体外部构成和内部腔体，并试图表现三者的关系，以开启对事物不确定状态的探索。此次新展将呈现王欣在2021至2024年创作的一批绘画，这些作品以英语中的一个文字游戏为灵感，将物质进行重新组合，使死亡、重⽣、爱欲，以及宇宙中基本构成粒⼦相互并峙。在重组之中，暗示着物质实体的不稳定性，由此指向不同形式、介质之间的引渡。
没顶美术馆，是一个活的空间。蚂蚱知了青蛙呐喊，螳螂草蜢蛇暗潮翻滚，虫卵露水形态螺旋。一片杂绿。这是一整个“根茎”。而我要在此使儿时的“换头游戏”再现。像是将夏日树上掉落的知了头和蚂蚱身体组装在一起，或者把野草里在溶解腐化的动物身躯和矿物原石组合在一起；手持着标本通过透视跟远处的平房相连接；我要植物和山中洞口相连接……我随意更换所有目光所及的“头”，将看似毫无关联的物质在一起：动物腿、生物人、植物、手指、腔体、房子、螺旋体绿点。
我体验着造物主的趣味，感受神经元重新释放出来的扩张的信号，还有异物质背后的毛发，介质的光照。排异、重组、排列、更迭，就像138亿年前发生的一次宇宙大爆炸，所有的星系和其中的一切，以及所有的质量和物质都可以放进一个比原子更小的空间。
我搭建、叠加，并发现隐藏在穿梭空间的宇宙出口和入口的结构，实现在空间维度里的进出。就像找到了管状虫洞，会将同一宇宙下的不同位置，甚至两个独立的宇宙相连接，星际穿梭。
头部和连接身体的穿梭，亚原子粒子之间重组，在内环境下重新组合；原来的头悬浮、震颤、挤压、溶解、重组、内嵌，生成自动发生，身体也成为新的头部继续新的流转。
一切都是一种变化的中间态游戏状态中。
—— 王欣
关于王欣
王欣，毕业于中央美术学院造型学院，获美术学艺术学士和硕士，现工作生活于北京和悉尼。王欣的艺术创作以大尺寸独幅综合版丝网综合材料和色粉研磨矿物质材质为主要媒介形式，观察和总结自然和身体的外部构成和内部腔体的关系，开起了宇宙中间态的探索：将物质世界的死亡、重生、爱欲与宇宙基本构成粒子，微生物、原子分子晶体细胞并峙，解构它们的震颤挤压重组转化，表达了对构建多重宇宙空间的入口和出口的浓烈兴趣。
王欣的展览包括：“ 巴西库里蒂巴双年展-脉动” ，巴西（2017）；“Ink+. Michael Reid Art Bar & 朱雀画廊”，Michael Reid艺廊 & Vermilion艺术，悉尼，澳大利亚（2023）; “一切流转 ”，佐兰·王欣双人展 ，维斯康蒂美术馆，卢布尔雅那，斯洛文尼亚（2023）; “在黑暗的洞穴”，个展，贝彻别墅卡拉瑞发利画廊，捷克（2024）等。
MadeIn Art Museum will present emerging artist Wang Xin’s solo project Head Swapping Games on June 22, 2024. Wang Xin’s creations observe nature, the external structure of the body, and internal cavities, attempting to express the relationship between these three elements to explore the uncertain state of things. This new exhibition will showcase a series of Xin’s latest paintings created from 2021 to 2024, inspired by a wordplay in English. These works recombine materials, such as the colored dust of pastel, juxtaposing death, rebirth, desire, and fundamental particles of the universe. The reorganization suggests the instability of material entities, pointing towards the transition between different forms and mediums.
MadeIn Art Museum is a living space. Grasshoppers, cicadas, and frogs shout, mantises, locusts, and snakes surge with undercurrents, insect eggs, and dew spiral in form. It is a patch of mixed green, a whole “rhizome.” Here, I want to recreate the “Re-attach” game of my childhood.
It’s like assembling the head of a cicada that fell from a summer tree with the body of a grasshopper, or combining the dissolving and decaying animal bodies in wild grass with mineral stones; holding specimens to connect with distant bungalows through perspective; I want to connect plants to mountain caves… I freely swap all the “heads” within my sight, combining seemingly unrelated materials: animal legs, biological humans, plants, fingers, cavities, houses, spiral green dots – dissolving the barriers between the abstract and figural, and the spectral and physical.
I experience the creator’s fun, feel the expanded signals released by neurons, and the hair behind foreign materials, the light of the medium. Rejection, reorganization, arrangement, and alternation, like a cosmic explosion that occurred 13.8 billion years ago, where all galaxies and everything within them, all mass and matter, could fit into a space smaller than an atom.
I build, stack, and discover the structure of the cosmic exit and entrance hidden in the traversing space, achieving entry and exit in the spatial dimension. It’s like finding a tubular wormhole that connects different locations within the same universe, or even two separate universes, enabling interstellar travel.
The head and the body it connects to shuttle, subatomic particles reorganize, recombine in the internal environment; the original head floats, trembles, compresses, dissolves, reorganizes, embeds, and generates automatically, with the body becoming a new head to continue the new cycle.
Everything is in a state of change, a game of switching intermediate states.
——Wang Xin
Wang Xin
Wang Xin graduated from the Central Academy of Fine Arts (CAFA), Beijing China, where she earned both a Bachelor’s and Master’s degree in Fine Arts. She currently lives and works in Beijing and Sydney.
Her work observes and summarizes the relationship between the external structure of nature and the body. Connections between inorganic material and living matter leads her to metaphysical speculation and to the exploration of the intermediate states of the universe.
Juxtaposing death, rebirth, desire, and the fundamental particles of the universe with microorganisms, atomic molecules, crystalline cells, she deconstructs their vibrations, and transformations,
Pastel is Wang Xin primary medium and recently she creates large unique paintings made with silk screen printmaking process. Wang devices a unique approach to silk screen painting by firstly scanning her small-scale drawings, significantly inflating the scale and combining with images of other works. Those blow ups, often additionally worked on with oil sticks, are than exposed to a single large screen. That screen Wang than uses to paint image in a single pull on the canvas, using small squeegees and multiple colors – often metallic and pearlescence ones. The process is intense, single printing session affair with the serendipitous out of control results associated with such unorthodox silk screening process.
Wang Xin’s exhibitions include: “Pulse”,Bienal de Curitiba,Curitiba,Brazil .(2017); ”Ink+.” Michael Reid Art Bar & Vermilion Art, Sydney, Australia (2023); ”Panta Rei,” Zoran Music(Slovenian,1909-2005) & Wang Xin Duo Exhibition, Visconti Fine art gallery, Ljubljana, Slovenia (2023); “In The Dark Grotto” ,solo exhibition ,Art Museum of Karlovy Vary, Interaktivní galerie Becherova vila,Czech Republic. Curated by Prof. John Yau, New York (2024)