陈欣
简介Biography
陈欣（Chen Xin），1985年出生，现工作生活于上海。她先后获得中国美术学院油画系学士与硕士学位。陈欣的近期创作以架上绘画和装置艺术为主，敏锐地探讨了在数字化时代与工具理性主导下，个体与当下社会进程、系统控制之间的关系。她的作品关注系统中被逐渐遮蔽的非数字化的具体个体，着力表现个体生命力量与自由在其中的消长转换。在架上绘画中，她秉持多元视角，在个体与自然世界之间构建精神的映照与连接，注重色彩叠加与不同肌理的对比，通过松散的水痕创造出流动且具有时间性的形式语言，唤起细腻的情感。植物与人物在她的画面中互为映照，植物的姿态与气息象征着生命原初的力量，抵抗异化并弥合碎化的数字生活，从而延伸时间，并引发对当下处境及女性问题的思考。在装置作品中，她延续了对个体力量的感受与理解，例如《生长吧种子》和《坚韧而又温暖的你》以简明形态与明快色彩实现形态交错与联想。在“未来的网络考古学家”系列装置项目中，她以这一虚构身份回望并梳理网络数据的考古意义，利用镀锌扎丝等材料思考个体在网络闭合中自由意志与话语空间的转变。部分装置作品如《一件自己的房间》强调镀锌扎丝材料内部坚韧的特性，讨论当下女性与个体境遇。陈欣的重要个展包括2025年“潘塔瑞之隙”、2023年“环星似尘”、2022年“无名岛屿”等；个人项目有2022年“越过茫茫：陈欣个人项目”及2018年“上海信息杂草”“未来的网络考古学家”；群展涵盖2025年“泉和万籁声”、2024年“新浪潮”、2023年“共生寰宇”、2021年“倒置的目光”、2020年“我感知，我存在”、2019年“隐喻与凝视”、2018年“象征的游戏”等。她的作品被中国美术馆、复星基金会、成都现代艺术馆、关山月美术馆、山艺术基金会及LIANG PROJECT等机构收藏。
Chen Xin (b. 1985) currently lives and works in Shanghai. She received her bachelor’s and master’s degrees from the Oil Painting Department of the China Academy of Art. Chen Xin’s recent practice, primarily comprising easel painting and installation, acutely investigates the relationship between the individual and the processes of contemporary society and systemic control in a digital age dominated by instrumental rationality. Her works attend to non-digital, concrete individuals who are gradually obscured within systems, foregrounding the waxing and waning of individual vitality and freedom. In her easel paintings, she adopts a pluralistic perspective to construct a spiritual resonance and connection between the individual and the natural world, emphasizing color layering and the juxtaposition of varied textures; fluid, temporal formal language emerges from loose water marks, evoking nuanced emotions. Plants and figures mirror one another in her compositions, with the postures and breath of flora symbolizing an original life force that resists alienation and mends fragmented digital existence, thereby extending time and prompting reflection on present conditions and women’s issues. In her installations, she continues this sensibility toward individual strength: works such as “生长吧种子” (Shengzhang ba zhongzi) and “坚韧而又温暖的你” (Jianren er you wennuan de ni) achieve interlocking forms and associations through concise shapes and luminous colors. In the ongoing series “未来的网络考古学家” (Weilai de wangluo kaoguxuejia), she adopts this fictional persona to retrospectively examine the archaeological implications of network data, employing materials like galvanized binding wire to contemplate the transformation of individual free will and discursive space within network closure. Some installations, such as “一件自己的房间” (Yi jian ziji de fangjian), highlight the inner resilience of galvanized binding wire to address the current conditions of women and the individual. Chen Xin’s major solo exhibitions include “潘塔瑞之隙” (Pantaruizhixi) in 2025, “环星似尘” (Huanxing sicheng) in 2023, and “无名岛屿” (Wuming daoyu) in 2022; personal projects include “越过茫茫：陈欣个人项目” (Yueguo mangmang: Chen Xin geren xiangmu) in 2022 and “上海信息杂草” (Shanghai xinxi zacacao) and “未来的网络考古学家” (Weilai de wangluo kaoguxuejia) in 2018; group exhibitions include “泉和万籁声” (Quan he wanlaisheng) in 2025, “新浪潮” (Xinlangchao) in 2024, “共生寰宇” (Gongsheng huanyu) in 2023, “倒置的目光” (Daozhi de muguang) in 2021, “我感知，我存在” (Wo ganzhi, wo cunzai) in 2020, “隐喻与凝视” (Yinyu yu ningshi) in 2019, and “象征的游戏” (Xiangzheng de youxi) in 2018. Her works are held in the collections of the National Art Museum of China, Fosun Foundation, Chengdu Modern Art Museum, Guan Shanyue Art Museum, Mountain Art Foundation, and LIANG PROJECT.
代表作Selected Works
展览履历Exhibitions
- 2025陈欣：潘塔瑞之隙LIANG PROJECT
艺见洞察ArtMatters Insights
代表作与创作Selected Works & Style
平台暂无“陈欣”这位艺术家的档案资料，因此无法提供其代表作与创作特点。
Chen Xin’s practice bridges easel painting and installation art, with a persistent interest in how individual vitality and freedom are reshaped—or obscured—within systematic control and the digital era. Her paintings often set up a spiritual mirroring between the human figure and the natural world: plants and people echo each other, and the gestures of plants become symbols of a primal life force that resists alienation and mends the fragmentation of digital life. Visually, she builds layered surfaces with acrylic and sand‑stone cement, letting loose, water‑based marks create fluid, temporal forms and delicate emotional atmospheres. This approach extends into three‑dimensional work as well; installations such as *Grow, Seed* or the series *Future Network Archaeologist* adopt simple, bright shapes and materials like galvanized wire to probe the individual’s shrinking space for free will within closed systems, while pieces like *A Room of One’s Own* highlight the resilient inner tension of the material itself as a metaphor for women’s and individual circumstances today.
Representative works listed in her archive include:
- 《放大的诗》No.1 (2025, acrylic and sand‑stone cement)
- 《放大的诗》No.2 (2025, acrylic and sand‑stone cement)
- 《微振》No.2 (2024, acrylic and sand‑stone cement)
- 《微振》No.3 (2024, acrylic and sand‑stone cement)
- 《剧场中，交叠》No.2 (2024, acrylic, sand‑stone cement, wood board)
- 《剧场中，破晓》No.1 (2024, acrylic, sand‑stone cement, wood board)
- 《剧场中，破晓》No.3 (2024, acrylic, sand‑stone cement, wood board)
- 《剧场中，空隙》No.1 (2024, acrylic, sand‑stone cement, wood board)
- 《剧场中，空隙》No.2 (2024, acrylic, sand‑stone cement, wood board)
- 《潘塔瑞之环》No.1 (2025, acrylic and sand‑stone cement)
- 《潘塔瑞之环》No.2 (2025, acrylic and sand‑stone cement)
- 《寂静中的声音》No.2 (2025, acrylic and sand‑stone cement)
In short, Chen Xin’s creative style is marked by a lyrical yet structurally aware language—combining layered color, contrasting textures, and fluid marks—to translate introspective concerns about personal agency, nature, and the digital present into tangible, emotionally resonant works.
展览与收藏Exhibitions & Collections
平台暂无“陈欣”的档案资料，无法提供该艺术家展出机构与收藏机构的信息。
According to the artist's archival profile, Chen Xin has exhibited in a range of solo, group, and personal projects. Her solo exhibitions include *Chen Xin: Pantaray Gap* (2025) at LIANG PROJECT, *Like Dust Around the Star* (2023), and *Unnamed Island* (2022). Personal projects featured *Across the Boundless: Chen Xin Personal Project* (2022), as well as the series *Shanghai Information Weeds* and *Future Internet Archaeologist* (both 2018). She has also participated in numerous group exhibitions, such as *Spring and a Thousand Sounds* (2025), *New Wave* (2024), *Symbiosis Universe* (2023), *Inverted Gaze* (2021), *I Perceive, Therefore I Exist* (2020), *Metaphor and Gaze* (2019), and *Games of Symbols* (2018). While specific venues for some exhibitions are not itemized in the available data, the documented sites include LIANG PROJECT and several major Chinese museums.
Regarding institutional collections, Chen Xin’s works are held by the National Art Museum of China, Fosun Foundation, Chengdu Contemporary Art Museum, Guan Shanyue Art Museum, Mountain Art Foundation, and LIANG PROJECT, among others.
