施展
简介Biography
施展（1988年出生于江苏南京），2010年本科毕业于南京艺术学院，2016年研究生毕业于罗马美术学院，2017年至2019年生活创作于杜塞尔多夫，现工作生活于上海（另一画册称现生活创作于南京）。其创作观念常通过个展与群展呈现，近期个展包括2021年上海陶谷公园三十ART的「HUMBLE GOD」和2020年南京Jinspace的「S/Z：施展个展」；近期群展涵盖2022年上海赛麟空间的「拟形态」双人展、2021年深圳SILENX艺术空间的「不要把月亮买走」、2021年南京FFA艺术中心的「观察·角度」、2021年南京市美术馆的「试问西东」、2021年上海M艺术空间的「离岸 IV」、2021年南京南视觉美术馆的「多巴胺」、2019年杜塞尔多夫Postpost中心的Postpost艺术家联展，以及2017年佩鲁贾PER艺术中心的「现」国际青年艺术家展。
Born in Nanjing, Jiangsu in 1988
Graduated from Nanjing Academy of Arts in 2010
Obtained a master's degree from Rome Academy of Fine Arts in 2016
Lived in Dusseldorf from 2017 to 2019
Lived in Nanjing from 2019 to 2023
Has been living in Shanghai now
代表作Selected Works
展览履历Exhibitions
- 2026无边光景玉兰堂（上海） · 玉兰堂
- 2024常物非常-个人项目2024宁波国际画廊周C2展位 · 赛麟空间
- 2024幻象压缩机唤醒画廊
- 2023大卫王的歌利亚-个人项目南京国际会展中心 · 赛麟空间
- 2023故障发电站上海市黄浦区汉口路309号申报馆402-403室 · 赛麟空间
- 2022Pseudo Form 群展Sailing Space
- 2022Overcoming Illusion 群展Cooling Gallery
- 2021HUBLE GOD 群展30 ART in Taogu Park
- 2020S/Z: Displaying Solo Exhibition 个展Jinspace
艺见洞察ArtMatters Insights
代表作与创作Selected Works & Style
根据平台艺术家档案，施展（1988年生于江苏南京）的作品被归为**实验性、意象、抽象艺术**，常用媒介为**丙烯、油画、综合材料**，关注议题涉及人物、城市景观、情感、梦境、死亡、社会评论、自然生态、记忆与时间、身份认同、身体等。
**代表作（来自平台档案）**
其代表作包括《东南风的末端》（2023）、《三十一秒》（2023）、《渗出绿洲》（2023）、《吞咽旅途》（2022）、《扉页的风》（2023）、《日夜交替时》（2024）、《177页中的城市》（2026）、《拳击手》（2021）、《无处》（2023）、《开端》（2023）、《有人台的房间》（2024）、《一箱湖水》（2023）等，多为**布面油画结合喷漆、油画棒**的混合媒介作品。近期个展包括「HUMBLE GOD」（2021）、「S/Z：施展个展」（2020），并参与「拟形态」「不要把月亮买走」「离岸 IV」等群展。
**创作特点**
从档案与相关文章上下文看，施展的创作具有明显的**非逻辑、非系列化**倾向。他不刻意划分系列，而是依赖一种“惯性”——即个人审美经验、视野、生活构成与潜意识共同作用。画面常出现热感应般的条带、无形之物、堆砌的符号、塌陷、失重、坠落等意象，被描述为“描绘现实的不在场”，混沌与秩序并存。
媒介上，他惯于将**油画、喷漆、油画棒**叠加，形成多层次的肌理与偶发效果；笔触直接，带有行动感。在创作方法上，他更像一个“导演”，只判断起始与终止，让绘画借由他的手“生长、操纵、自我塑造”，艺术家与画布之间保持对等关系。文章亦将其创作形容为“一场巨大幻觉”，需要进入幻觉提取有效部分，同时凌驾其上加以统御。综合来看，其作品兼具抽象表现的视觉强度与对日常经验的超现实转化。
**Representative Works**
Among Shi Zhan’s notable works are:
- *The End of the Southeast Wind* (东南风的末端), 2023, oil, spray paint, and oil pastel on canvas
- *Thirty-One Seconds* (三十一秒), 2023, oil, spray paint, and oil pastel on canvas
- *Seeping Oasis* (渗出绿洲), 2023, oil, spray paint, and oil pastel on canvas
- *Swallowing the Journey* (吞咽旅途), 2022, oil, spray paint, and oil pastel on canvas
- *The Wind on the Title Page* (扉页的风), 2023, oil, spray paint, and oil pastel on canvas
- *When Day and Night Alternate* (日夜交替时), 2024, oil and spray paint on canvas
- *The City on Page 177* (177 页中的城市), 2026, oil and oil pastel on canvas
- *Boxer* (拳击手), 2021, oil, spray paint, and oil pastel on canvas
- *Nowhere* (无处), 2023, oil, spray paint, and oil pastel on canvas
- *Beginning* (开端), 2023, oil, spray paint, and oil pastel on canvas
- *A Room with a Dress Form* (有人台的房间), 2024, oil on canvas
- *A Box of Lake Water* (一箱湖水), 2023, oil, spray paint, and oil pastel on canvas
**Creative Style**
Shi Zhan’s practice is experimental, image-driven, and abstract, working primarily with oil, spray paint, oil pastel, acrylic, and mixed media. His work often engages themes such as the human figure, urban landscape, emotion, dreams, death, social commentary, ecology, memory and time, identity, and the body.
A defining feature of his technique is the combination of multiple painting materials. Oil paint provides malleability and randomness, allowing unexpected elements to remain in the work; oil pastel increases layering and expands expressive dimension; spray paint brings a youth-culture charge that dispels the obsolescence of classical painting. This layered material approach supports a visual language that moves between destruction and construction, chaos and order.
His paintings tend to depict the absence of reality rather than its direct appearance. “Fantasy” is a constant presence: heat sensing, traveling bands, invisible objects, stacked symbols, collapsing forms, weightlessness, and falling movements recur as motifs. Shi Zhan has stated that chaos is another kind of order, and in his painting it is a path closer to truth. His work is not organized into strict series; it is non-logical and non-rational, moving in different directions while maintaining a recognizable inertia rooted in his aesthetic experience, life structure, working habits, and subconscious.
In the painting process, he acts as a director, judging only the beginning and the end, while allowing the painting itself to grow, manipulate, and shape itself through his hand. For Shi Zhan, creation is a vast hallucination: he enters it, extracts the silky part, and repeatedly steps outside to command it, maintaining a balance between immersion and control.
展览与收藏Exhibitions & Collections
根据平台“结构化艺术家档案数据”，施展的展出机构信息如下：
**个展 / 个人项目**
- 2026年：玉兰堂（上海）「无边光景」
- 2024年：宁波国际画廊周C2展位「常物非常-个人项目」（赛麟空间）
- 2024年：唤醒画廊「幻象压缩机」
- 2023年：南京国际会展中心「大卫王的歌利亚-个人项目」（赛麟空间）
- 2023年：上海市黄浦区汉口路309号申报馆402-403室「故障发电站」（赛麟空间）
- 2021年：上海陶谷公园三十ART「HUMBLE GOD」
- 2020年：南京Jinspace「S/Z：施展个展」
**群展 / 双人展**
- 2022年：上海赛麟空间「拟形态」双人展
- 2021年：深圳SILENX艺术空间「不要把月亮买走」
- 2021年：南京FFA艺术中心「观察·角度」
- 2021年：南京市美术馆「试问西东」
- 2021年：上海M艺术空间「离岸 IV」
- 2021年：南京南视觉美术馆「多巴胺」
- 2019年：杜塞尔多夫Postpost中心艺术家联展
- 2017年：佩鲁贾PER艺术中心「现」国际青年艺术家展
**收藏机构**
平台目前的公开档案中，暂无施展被哪些机构收藏的明确记录。
Based on the structured archive for **施展 (Shi Zhan)**, his exhibition history includes:
**Solo / project exhibitions**
- 2020: *S/Z: Shi Zhan Solo Exhibition*, Jinspace, Nanjing
- 2021: *HUMBLE GOD*, Taogu Park, Sanshi ART, Shanghai
- 2023: *Fault Power Station*, Sailin Space, Shanghai
- 2023: *David’s Goliath* personal project, Nanjing International Convention and Exhibition Center, presented by Sailin Space
- 2024: *常物非常* personal project, 2024 Ningbo International Gallery Week, Booth C2, presented by Sailin Space
- 2024: *幻象压缩机*, Arousing Gallery / 唤醒画廊
- 2026: *无边光景*, Yulantang / 玉兰堂, Shanghai
**Group / duo exhibitions**
- 2017: *现* International Young Artists Exhibition, PER Art Center, Perugia
- 2019: Postpost artist group exhibition, Postpost, Düsseldorf
- 2021: *不要把月亮买走*, SILENX Art Space, Shenzhen
- 2021: *观察·角度*, FFA Art Center, Nanjing
- 2021: *试问西东*, Nanjing Art Museum
- 2021: *离岸 IV*, M Art Space, Shanghai
- 2021: *多巴胺*, Nanvisual Art Museum, Nanjing
- 2022: *拟形态* duo exhibition, Sailin Space, Shanghai
As for **collecting institutions**: the available archive does not list any institutional collections for Shi Zhan, so I cannot confirm which institutions collect his work based on the provided data.
