The second oracle

He Xun solo exhibition 贺勋个展 May 19–July 1 2018

The Second Oracle 第二司仪

嗴㓋粷鯫 Installation view

The Second

Oracle

贺勋个展

He Xun’s Solo Exhibition

19–July 1 第二司仪 May 2018

A+ Contemporary 鲡爳嫕魍頯梮裶䄄駥妟鰱咅壉䯖彿髦鲋 2018 妘 5 桸 19 暀蹁窩㡀銷跣

穚銊偡鲇窹。穚羠牆。穚屒醎艊銊巃嶗㛳㔃艊珪彽䯖絹桸鲻䯥鍖＃獿蟟￥朄磢曧銊艊誼㦳䯖

嗴＃訅鲈誒髟￥䯖㫥曧㡀銷鮪鲡爳嫕魍頯梮裶䄄艊訅鲈漛跣嗴、澑漛嗴㓋啔嗴熱頯梮咲桭

牆燬硰嵔鍖婩梋䯖曧酽瀕鰱侳旝暺艊筊硰貾趺䯖絹俒䅃、鶜預鲋㫥鲢慘閔跤艊褅褅蟔㛳踵

昦＃妛燒攝慘￥酑翍跀燒、妛鮪嗴鯫跤

骼鳏㛄醣艊㜢筧䯖漲雩詵镾曧＃誒髟￥忞㚪踵艊桭峘嫕

駱粷鯫⺸鉝。佪䌄訵廬踃䯖鮪㓉㓌。堝㓌。侸醎

姪艊巃㓅鉢䖢醣䯖啔㓅鍎媆駱酽跣蜶蟴。擄瓕髟媀巃艊唻㛣裶䄄、鍖㫧駱鯫╪艊侳棾鍎彾

㫊靕墰艊酽蟢昷媀、醭㛀偧駁䯖

㫥踵彿髦㫥鲢褹㓉鍎㓦㜁㫥鯫髟媀抲辭鑫晹喼艊詵镾屟＆

踵鑫㫥鯫髟媀艊＃褹㓉鍎￥贋醮謾跤、嗴㓋啔慁醁靧 2018 妘 7 桸 1 暀、 鮪囑僔暛㳜跤嬫磢鍖襫艊蓴䃸爗䯖偧蜶瞝䇦⿷鞶鰓襫跏擔艊蓴箒䯥鮪晹䅕枩侺曐裶跤峷磢 婜醁鑫㡀銷鮪頌漛跣嗴＃嚙趵㬃妢￥跤唻鲋＃妛燒攝慘￥艊扜踆䯖頯梮咲啔謾酽㠵饅燍艊

㫧

㛓烰惈䌆

䉪㜭蜶蟴艊嵔杛跤䯖㡀銷墣傉鰱㫜羮詬䅆倀佪䌄䯖啔嗴鯫裶䄄㩸誼踵酽跣囑僔蜶鮒乵鰱、

㫊嫮媀熕羮勢鑫酑翍攝慘醢䯖摾䂏妕

妛燒跏夿荁鲒饅鎽漲諤靕箏襫艊酑翍慘

艊桸瑪䏴䯖偧鮪酽瀕杶幋鍈鳏䆡嗋賓忞廟呏磢掤㛄艊妕

髟䯥鮪囑僔梷踃䯖妵跛鐂袣䯖

閔、鮪叿羠妛叅跤䯖呅髦嗴婩唻㛣䯖彾踵踽㓕䯖鍖酑翍鍎賒鳢鳢鮪㓕頥㩸黌跤彾踵跏媑酑

嗴鯫跤＃慘踵詬䅆艊槉厸￥鮪䆡䆡㬛䉃艊妵跛巃跤岦偧嘪閗䅲髕跤艊蓴㭠䯖峘磢艊㡶鮪謾醢䯖

翍䄄艊橯檕、鮪㫥鯫唻㛣髟媀䯖桹褅褅蟔㛳鍎䯖桹塒嵔閗閗鍎䯖頯梮咲梪鳏賒珪蟇鲋醭讜

鮪䗮濱㩸黌躐䄄䯖醭鄽嶯䄄啔酑翍艊瑪杛曑駱菋壪䯖曧詆酽穻䏣杛䯖槼峗謾跤䯖彿髦備豸

㓕頥躐䄄䯖暚踵＃翍咲￥。＃㛝鳏￥。＃詇嗴鳏￥䯖暚踵＃貸扜￥。＃譯甅￥。＃蜶櫺￥䯖

雩黌彾鑫誒髟䯖鮪枩侐䉪䉪鰱飯荱㫥酽穻跫侳橁瑧、鍖鞲鎍梽跤

鮪

鐂䉪艊鄽旝佪䯖鮪蒃峗黌懙艊澑㡽嬐鼯跤啔誒髟艊霎惡䯖酑翍䄄艊唻㛣

踵黌誼跤懲慘閔鳏樴誼䯖孎傉艊瘍寫熱慘閔䄄艊㓕頥饅跀醮嵔巃黌誼䯖㳛昦扜㚮呯躏

棾艊攖櫓梋㛻佪䯖偧讜 㬍酓彿髦、鮪佪䌄䯖

酑翍艊墡慘昷媀䯖倀絔㓦嫮媀、偧＃騿賣㫶 –– 設鷗￥醮＃騿賣㫶 –– 獿蟟￥跏鬣慘閔曧

杛㝧艊鲮䀨躐跤䯖彿髦鳅踮茩萲巃糴鑫㫥鯫蜶鮒髟媀僨羠艊酽賽䯖鮪鐂袣䉪哘跤䯖跞俢墱

酽唻荁㛌侸妘穚岤偧設艊穚鳏䯖 ＃設鷗￥慘踵翇屟䯖曧翍咲䯖曧㛝鳏䯖犗畑鄫隝漲寖㯎閒媥䯖

蹼艊玂梷圷斲巃峷磢鰱螻嫓、

The Second

Oracle

贺勋个展

He Xun’s Solo Exhibition

19–July 1 第二司仪 May 2018

A+ Contemporary is pleased to announce the opening of He Xun’s solo exhibition “The Second Oracle” on May 19th. This is the second solo exhibition of artist He Xun at A+ Contemporary. Featuring He Xun’s latest “Juxtaposed Practices” painting series, as well as the interlacing installation and sound elements, the exhibition invites viewers to step inside a mythic, ritual wonderlust where visual, audio, and three-dimensional space unfold a sacred conversation. Yet simultaneously, the outsiders who enter into this scene become the voyeurs that take active participations within. The exhibition will be on view until July 1st.

Continuing with He Xun’s exploration of “Juxtaposed Practices” from the previous exhibition “Rural Rhapsody”, He Xun borrows the linguistic principle of rhyme, reusing and applying it into his painterly practices, through which the juxtaposition between the two relatively associated, yet separately independent paintings become the main characters of this ritual, forming into a narrative. In this shift of trajectory, the painter thus steps behind and turns into merely a mediator that connects the two paintings. Whispering in soft tones, staring with the affectionate eyes, the artist moves in between and takes positions of different characters. Sometimes a “painter”, a “poet” or a “curator”, sometimes a “detective”, a “wanderer”, or a “performer”, through these character incarnations and action transmutations, He Xun personifies these works, granting them with moods, emotions and thoughts, and carefully silhouetting the subtle variations and interrelations that reside inside. Through which he reinvestigates and probes the conditions of paintings and their modes of comprehension.

For example, the “Juxtaposition Practices” pair “Morandi-Early Winter” and “Morandi-Deep Autumn” takes positions of two lovers who’ve known each other for a long time. “Early Winter” is a man, a painter, a poet; romantic, exquisite, gloomy yet fragile, he loves good

deeds, life, the beauty of thinking, and the game of languages, who inherits the temperament of a lunar moon. “Deep Autumn” is a woman, as if the Venues, who defines beauty; lively, warm and cheerful, she is the zealous fan for outer planet foreign civilizations, who is given the temperament of a solar sun. The intimate whispering conversations that hide within these works thus place an enigmatic puzzle to the viewers, yet they could also be read as a form of self-expression that the “oracle” thinks most suitable for himself, nevertheless, they provide an infinite endless possibilities for us, the “intruders”, to unravel this ritual conversation.

The stone gates that erect solely in the primeval open landscape, the deity-statues-like lion stone monuments that flank silently aside; the lunar eclipse that takes place secretly in the vast night sky; the ancient scale balance that lies tranquilly inside the seclusion of a wise elderly man, In the mist of this primordial, solemn, serene and mythic realm, He Xun further uses the elements of stairs and sounds with a clever twist, transforming the exhibition space into a primitive sacred land. As if the steep stone pathway on a mountainous slope, the “Pillars that are Used as Stairs” subtly delivers a revered feeling, when we happen to step on it, in between the moments of ascend and descend, the whole view of the paintings unfolds in front of our eyes. This is another hidden landscape, inhabiting within, we seem to become the oracle, that overviews this secret paradise in stillness. Simultaneously, as if the chanting mantra, the humming sounds of reciting transmitted from the headsets, are thus delivered to us as the ancient prophecy, unraveling the conversations formed between the paintings-the scriptures of these oracle letters-to us. In the interplay between sound and perspectives, we witness and experience the rites that take place in this sacred ritual performance, as if a calling from afar, a long-lost quest for veneration slowly returns in this solemn ritual.

嗴㓋粷鯫 Installation view

嗴㓋粷鯫 Installation view

迁徙——消除或强化

Migration— Eliminate or Enhance 2018 布面油画 Oil on canvas 150×180cm

迁徙——隐藏与显现 Migration— Conceal and Reveal

2018 布面油画 Oil on canvas 150×180cm

迁徙— —消除或强化（局部）

Migration—Eliminate or Enhance (detail)

迁徙— —隐藏与显现（局部）

Migration—Conceal and Reveal (detail)

嗴㓋粷鯫 Installation view

静物——无尽的旋转（左）

Still Life— Endless Rotation (left) 2017 布面油画 Oil on canvas 50×70cm

静物——造作的平衡（右）

Still Life— Manufactured Balance (right) 2017 布面油画 Oil on canvas 50×70cm

静物— —无尽的旋转（局部）

Still Life—Endless Rotation (detail)

静物— —造作的平衡（局部）

Still Life—Manufactured Balance (detail)

嗴㓋粷鯫 Installation view

石敢当——屏障

Stone Pathway—Barrier 2017 布面油画 Oil on canvas 150×180cm

石敢当——空洞

Stone Pathway—Void Hole 2017 布面油画 Oil on canvas 150×180cm

石敢当— —空洞（局部）

Stone Pathway—Void Hole (detail)

嗴㓋粷鯫 Installation view

凹凸大厦——浮雕

Concave, Convex Mansion—Relief 2017 布面油画 Oil on canvas 100×150cm

凹凸大厦——线条

Concave, Convex Mansion—Lines 2017 布面油画 Oil on canvas 100×150cm

凹凸大厦——线条（局部）

Concave, Convex Mansion—Lines (detail)

嗴㓋粷鯫 Installation view

嗴㓋粷鯫 Installation view

月全食——错觉

Lunar Eclipse—Illusion 2017 布面油画 Oil on canvas 150×180cm

月全食— —错觉（局部）

Lunar Eclipse—Illusion (detail)

月全食——修正

Lunar Eclipse—Fixation 2017 布面油画 Oil on canvas 150×180cm

月全食— —修正（局部）

Lunar Eclipse—Fixation (detail)

嗴㓋粷鯫 Installation view

嗴㓋粷鯫 Installation view

莫兰迪——初冬 Morandi—Early Winter

2017 布面油画 Oil on canvas 150×220cm

莫兰迪——初冬（局部）

Morandi—Early Winter (detail)

莫兰迪——深秋 Morandi—Deep Autumn

2017 布面油画 Oil on canvas150×220cm

莫兰迪——深秋（局部）

Morandi—Deep Autumn (detail)

司仪书信

Oracle Letters 2018 音频、外接索尼音频耳机 Audio, SONY Bluetooth Headphone 62′26″

作为台阶的柱子

Pillars that are Used as Stairs 2018 装置 Installation 81×50×75cm

嗴㓋粷鯫 Installation view

饅鲋頯梮咲

饅鲋鲡爳嫕魍頯梮裶䄄

㡀銷 1984 妘羠鲋焎㒂䯖2006 妘瀸趵鲋跤蹺銊梮叧䅳銊

酽䒛 + 鲈䒛䯖詬譯䯖2016䯓。＃Utopia & Beyond￥䯒Castello

＃A+ Contemporary 鲡爳嫕魍頯梮裶䄄￥鲋 2015 妘澐媀彾

梮斊鑇跀、粷墡慘倀羠牆鲋譯鲷、跣嗴藥愥䯤＃訅鲈誒髟￥

Di Rivara 嫕魍銊梮䒛䯖㰊瞝䯖嶯俋濕䯖2016䯓。＃鷗鄅￥䯒轅

襫䯖 鰩 魖 騿 妔 嘪 㣵 M50 艤 嶼䯖 設 梕 鏅 磍 跤。 詬。 珜 艊 攝

䯒A Contemporary 鲡爳嫕魍頯梮裶䄄䯖醢犦䯖2018䯓。

䗮囑頯梮裶䄄䯖彾㰊䯖2016䯓。＃鴛鲈媑翍￥䯒㮰竑翍娡䯖

慘䯖梥棾啔梒謭嶼╪䀍扟艊昷媀鞯鄻趼譯鲡。趼攢鲡頯梮䯖

＃寳俧糪紒￥䯒䏳鰱霎嗁頯梮裶䄄䯖獿鰷䯖2017䯓。＃嚙

彾㰊䯖2015䯓。＃蠍姃徏玈龉￥䯒㰊瞝 Paratissima 贜㓋∥䯖

㾗唻嫕魍屟艊諤跣䉳謭抲熱恊繩妛㫧

趵㬃妢￥䯒A Contemporary 鲡爳嫕魍頯梮裶䄄䯖醢犦䯖

嶯俋濕䯖2015䯓。＃酑翍僨羠跤艊㓅寳醮㛳㔃￥䯒澐㓅銊梮䒛䯖

梮艊㫧

2016䯓。＃龓墛な羠彾訅酽螻䯤！裶藥⺞＂￥䯒龓墛嫕魍頯

譯鲷䯖2015䯓。＃醢鲮∥￥䯒発砮裶䄄䯖醢犦䯖2015䯓。

醣啹鮪揾踆菑頌㫧䯖澐過羠噯撾桭鰿綫艊暚贖䯖彿髦敡菋嫕

梮跤宆䯖譯鲷䯖2013䯓、銲嗴藥愥䯤＃珪婻￥䯒椈墕呹䫀頯

＃澐鮪僨羠䯗

魍頯梮艊賂㜷飨㣮䎘╪艊㣵嬛㫧

梮跤宆䯖椈墕䯖2018䯓。＃詛釀羠￥䯒攢鲷頯梮叧䅳銊梮

鲷䯖2015䯓。＃蹕絹艊㳛椨￥䯒則丠䈈昤贜窹䒛䯖嶯俋濕䯖

穼䯖 扢妭諤蟢醭讜矇尓艊剓棞醮嫮媀、襽鮪頌鄡䯖鞲嫕魍

䒛䯖攢鲷䯖2018䯓。＃獿珜╙壈䰆婠詀儕╙儕妘嗴䯒獿鰷䯓

2015䯓。＃頯梮僨粷￥䯒頯梮㠨鄽裶䄄䯖譯鲷䯖2015䯓。＃昦

竑屟賽駱鰓椷頯梮醮侳㯵艊饅跀䯖桖飨證諍鄓獿踵屒鍊艊▕

侳縶嗴 - ╙跤棡㳚晹昦鲇￥( 㒂蹉㚧陝䯖獿鰷䯖2017)。＃彿

児羗靧⺖賂櫺髦壇賂鑫

⻨￥䯒譯妕翍娡䯖譯鲷䯖2015䯓。

蕬䯖桬頯梮艊梥棾抲辭酽跣桖錨藥咷撾醮侸廬屟艊妕詬、A+

詵飨荱㓄桭鄫啢艊趼㒂￥( 俍鄡裶䄄䯖醢犦䯖2017)。＃趿

＃嵚倇艊応䄄￥䯒䧸橯頯梮嶼䯖譯鲷䯖2015䯓。＃䏣謭趼䯗贜

Contemporary 㫥跣呺䖢屟艊裶䄄啔醮頯梮咲。詇嗴鳏邁讜

楁 ４ Ⅹ 啀 夠 ￥( 襽 詬 跤 蹺 頯 梮 梽 椨䯖 譯 鲷䯖2017) 。＃ 壔

䟨鲡爳頯梮烰￥䯒贜䟨鲡爳䏣嵔妭鯫䯖犦攢䯖2015䯓。＃竍

兙 艊 蹕 脹 ￥䯒 鮒 躐 裶 䄄䯖 譯 鲷䯖2017䯓。＃ 愥 誑 ￥䯒 襽

曐㫓爁䯗跤䉯犦醢趺㣵證諍旝誼嗴￥䯒鬢橔喺鲡蹺咲贜窹䒛䯖

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甡頯梮鮪嫕魍蛼∥￥䯒裶嫕魍頯梮梽椨䯖譯

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詬 跤 蹺 • dRoom䯖 譯 鲷䯖2017䯓。＃ 酑 翍 艊 喩 喠 ￥(A

㫊踙昤鬰惛働䯖2014䯓。＃BBCT䯒酽䯓￥䯒偮偮惛嫕魍頯

Contemporary 鲡爳嫕魍頯梮裶䄄詇陝䯖鲡爳頯梮跤宆䯖譯

梮跤宆䯖譯鲷䯖2014䯓。＃筊漜䯗䧸橯頯梮咲銲魖嗴￥䯒醑

鲷䯖2017) 。＃䧸橯酽魍￥(Hi 頯梮跤宆䯖譯鲷䯖2017)。＃詛

痝翍娡䯖譯鲷䯖2012䯓。＃觽䤻魯䏳壚 • 嫕魍頯梮嗴￥䯒跤

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釀羠￥䯒Tong Gallery+Projects䯖譯鲷䯖2016䯓。＃Δ￥䯒A

Contemporary 鲡爳嫕魍頯梮裶䄄詇陝䯖鲡爳頯梮跤宆詬譯

蹺銊梮叧䅳嗴㓋䒛䯖椈墕䯖2005䯓訵、

唻㛣䯖鮪鲡爳嫕魍頯

媀跤怇㬬酽跣䉳謭蹺䅕僨佪艊妕詬、頯梮鮪㫥跣嫕 詇嗴。㛀韃。蔠裮醮熱

㫼酽蟢尓姪。酽蟢屒㣵䯖㚮㛀彿髦姉㛫薟粷鳘躅樭艊䉳㞒䯖 鮪跫翨旝誼艊鰩槪跤啀恓酽跣㬎賽艊襫㢹砎、

About Aritst

He Xun was born in 1984 in Jiangxi. Graduated from the Department of Education, China Academy of Art with a BA in Fine Arts in 2006, He Xun currently works and lives in Beijing. His selected solo exhibitions include: The Second Oracle (A+ Contemporary, Shanghai, 2018), Pearls of Citta (Enclave Independent Publishing House, Shenzhen, 2017), Rural Rhapsody (A+ Contemporary, Shanghai, 2016), Hive • Becoming I: Empty Baggage (Hive Center for Contemporary Art, Beijing, 2013). His selected group exhibitions include: Wandering (Power Long Art Center, Hangzhou, 2018), Go Live (Art Museum of Nanjing University of the Art, Nanjing, 2018), Bi-city Biennale of Urbanism\ Architecture Collaboral Exhibition- Ideals on the Move

(Sally Project, Shenzhen, 2017), I Could See The Smallest Things (Antenna Space, Shanghai, 2017), Jungle III-Common (Platform China Contemporary Art Institute, Beijing, 2017), Hina’s scroll (SZ Art Center, Beijing, 2017), parentheses (Platform China•dRoom, Beijing, 2017), The Dilemmas of Painting (organized by A+ Contemporary, Asia Art Center, Beijing,2017), Heiqiao Generation, (Hi Art Center, Beijing,2017), Go Live (Tong Gallery+Projects, Beiing, 2016), □ (organized by A+ Contemporary, Asia Art Center Taipei I + II, Taipei, 2016), Utopia & Beyond (Castello di

About A+ Contemporary

Rivara Centro d’Arte Contemporanea, Turin, Italy, 2016), Winter Discovery (A Thousand Plateaus Art Space,Chengdu, 2016), The Twelve Paintings (L-Art Gallery, Chengdu, 2015), Paratissima 11 (Paratissima, Italy, 2015), Concept and Language in Painting Process (Right View Art Museum, Beijing, 2015), Shanghai Deal (Radical Space, Shanghai, 2015), Happening at the Very Moment – Performance Art in the Contemporary Society (Kong Contemporary Art Agency, Beijing, 2015), Sovrapposizioni Di Immagini (Casa Dei Carraresi Museum, Italy, 2015), Art Discovery (L’OFFICIEL Art Space, Beijing, 2015), The Bride Stripped Bare by Her Bachelors, Even (Pekin Gallery, Beijing, 2015), The Cabinet of Wonder (HeiQiao Art District, Beijing, 2015), Wind Veers to the East – BOAO Asian Art Exposition (BOAO Asian Style Plaza, Hainan, 2015) , Drawing Stars Overseas – History and Culture Exhibition of Sino-African Maritime Silk Road

(Tanzania National Museum, Dar es Salaam, 2014), BBCT (MAMALA Contemporary Art Center, Beijing, 2014) , Carnival–Hei Qiao Artist Community (Mizuma and One Gallery, Beijing, 2012), Clumsy Birds Have to Do an Early Start– Contemporary Art Exhibition (China Academy of Art Exhibition Hall, Hangzhou, 2005).

In August, 2015, A+ Contemporary was founded in Shanghai. The space is located in the thriving “M50” art community, featuring artists from China, Taiwan, and Hong Kong, and will feature artists from Northeast Asia and Southeast Asia in the near future. The curatorial programme of A+ Contemporary consists of exhibitions, forums and publication of scholarly catalogs; its selected presentations center around the different facets of artistic innovation and concepts, and its research scope extends to cross-disciplinary analysis.

200060 跤蹺醢犦壈騿妔嘪㣵 50 誑 7 誑氒 106 咇 Room 106, Bldg. 7, 50 Moganshan Road, Shanghai 200060, China T +86–21–6266–2781 F +86–21–6266–2786 E service@apluscontemporary.org www.apluscontemporary.org