You Spin Me Round Like a Record

In 2015, as part of the “Light Source” series, Xu Zhen reinterpreted the work of the artist Cornelis de Baellieur(1607-1671) titled “Intérieur d’une galerie de tableaux et d’objets d’art.” Every detail of the scene was preserved, with exotic objects displayed in a lavish interior space-shells, sculptures,and ornaments, while the walls were adorned with painting of still life,mythological and portraits. This artist followed the tradition of “art cabinet” genre established by Jan Brueghel the Elder and others in the Flemish region, making choices in the painting style.”Intérieur d’une galerie de tableaux et d’objets d’art.” seems to carry the legacy of the late Pieter Bruegel the Elder- in order to make the objects in the painting appear lively, there is a degree of deformation in the painted content, implying ahierarchy.However, fromthe result of the painting, it is evident that this artistic transformation does not stem from meticulous observation of reality, the artist’s goal is merely to complete a task. Comparatively, Xu Zhen’s reinterpretation is more vibrant, he overall lowers the brightness of the painting, making the peculiar
light source at the lower center of the composition stand out glaringly.

Xu Zhen froze the scene at the moment when a camera flash encroaches upon the painting. Using flash when taking photos is often considered damaging to oil paintings and is strictly prohibited in many occasions. The light invades from outside the artwork, yet seems as if it is reflected from within,reaching the audience. Nevertheless, the audience, or the general public who have entered the age of image with their smartphones or cameras, have forged a new relationship with art. Classical art offered “aura” ‘evoking palpitations and dizziness in the audience of its time. Nowdays, audience yearn for this kind ofdizziness, nurturing fantasies, while the traditional “aura of spirituality” gradually fades away, leaving behind records of visual experiences with physical light. How do we distinguish which of them still carry the remnants of the “aura,” and whether the “aura” is necessary in the context of contemporary Chinese art, serves as the starting point for the exhibition “You Spin Me Round like a Record.’