展期 Period：
2025.7.12—2025.8.24
艺术家 Artist：
泽依乃拜·萨利赫 Zeinab Saleh策展人 Curator：
地点 Venue：
前言 Introduction：
池社荣幸地宣布，将举办艺术家泽依乃拜·萨利赫 (Zeinab Saleh) 在亚洲的首次个展：《地球记得所有事物》（Earth remembers everything）。萨利赫的作品主要围绕“氛围”这一形式与感官命题展开。她的绘画与版画作品源于与动态影像、记忆以及由物质接触所引发的非物质性感官经验的相遇，这些往往植根于她日常生活的节奏与周遭环境的质地之中。
展览中的十二件绘画延续了艺术家将时间与物质视为可折叠、叠加、或重新组合的方式。图像母题在各个画作之间迁移和变形，正如记忆在流动中自行扭曲。她在创作过程中将一幅画的表面“印刻”到另一幅上，通过转移颜料的方式，再现了某种印象在人们心中生成的过程。
萨利赫的创作对外部事件如何穿透个体内在世界的“表层”保持敏锐。她的绘画描绘了这些现象如何在与记忆、诠释，以及个体意识中那股不安分的组织系统接触时，被重新转化的过程。
阿拉伯风格栏杆的铁艺线条、极具风格的剑与银杏叶的图案，共同构成了一种视觉语法，它们如记忆一般高度情绪化又支离破碎。萨利赫以往创作中轻纱般的画面，与她此次新作中更具象的图像形成呼应：一只蜘蛛与它的网为我们打开了不同象征或是各样神话的多维阐释空间（其中的解读会视不同文化而异），同时，它们也能触发观众内心深处那些无意识的、本能的震颤。
“我开始将萨利赫作品中密集、充满谜团的表面视为情感景观，那是时间和地点的碰撞、真实和想象的故事片段。她画的是一种另类景观，如果你愿意挖掘的话，那里宽敞而有活力，这是一种从现实中剥离出来的产物，以及对于心灵的挖掘。”——内加尔·阿齐米(Negar Azimi)，杂志《Bidoun》主编
Pond Society is pleased to present Earth remembers everything, which is Zeinab Saleh’s first solo exhibition in Asia. Zeinab Saleh’s work inhabits the formal and sensorial concerns of atmosphere. Her paintings and print-based works are prompted by encounters with moving images, memory, and the immaterial sensorium that arises from material encounters, often grounded in the textures and rhythms of her everyday life and surroundings.
The twelve paintings that compose this exhibition continue the artist's handling of time and physical matter as material that comparatively lend themselves to folding, overlaying and recomposition. Motifs migrate and morph across paintings as memory distorts itself in motion; the imprinting of one surface onto another with the transference of paint in Saleh’s process resembles how an impression is produced in the mind.
Saleh’s practice is tuned to the channels in which external and perceived events penetrate the coating of one’s interior world. Her paintings describe how these phenomena are transformed by contact with inner holdings of memory, interpretation and the restless swell of one’s organizing system of consciousness.
The sinews of railing wrought in arabesque patterns, stylized illustrations of swords, and ginkgo leaves form a visual grammar that reads as memory: both highly affective and fragmented. The gossamer surface of Saleh’s paintings connect with her more articulated subjects in this new body of work, with a spider and its web opening up space for both symbolic or mythic attributions, depending on one’s cultural coding, as well as the psyche’s involuntary lurches when presented with subjects often connected to unconscious.
“I begin to think of Zeinab [Saleh]’s dense, enigma-filled surfaces as emotion-scapes, collisions of time and place, fragments of stories—real and imagined. Alternative landscapes, if you will, capacious and irreverent, the product of a sort of stripping down. An excavation of the psyche.” - Negar Azimi, Editor in Chief of Bidoun magazine
