前言

Foreword

与艺术家的交往多半首先源于作品，最早接触占占的作品是他的PUPU熊和YOYO兔，它们专注于脚下的土地，安静而忙碌，笃定且昂然，让人顿感欢喜。

Usually, the artwork is the first channel to know an artisan. Before contacting with Mr. Zhang Zhanzhan, we already knew his adorable PUPU bear and YOYO rabbit who are quiet while busy on the ground standing firmly and high-spiritedly.

占占应该是一个i人，大部分时间，他是不多话的，但是他却有非常敏锐的洞察力和艺术创造力。毕业于雕塑专业的占占学生时代便沉醉于波提切利作品的纯粹与精炼。他的创作路径从古典绘画的叙事语言，逐步转向扁平化的当代视觉表达，最终拓展至公共雕塑的创作。这一过程是他将个人审美倾向与观者参与体验创造性融合的持续实验。

Zhanzhan is supposed to be an introvert person who doesn’t talk a lot most of the time. However, he has very acute insight and artistic creativity. Majored in sculpture, Zhanzhan immersed himself in the purity and refinement of Botticelli’s works during his students years. The path of his creation gradually shifted to flat contemporary visual expression from classical painting’s narrative language, and finally extended toward the composition of public sculptures. This process is a sustained experiment which creatively combined his own aesthetic tendency and the audiences’ participatory experience.

大部分时间占占钟情于探索公共空间，在经典系列中，圆弧形态与玻璃钢工业材质之间碰撞出独特张力。但是，我们也想呈现他的另一面，架上绘画既是那些经典形象的起点，更是它们延续故事性的舞台。他的画面在扁平化的视觉偏好下，摒弃了对景深的构建，通过色彩的叠加将平面语言带到画面的深处。这次展览更有新作，不同于架上绘画的延伸，他将童年记忆中的布偶形象立体化呈现，蓬松的毛线肌理与硬质材料再度开启了感官的错位游戏。

Zhanzhan is devoted to exploring public spaces most of his time. In his classic series, the collision between the form of arc and the industrial material of fiberglass creates an unique tension. However, we also wish to unveil another Zhanzhan whose easel paintings serve not only as the starting point of those iconic figures but also as the stage to continue their stories. Out of the visual preference for flattening, his paintings, which abandon the construction of the depth of field, bring the planar language into the depth of the image by layering colors. This exhibition also features new works that display the cloth doll figures from his childhood memories in three-dimensional forms instead of extending the easel paintings. The fluffy texture of wool yarn and hard materials once again initiate a sensory game of dislocation.

本次展览覆盖了西馆的多个区域，架上绘画作品集中陈列于本展厅内，雕塑作品则从无边界的场外步入馆内空间。它们分布于户外广场、负一层中庭以及展厅内部，与周边场域的空间关系逐渐收缩，这不仅是关于不同尺度下人与作品互动的实验，更是一个让观者能够观察、触摸和交流的体验场。

This exhibition spans multiple areas of Suzhou Museum West, with easel paintings prominently displayed in this gallery, while sculptures located from the unbounded outdoor spaces into the interior of the museum. The sculptures are distributed across the outdoor plaza, in the atrium of the lower level, and within the exhibition halls, gradually contracting in their spatial relationship with the surrounding areas. This is not only an experiment in human-artwork interaction across different scales but also an experiential field where audiences can observe, touch, and engage in dialogue.

在这个美好的春天，请记得在草地上与它们来一个温暖的拥抱，在兔子洞里尽情拾取童年记忆的瞬间，正是你们的参与，作品的意义才得以完整。

In this wonderful spring, please don’t forget to share a warm embrace with them on the grass, and relive the moments of childhood memories as much as you want. It is through your participation that the meaning of these works becomes complete.

感谢大家的到来，希望此后，它们将成为你我共同交流的伙伴！

Thank you all for coming, and we hope that from now on, they will become the mutual companions for our communication!

谢晓婷

苏州博物馆馆长

 Xie Xiaoting

Director of Suzhou Museum

张占占的“微光拾遗”：当代情感的拓扑学

在数字时代，人类的感知能力逐渐退化，但张占占的艺术却如同一场温柔的游击战，重新测绘着当代人情感神经的萎缩与复苏。他的IP形象如PUPU熊和兔YOYO，看似童稚化，实则是对“感知退化”的深刻记录，为当代艺术提供了新的生存法则。通过这些作品，张占占试图追溯往昔，重拾被遗忘的纯真美好，让观者在喧嚣的现代社会中找回内心的宁静与温暖。

张占占的创作隐含着对“物性”的深度凝视。他的作品不仅是卡通形象的再造，更是对工业化生产逻辑的微妙抵抗，延续了中国古代“格物致知”的传统，同时契合本雅明“机械复制时代的灵晕”。在数字图像泛滥的时代，物质实存唤醒了知觉的痛感，而他创作的温暖而治愈的形象，为当代人的情感断裂保存了物质证词，证明我们尚未完全丧失疼痛的能力，而这正是艺术重生的种子。

他的作品常被贴上“治愈系东方美学”的标签，但这种简化式的阅读忽略了其创作中的复杂张力。其造型逻辑源于全球资本主义催生的萌文化浪潮，同时融入了艺术家个人的独特趣味。这种混杂性是中国当代艺术的典型症候：在文化身份与全球语法的撕扯中，张占占发明了新的视觉语法，创造出既熟悉又陌生的视觉语言，既满足了当代观众的情感需求，又暗含了对现代性经验的反思。

面对社交媒体时代展览的流量狂欢，张占占的创作提醒我们，艺术必须与现实短兵相接，接受流量的拷问，同时在大众真实的情感共鸣中找到合法性。他的作品常以孤独的形象为主题，如在山林间追逐野兔的男孩、独自种树的小红熊等，这些瞬间既是艺术家童年记忆的碎片，也是我们内心深处被遗忘的纯真与孤独。观众需要以真诚面对这些作品，因为它们折射出的真实自我和温暖情感，远比技巧更重要。

在意义崩塌的后现代废墟上，当代艺术应成为重新校准感知维度的工具。张占占的作品如同一部细腻的民族志档案，记录着被岁月掩埋的情感瞬间，修复当下情感的断裂。它们以质朴而真实的方式，保留了人类情感的温度与质感，成为抵御数字时代完美主义的最后一道防线。

策展人：赵倩颖

撰文：DeepSeek

 Zhang Zhanzhan's "Gleaning the Faint Light"

In the digital age, as human perceptual abilities gradually atrophy, the art of Zhang Zhanzhan emerges as a gentle yet powerful counter-force, remapping the atrophy and revival of contemporary human emotions. His iconic characters, such as PUPU Bear and YOYO Rabbit, appear childlike but are in fact a profound documentation of perceptual decline, offering a new survival strategy for contemporary art. Through these works, Zhang attempts to recapture forgotten innocence and warmth, inviting viewers to rediscover tranquility and comfort in a noisy modern world.

Zhang's creations are deeply imbued with a contemplation of "materiality." His works are not merely reconstructions of cartoon characters but a subtle resistance to industrial production logic. They continue the Chinese tradition of "investigating things to extend knowledge" while echoing Benjamin's "aura in the age of mechanical reproduction." In an era of proliferating digital images, the materiality of his works evokes a sense of perceptual pain, serving as a testament to the emotional fractures of modern people. These warm and healing images prove that we have not entirely lost our capacity for pain, which is the seed for the rebirth of art.

Often labeled as "healing Eastern aesthetics," Zhang's works are more complex than this simplification suggests. His creative logic is rooted in the global capitalist wave of "cute culture" while incorporating his unique personal touch. This hybridity is typical of contemporary Chinese art: caught between cultural identity and global language, Zhang has developed a new visual grammar. His art creates a familiar yet alien visual language that satisfies contemporary audiences' emotional needs while reflecting on modern experience.

Amid the social media frenzy for art exhibitions as viral content, Zhang's work reminds us that art must engage with reality, withstand the scrutiny of popularity, and find legitimacy in genuine emotional resonance. His pieces often feature solitary figures—boys chasing rabbits in the forest, red bears planting trees alone—moments that are fragments of his childhood memories and reflections of the forgotten innocence and loneliness within us all. Viewers are invited to approach these works with sincerity, as they reveal a deeper truth and warmth beyond mere technique.

In the postmodern wasteland of collapsing meaning, contemporary art should recalibrate our perceptual dimensions. Zhang's works act as a delicate ethnographic archive, recording buried emotional moments and mending the fractures of modern emotions. They preserve the warmth and texture of human feelings in a simple yet authentic way, forming the last line of defense against the digital age's perfectionism.

Curator: Serena Zhao

Text by DeepSeek