空间站将于2011年12月10日开幕张轮个展“后视·境”，这是她在国内的首次个展，将展出她近三年创作的绘画作品。展览将持续到2012年2月7日。

2008年春天，张轮拥有了她的小MINI,每天从家往返于工作室的途中，她发现了一个后视镜中——向后飞奔或在前方召唤的世界，张轮时常幻想：“我没开车，是这个世界在往后跑，不是我在往前走。我们倒着走，所以永远没有人能赶上我们。”不同于铺设在面前的观看经验，一个悖论的产生也引发了张轮更为广泛的观看：反相的世界，映像和现实并置的世界，前方凝视的世界，后退炫目的速度。方寸之地的孤独自处，即将消逝的瞬间，莫名记忆的闪回，人们先天认知记忆能力的局限，在此时变成了艺术家定格的映像。作品呈现为有关艺术家日常生活、飞逝而去的个人记忆和将梦将醒步调迟疑的蒙太奇，生命崭新的意义和感受方式就此展开。

“镜子”作为现实世界里的映像，穿越人类的记忆和感受，以现实存在的映像摆在我们面前，试图将这些形象整合到某一历时连贯的排布，或趋向统一的视觉结构是没有太大意义的。基于后现代主义排斥“整体”的观看方式，每个定格瞬间的特殊性和唯一性将被强调。空间站此次再度尝试了新的布展方式，类似晶体结构的“八面墙”将展厅变成一个丛林巷道，宽度最多允许一个人驻足另一个人从身边经过，观众没有一定的观看路线，可以在每幅作品前来回穿行。镜子是走过一段境遇之后，灵魂和精神受到煎熬，经历洗礼后所看到的映像：他其实是精神性的，主体对因果关系和真理的探索、信仰与梦想通过挥之不去的映像反映出来，艺术家把它们描述的时而梦幻细腻，时而可爱坦率，他们定义了我们每天要面对的，布满缺陷的生活，可是，无论怎样的琐碎世俗，我们都奋不顾身的陷入。

张轮有时还重复表现不同时间里的同一瞬间，既有物是人非的感慨，也有“同床异梦”的别样情趣，看似相同的主题通过闪回和闪前持续推进，又通过类似负片的色彩转换得以彰显。这种对同一境遇的循环，反映出艺术家疏离的格调和情感的自觉。

空间短墙的分隔布阵也呼应了这种气质，把时间逻辑从中抽离。后现代主义的初衷并未使布展陷入无限多层面各自发声的嘈杂氛围，使观众在每幅作品微妙的细节间行走，不同的个体是否也会留存趋同的记忆?我们每个人所经验到的阅历、知识与幻想，确实存在于它醉人的美与真挚的渴望中，甚至也存在于此时和艺术家记忆的短暂交流中。

“Rearview circumstances: The World and Me” Zhang Lun solo exhibition will be presented by Space Station on 10th December 2011, and lasts until 1st January 2012. As her first domestic solo exhibition, this one will include art pieces she created over the past three years.

In summer 2008, Zhang Lun bought a MINI and drove it commuting between home and studio. She found, on her way, a distinct world that either flying backward or summoning ahead in her rear-view mirror. Accordingly, Zhang Lun kept having an illusion. “I’m not riding forward. The world is running backward. When I am moving in reverse, no one can ever catch me up.” Here, a paradox, different from usual experience, attracted her intensive attention: a world with opposite phase where reflection parallels reality, concretion collates with overleap. In a confined dimension, when Zhang Lun observes disappearing moments and flashing memory, she also notices the limitations of innate human ability in cognition and memory. Then, she unfolds the brand new meaning of life and way of experience in a montage, composing artist’s daily life, fleeting personal memory and subtle hesitation.

As reflection of the real world, “mirror” cuts across human memory and emotion with reality. However, it is meaningless to arrange these reflections in diachronic order or integrate them into unified visual structure. In a post-modernist view which excluding unity,  the particularity and uniqueness of every fixed instant would be emphasized. Space Station tries a new exhibiting layout in resembling crystal structure, which allows only one person standing and watching, and another one piercing through the “eight-edged wall” at the same time. Without settled route, audience can shuttle from one artwork to another. Mirror is the reflection people see when they undergo baptism and suffer in soul and spirit : it is spiritual. The exploration of causation and truth, belief and dream was reflected through inevitable image. When alternates spiritual nature between minute, dreamlike and ingenuous description, Zhang Lun also defines our flawed daily life. Yet no matter how trifling our life is, we all lapse into it.

Sometimes, Zhang Lun would repeat the alike instant happened at different moments. The circular context, advancing in diverse direction and transforming into colors like that of negative film, highlights her alienated taste and emotional self-consciousness.

The separation matrix orderly echoes each other by discarding time logic from the layout. Audience will probably keep converging impression when digesting subtle details of every piece. In this way, we can identify that individual experience, knowledge and illusion do exist in its own desire for truth and sincerity, even in our transitory communication with memory of the artist.