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<channel>
	<title>chinyurin</title>
	<link>https://chinyurin.com</link>
	<description>chinyurin</description>
	<pubDate>Wed, 07 May 2025 10:31:49 +0000</pubDate>
	<generator>https://chinyurin.com</generator>
	<language>en</language>
	
		
	<item>
		<title>Home</title>
				
		<link>https://chinyurin.com/Home</link>

		<pubDate>Tue, 02 Jun 2020 01:45:40 +0000</pubDate>

		<dc:creator>chinyurin</dc:creator>

		<guid isPermaLink="true">https://chinyurin.com/Home</guid>

		<description>

︎
	


CHINYURIN

	

	
	</description>
		
	</item>
		
		
	<item>
		<title>金鱼与风筝2025</title>
				
		<link>https://chinyurin.com/2025-2</link>

		<pubDate>Wed, 07 May 2025 10:31:49 +0000</pubDate>

		<dc:creator>chinyurin</dc:creator>

		<guid isPermaLink="true">https://chinyurin.com/2025-2</guid>

		<description>
	



《金鱼与风筝》2024-2025




玻璃/不锈钢/塑料绳/玻璃珠子/塑料珠子
铸造/热熔

山上树荫下的路边小排屋拆得干净，墙后头的小学还在上课。春天了，学校门口报刊亭卖起了风筝，旁边的小朋友借我的风筝玩，刚放起来挂到了树上，来来回回放没了三只，我吃了一顿竹笋炒肉。家里不让养带毛的宠物，有一天在公园小摊上捞到了两条金鱼，鱼缸放在电视机旁边。我会隔着鱼缸盯着它们，喂鱼食，拿花杆 子逗它们，后来金鱼的肚皮翻了起来。
《Goldfish and Kite》2024-2025

Glass/Stainless steel/Plastic rope/Glass beads/Plastic beads
Casting/Fusing
The small roadside houses under the shade of the trees on the mountain weredemolished, and the elementary school behind the wall was still in class. It wasspring, and the newsstand at the school gate was selling kites. A little kidnearby grabbed my kite to play with,but just as he got it up in the air, it gotstuck in a tree. After flying it back and forth, three of them were gone and Iended up catching a good whooping.My family doesn't allow pets with fur. One day, I caught two golden fish at astall in the park. The fish tank was placed next to the TV. I would stare at themthrough the fish tank, feed them, and tease them with a flower stick. Laterthe golden fish's belly turned upside down.



&#60;img width="5829" height="3886" width_o="5829" height_o="3886" data-src="https://freight.cargo.site/t/original/i/706ce2f330014ada45220da786779c72f56a1eadffde3ba93966164c8d67162f/.jpg" data-mid="232888410" border="0"  src="https://freight.cargo.site/w/1000/i/706ce2f330014ada45220da786779c72f56a1eadffde3ba93966164c8d67162f/.jpg" /&#62;


&#60;img width="5786" height="3254" width_o="5786" height_o="3254" data-src="https://freight.cargo.site/t/original/i/01eebe47328ef966687e8b3fac86152ff0f0741d8b7f64ddd637a1627c9c1cd7/2a.jpg" data-mid="232888375" border="0"  src="https://freight.cargo.site/w/1000/i/01eebe47328ef966687e8b3fac86152ff0f0741d8b7f64ddd637a1627c9c1cd7/2a.jpg" /&#62;
 

2024-2025




	


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 &#38;nbsp;


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	</item>
		
		
	<item>
		<title>照片系列-宿舍区门口2025</title>
				
		<link>https://chinyurin.com/2025-1</link>

		<pubDate>Wed, 07 May 2025 10:06:18 +0000</pubDate>

		<dc:creator>chinyurin</dc:creator>

		<guid isPermaLink="true">https://chinyurin.com/2025-1</guid>

		<description>
	



《照片系列-宿舍区门口》2025
材料：玻璃/木框/蓝晒液/线/珠子/咖啡液技法：热熔/丝网印/蓝晒


宿舍区门口，还剩一间碎白瓷砖贴的门卫和背后的一栋红砖筒子楼。
走近有堆在角落的生活垃圾伴随着空气里厕所潮湿的味道，我看向围墙后，是整片的断壁残垣，通道、操场、幼儿园、澡堂和小区楼全部消失了，和建筑一起消失的还有它们构筑的空间。
对面楼的奶奶很喜欢我，总拿她儿子寄回家的进口咖啡糖给我吃，奶奶搂着我在宿舍区门口照了一张照片，旁边的杉树冲天，再走两步就是厂办幼儿园。我穿了牛仔背带裙和红色的裤袜，因为不喜欢照相而皱着眉头向后缩成一团。


«Dormitory area entrance))2025 new version
Material:Glass/Cement/Cyanotype/Photo/Candle/Glue/CoffeeFusing/Cyanotype/Screen printing

At the entrance to the dormitory area, only a gatehouse covered in crackedwhite tiles and a red-brick tube-shaped building remain. As I walk closer, thesmell of household waste and dampness from the toilets lingers. Looking pastthe wall, I see nothing but ruins- passageways, the playground, kindergarten,bathhouse, and residential buildings have all disappeared, along with thespaces they once created.The grandma Wang ,she was a friend of my granma, from the building acrossthe way liked me a lot, always giving me imported coffee candies her son senthome. She once hugged me and took a photo at the dorm entrance, besidethe tall cedar tree, with the kindergarten in the background. I wore a denimoverall dress and red tights, shrinking back because I didn't like being photographed.





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2025




	


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&#38;nbsp;








	


</description>
		
	</item>
		
		
	<item>
		<title>照片系列-剧院2025</title>
				
		<link>https://chinyurin.com/2025</link>

		<pubDate>Tue, 15 Oct 2024 14:27:10 +0000</pubDate>

		<dc:creator>chinyurin</dc:creator>

		<guid isPermaLink="true">https://chinyurin.com/2025</guid>

		<description>
	



《照片系列-剧院》2025

剧院 2024 
玻璃/蓝晒//照⽚/蜡烛/陶瓷电镀&#38;nbsp;

⼭下分⼚⾥有⼀座剧院，翻过栏杆上⼆楼，墙上三扇狭⻓的窗户，往⾥看是⻓满了野草的舞台，台上幕布灯笼垂落，阳光从瓦砾间照在植物上。 六⼀⼉童节汇演，⽼师给定做了橘⾊的健身操服，⼿⼯缝上了银纸星星，肚⼦太圆还没上台就撑掉了⼏颗。 


Theater 2025 new version
 
Glass/Cyanotype/Ceramics/Photos/Candles/GlueCasting/Cyanotype/Ceramic plating

At the foot of the mountain, there is a theater. Climbing over the railing to thesecond floor, you see three narrow windows on the wall. Looking inside, thereis a stage overgrown with wild grass, the curtain and lanterns hanging downwith sunlight filtering through the rubble and illuminating the plants. During theChildren's Day performance, the teacher custom-made an orange aerobicsoutfit, with silver foil stars hand-sewn onto it. My belly was so round that afew stars popped off before I even got on stage.



&#60;img width="6240" height="4160" width_o="6240" height_o="4160" data-src="https://freight.cargo.site/t/original/i/b7517f7a35e1ea49b4f86d1671fbbe8eee963e936161155148798435f9be304f/1.jpg" data-mid="232887377" border="0"  src="https://freight.cargo.site/w/1000/i/b7517f7a35e1ea49b4f86d1671fbbe8eee963e936161155148798435f9be304f/1.jpg" /&#62;





&#60;img width="4284" height="5712" width_o="4284" height_o="5712" data-src="https://freight.cargo.site/t/original/i/84e5596490b495db65d39f098de570967b736cf446ed051fd1509cf74a4212e8/.jpg" data-mid="232887378" border="0"  src="https://freight.cargo.site/w/1000/i/84e5596490b495db65d39f098de570967b736cf446ed051fd1509cf74a4212e8/.jpg" /&#62;



 

2025




	
&#60;img width="6240" height="4160" width_o="6240" height_o="4160" data-src="https://freight.cargo.site/t/original/i/a8d0b61362569d9929528fa2b6174e1aae58b5602edc893a2ba84104d05ed283/.jpg" data-mid="232887702" border="0"  src="https://freight.cargo.site/w/1000/i/a8d0b61362569d9929528fa2b6174e1aae58b5602edc893a2ba84104d05ed283/.jpg" /&#62;
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</description>
		
	</item>
		
		
	<item>
		<title>摇椅2024</title>
				
		<link>https://chinyurin.com/2024</link>

		<pubDate>Tue, 15 Oct 2024 13:51:16 +0000</pubDate>

		<dc:creator>chinyurin</dc:creator>

		<guid isPermaLink="true">https://chinyurin.com/2024</guid>

		<description>
	



《摇椅》2024材料：玻璃/木头/螺纹钢/钢丝


⻓久⽆⼈使⽤⽽⽵⽚脱落的⽊摇椅，春⻜草⻓，放在后院中逐渐被植物淹没，等到想起来去看时，已经被⽩蚁啃噬掉⼩半。 21年创作《未果》时我开始注意到事物的残渣，到22年《过剩》时开始将事物的灰烬烧进玻璃。在我眼中这是⼀场⽕化仪式。 摇椅延续了之前的创作思路，我将摇椅腐朽的⽊⽚部件翻模⽤融化的玻璃封存。 



The Decayed Rocking Chair 2023-2024
Materials:The decayed wooden rocking chair was fused into glass with a rebar frame and suspended by steel cables.
The wooden rocking chair, unused for a long time with bamboo pieces falling off, became gradually overgrown with spring grass in our backyard. By the time I remembered to check on it, termites had already devoured a good portion of it. When I created "Mika" in 2021, I started to pay attention to the remnants of objects. By the time of "Feast" in 2022, I began incorporating the ashes of objects into glass. In my view, this is a cremation ceremony. Continuing this creative approach, I made molds of the decayed wooden parts of the rocking chair and preserved them in molten glass.


長い間使われず、竹の部分が落ちた木製のロッキングチェアは、春の草が生い茂り、裏庭で徐々に植物に覆われていきました。思い出して見に行った時には、すでに白蟻にかなりかじられていました。2021年に「未果」を制作した際に、物の残骸に注目し始め、2022年の「過剰」では物の灰をガラスに焼き込むようになりました。私の目には、これは火葬の儀式のように映ります。ロッキングチェアは以前の創作の流れを継続し、その腐敗した木片部分を型取り、溶けたガラスに封じ込めました。


 

2024




	












	

&#60;img width="4160" height="5546" width_o="4160" height_o="5546" data-src="https://freight.cargo.site/t/original/i/1a063330c0f14b478dd28d8661d18ef041ba4ded7b9b1365cea94f14f37de827/.jpg" data-mid="252038202" border="0"  src="https://freight.cargo.site/w/1000/i/1a063330c0f14b478dd28d8661d18ef041ba4ded7b9b1365cea94f14f37de827/.jpg" /&#62;


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</description>
		
	</item>
		
		
	<item>
		<title>过剩2022</title>
				
		<link>https://chinyurin.com/2022</link>

		<pubDate>Wed, 20 Sep 2023 07:16:02 +0000</pubDate>

		<dc:creator>chinyurin</dc:creator>

		<guid isPermaLink="true">https://chinyurin.com/2022</guid>

		<description>
	



《过剩》2022
材料：回收玻璃，食物，蜡烛，投影，废弃陶瓷等

《过剩》延续了《未果》的思考。受上海玻璃博物馆与康宁玻璃公司委任创作期间，我从日本回国后经历了食物消耗模式的转变——从精打细算到面对便宜易获得而被浪费的过剩食材。加上疫情封控期间，目睹身处上海的友人无奈等待物资的处境，我开始周围收集被遗弃的食材，将其翻模铸入玻璃。
窑炉升温过程中，果实化为灰烬，被融化下落的玻璃封存于内部。

这些"废弃物"的命运——被食用、丢弃或堆肥——始终由人类单方面决定其实用价值。作品通过水泥餐台上陈列的灰烬玻璃水果、水垢杯碗及废墟拾得的餐具，构建了一个充满讽刺的仪式场域。

投影在灰白玻璃果实上的鲜艳" 遗照"，与实体作品的腐朽质感形成强烈反差，试图表现"丰盛"表象下的空洞与脆弱。


Feast 2022

Materials: Recycled glass, food, candles, projection, ceramics, etc.

Excess extends the conceptual thread of Unfulfilled(Mika). Created under commission from the Shanghai

Museum of Glass and Corning Incorporated, the work reflects a shift in my perception of food after&#38;nbsp;
returning from Japan—from economical consumption to confronting the cheap, abundant, yet often wasted surplus around me. 

During Shanghai’s pandemic lockdown, witnessing friends anxiously awaiting supplies prompted me to collect discarded ingredients, mold them, and cast them in glass. In the kiln, the fruit carbonized into ash, encapsulated by molten glass.

The fate of such “leftovers”—whether eaten, discarded, or composted—is invariably dictated by human utility. 
The piece constructs a ritualized, ironic tableau: glass-encapsulated fruit ash, limescale-coated vessels, and salvaged utensils are arranged on a concrete dining platform. Vivid “memorial” portraits areprojected onto the pale glass fruits, contrasting sharply with their decaying materiality, exposing the emptiness and fragility that underlie the illusion of &#38;nbsp;“plenty”.
《過剰》は旧作《未果》の延続です。私は身近に捨てられた果物や食材を拾い集め、型取りして鋳造しました。果実とガラスが共存する型の中で、窯の温度が上がるにつれて果実は灰となり、ガラスの中に封じ込められます。
食べられるか、ゴミ箱に捨てられるか、それとも肥料として再利用されるか、これらのいわゆる「廃物」の運命と帰属は人間によって決定され、人間の一方的な願望と独りよがりを反映しています。

私はここで荘重な儀式の場を創り出し、灰を封じ込めたガラスの果物、水垢のついたガラスの杯や碗、そして廃墟から拾った皿や燭台をコンクリートの食卓に並べました。観者をこの「盛宴」に招待し、一見豊富で多様に見えても実際は腐敗している様を見せます。ガラスの果物に投影されているのは、彼らの鮮やかな「遺影」です。


 

2022




	












	

&#38;nbsp; 



&#60;img width="5782" height="3503" width_o="5782" height_o="3503" data-src="https://freight.cargo.site/t/original/i/d98b0cc78b09d2ce864f136b8b19e02d7080aca9d82a230e60d32701f6edec5a/1a.jpg" data-mid="191338070" border="0"  src="https://freight.cargo.site/w/1000/i/d98b0cc78b09d2ce864f136b8b19e02d7080aca9d82a230e60d32701f6edec5a/1a.jpg" /&#62;




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</description>
		
	</item>
		
		
	<item>
		<title>《》2022</title>
				
		<link>https://chinyurin.com/2022-1</link>

		<pubDate>Wed, 20 Sep 2023 06:59:27 +0000</pubDate>

		<dc:creator>chinyurin</dc:creator>

		<guid isPermaLink="true">https://chinyurin.com/2022-1</guid>

		<description>
	



《》2022
《》是一件由康宁Corning玻璃公司（上海）委任的作品，椅子结构由角铁焊接而成，椅垫使用了康宁提供的废弃有色碎屏玻璃。

这把椅子无依无靠，尖锐的坐垫也无法安坐。《》与作品《过剩》巧妙地共同构成了一个令人深思而焦虑紧张的小剧场。作品的名字不是随性的“未命名”，而是一种失声和空白，这是面对现实世界中的种种现象之后的无从开口与无能为力。

"" is a piece commissioned by Corning Glass Company (Shanghai). The chair structure is welded from angle iron, and the seat cushion is made of discarded colored glass fragments provided by Corning.This chair stands unsupported, and its sharp cushion makes it impossible to sit comfortably. "" and the work "Excess" together form a thought-provoking and anxiety-inducing small theater. The title of the piece is not a casual "Untitled"; rather, it represents a loss of voice and emptiness, a reflection of the inability to speak or act in the face of various phenomena in the real world.
&#38;nbsp;

2022,10



	












	

&#38;nbsp; 宇宙瓷厂废墟 2022//10/31


&#60;img width="3971" height="5560" width_o="3971" height_o="5560" data-src="https://freight.cargo.site/t/original/i/21b251786fe3fdfd6609e45ceae8c75b4801d12e802f5bb15ae064425c9b3415/1.jpg" data-mid="191337545" border="0"  src="https://freight.cargo.site/w/1000/i/21b251786fe3fdfd6609e45ceae8c75b4801d12e802f5bb15ae064425c9b3415/1.jpg" /&#62;

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</description>
		
	</item>
		
		
	<item>
		<title>挣钱了再做艺术2021</title>
				
		<link>https://chinyurin.com/2021</link>

		<pubDate>Fri, 10 Sep 2021 23:59:27 +0000</pubDate>

		<dc:creator>chinyurin</dc:creator>

		<guid isPermaLink="true">https://chinyurin.com/2021</guid>

		<description>
&#60;img width="5168" height="3448" width_o="5168" height_o="3448" data-src="https://freight.cargo.site/t/original/i/ac7624212a6177f93cc92be4c367786e8dd209d64115f9c8c801d74edc599a06/DSC06699.jpg" data-mid="118586332" border="0"  src="https://freight.cargo.site/w/1000/i/ac7624212a6177f93cc92be4c367786e8dd209d64115f9c8c801d74edc599a06/DSC06699.jpg" /&#62;

	



挣钱了再做艺术

材料：废弃灯泡/蜡烛/纸片


这件装置由废弃灯泡、蜡烛和纸片构成。

容器来自浮梁县一处工厂的露天垃圾堆，保留了风尘痕迹，内部塞有纸片，纸片撕自我的“ 脸书”，里面写满杂七杂的作品构想。

燃烧的蜡烛象征现实压力，以不同高度悬挂的灯泡呈现出不同状态：未被熏黑、纸片被遮蔽、纸片化为灰烬。
随着蜡烛燃烧，火焰的影响逐渐减弱。

作品名是一个隐藏了问号的问句，它质疑"等有钱再做艺术"的说法——艺术与金钱不一定是正相关。这是我从学校出来开始独立做工作室以来对创作现实的思考，也是一次自我警醒。

Earn Money, Then Make Art 2021


2021 / Materials: Discarded light bulbs / Candles and paper


The discarded light bulbs were picked from a garbage dump in a large industrial park, where my

neighbour Xiaofu took me to. They retain the dust left by exposure to the elements. The burning candles

symbolise the pressures of life. They heat the light bulbs that contain my artistic ideas.

Some bulbs have become so blackened that the text inside is no longer visible, and some paper has

turned to ashes. However, as the candles burn, the flames get lower and eventually will no longer affect

the bulbs and papers, leaving a puddle of melted wax on the ground.

I have a "Face Book," filled with miscellaneous artistic ideas. I often hear people say, "Earn money, then

make art." However, whether or not you make money is one thing, and whether or not you make art is

another. These two things often don't correlate directly.

This installation is my reflection on the relationship between earning money and making art, and also a reminder to myself.



2021,06



	












	


&#60;img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/df96c7f74f6e3eb578288abeed77b92af743b92ef34cfc25533cb4bfb96907e5/DSC_1132.jpg" data-mid="118625106" border="0"  src="https://freight.cargo.site/w/1000/i/df96c7f74f6e3eb578288abeed77b92af743b92ef34cfc25533cb4bfb96907e5/DSC_1132.jpg" /&#62;
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&#60;img width="5488" height="3659" width_o="5488" height_o="3659" data-src="https://freight.cargo.site/t/original/i/5b02d5cc96d09f8ecbca0be67a0400749264b8ad5ab2840950ee73f33898e5b9/-.jpg" data-mid="118625046" border="0"  src="https://freight.cargo.site/w/1000/i/5b02d5cc96d09f8ecbca0be67a0400749264b8ad5ab2840950ee73f33898e5b9/-.jpg" /&#62;
&#38;nbsp; 捡废弃灯泡的工厂园区 2021/06/24




	

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		<title>游动的之间2021</title>
				
		<link>https://chinyurin.com/2021-5</link>

		<pubDate>Tue, 14 Sep 2021 02:30:43 +0000</pubDate>

		<dc:creator>chinyurin</dc:creator>

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&#38;nbsp;遊動している間に

“游动的之间”，是我的第一次个展。
这个题目源于玻璃本身的物质状态。玻璃分子的排列在空间中近似于液体，而同时玻璃像固体一样保持特定的外形，不会像液体随重力作用而流动，是一种介乎于固态与液态之间的物质。


生活中使我感受到“游动的存在”的瞬间同样使我着迷。返潮时地板、墙壁沁出的水珠;久静产生的耳鸣;大街上鼎沸的人声;过去的日记本;房梁垂下的蜘蛛丝......




我想，所谓“游动的存在”——存在与不存在之间的实质其实是存在而不易察觉，而艺术的价值之一可能是扩张日常中的习以为常，使人从无意识到意识到。


展览由两个部分构成，从《戴玻璃头罩的人》（2018）到《人间洗衣房》（2019-2020）再到研究科时期的《未果》（2020-2021），有人对我的印象是一直在做“批判艺术”。新作品《先挣钱了再做艺术》，就是延续了这部分的创造思路。


另一部分，和我从日本到景德镇之后生活、心态上发生的转变有关，扩展了以前在作品中比较少出现的更情绪化、更材料表现的作品。包括早先在2020年制作的《情书》，2019年的《给建筑物出一点汗》、以及最新的《融化》、《黑镜》、《碎片》。
"Between Fluidity," is my first solo exhibition.
 
The title derives from the material state of glass itself. The arrangement of glass molecules in space is similar to that of a liquid, yet glass maintains a specific shape like a solid and does not flow under the influence of gravity. It is a substance that exists between the solid and liquid states.
Moments in life that make me feel the "existence of fluidity" also fascinate me. Water droplets seeping from floors and walls during humid weather; the tinnitus that arises from prolonged silence; the bustling sounds on a busy street; old diaries; spider silk hanging from the beams...
I think that the essence of the so-called "existence of fluidity"—the substance between existence and non-existence—is actually existing but not easily noticeable. One of the values of art might be to expand the ordinary, making people aware of what they previously overlooked, transitioning from unconsciousness to consciousness.
The exhibition consists of two parts. From "Someone with glass helmet" (2018) to "Human Laundry" (2019-2020) and to "Mika" during my graduate studies (2020-2021), some people have the impression that I have been consistently creating "critical art." The new work "Earn Money First, Then Make Art" continues this creative approach.
The other part relates to the changes in my life and mindset since moving from Japan to Jingdezhen, expanding on the more emotional and material expressive works that were less present in my previous creations. This includes "Love Letter" made earlier in 2020, "Make the Building Sweat a Little" from 2019, and the latest works "Melt," "Black Mirror," and "Fragments."
 2021，07


	

	



	



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		<title>融化</title>
				
		<link>https://chinyurin.com/21326540</link>

		<pubDate>Mon, 13 Sep 2021 16:49:54 +0000</pubDate>

		<dc:creator>chinyurin</dc:creator>

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