拾萬空间参加“ATR021上海当代艺术博览会”【艺博会】

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拾萬空间/Hunsand Space

Art 021 in Shanghai 2019

2019.11.07 – 2019.11.10

展位：D06

拾萬空间将参加2019“上海021当代艺术博览会”，展位号为D06。展览将于2019年11月7日至11月10日在上海展览中心举行。参展艺术家包括：陈轴，高索都，仇世杰，孙大量，谭英杰及朱荧荧。

Hunsand Space will participate in the “Art 021 in Shanghai 2019” at booth D06. The exposition will be held from November 7^th to November 10^th, 2019 at the Shanghai Exhibition Centre. Selected artworks of the following artists will be presented: Chen Zhou, Gao Suodu, Qiu Shijie, Sun Daliang, Tan Yingjie, and Zhu Yingying.

贵宾预展：

11/07 (Thu), 2pm – 8pm;

11/08 (Fri), 1pm – 8pm;

公众开放：

11/09 (Sat), 11am – 6pm;

11/10 (Sun), 11am – 6pm;

展览地点：

上海展览中心（静安区延安中路1000号）

陈轴，1987年出生于浙江。他的作品涉及摄影语言，绘画和写作。他认为标签他人的行为是一所监狱，并且自由存在于一个定义前不确定的瞬间。无论这是通过探索当代生命中的死亡还是以一种诙谐的方式解构我们的存在，陈轴的作品围绕着囚禁与解放来展开。总是尝试去拆开约束性的结构，陈轴的作品揭示了标签的荒诞性并且摆脱当今世界的笼罩在不确定性上的高光。本次参展作品是《遗忘》系列运用拼贴画的手法，艺术家将立体的骨骼与平面的绘画相结合，进而探索了肉体与灵魂间的微妙关系。

Chen Zhou (b. 1987, Zhejiang) is a multidisciplinary artist whose practice involves cinematic language, painting and writing. He believes the act of labelling is a prison and that freedom resides in that uncertain moment before definition. Whether it is by exploring death in contemporary life, or by deconstructing our existence in a humorous way, Chen Zhou's works revolve around imprisonment and liberation. Always attempting to dismantle restrictive structures, Chen Zhou's works reveal the absurdity of labels and shed light over the uncertainty of today's world. Artworks in this exhibition Forgotten seies will utilise a traditional collage method to combine three-dimentional bones with flat paintings to explore the complicated relation between body and soul.

高索都，1985年出生于内蒙古包头，2008年毕业于天津美术学院。他使用各种不同材料进行绘画创作来表达生活中发生的点滴。最令人惊喜的是他对于水彩笔的使用，他用这样简单材料反而展现了一个艺术家复杂的内心世界。本次参展作品《粉色的桃》，《你还在那里等我吗？》和《近景No.2》将包括艺术家使用两种不同材料（纸本丙烯和纸本水彩笔）创作的艺术品，他对于创作材料的探索仍在通过一种以描绘生活日常的方式不断地进行。

Gao Suodu (b. 1985, Inner Mongolia) graduated from Tianjin Academy of Fine Arts. He usually uses many different materials to create painting works. He likely to use very childish coloured markers to paint a kind of complicated world of himself is a very surprising method of creation. This exhibition will involve three paintings, A Pinky Peach, Are you still Waiting for me?, Close Shot No.2, in two different materials (acrylic on paper and coloured markers on paper) of the artist, his exploration on painting materials will be continued through a way of depicting daily life objects.

仇世杰，1970年出生于山东。仇世杰将自身所处的空间、环境以及每天面对的事物视为塑造我们的基础，但我们却无法全面认识构成这些基础的根基——就像深埋地下的蚁巢，它们就在“那里”，却又难见全貌，唯有在其中注入水泥或金属溶液，才能使之显形，并被我们的感官捕捉，从而构成我们的认知。让“认知”显形的过程，是仇世杰近几年一直在探索的语言方式。本次参展作品《两只鸡》中，艺术家将雕塑与装置艺术两种形式相结合，来向观众揭示一种存在却不可见的现象以达到其最终探究人类认知过程的目的。

Qiu Shijie (b. 1970, Shandong) is a Post-war and Contemporary artist. Qiu considers the space we are in, the environment we are around and the things we face every day as the basis which makes us; but we cannot entirely comprehend the foundation of which the basis is formed. It's like the formicary deep under the ground - it's there but you cannot have the whole view of it. Only when you impregnate it with cement or metal solution will it be revealed and sensed by us, which then form part of our cognition. The process by which “cognition" is developed is the language explored by Qiu over the recent years. In the artworks called Tree and Chickens that will be shown in the exhibition, Qiu mingled two forms of art (sculpture and installation); this uncovered an existing but unseen phenomenon in our lives in order to study the process of people knowing things.

孙大量，1971年出生于江苏，1997年毕业于上海戏剧学院。作为一位风格独具的画家，孙大量用朴拙、直接的绘画语言把日常形象、心理意象以及符号图像于荒诞情景中奇妙地贯通在一起，让观众进入到了一场精神分析下的自我遭遇。他的作品不管是直接描绘“性”，还是把“性”投射到人物与静物上，他的画面总是一副“羞怯”的表情，造型一直在细节上含糊其辞，色彩也大都是点到为止的。但这些绘画语言上的节制是恰当而精确的，因为这最大程度地把观众的注意力集中到了形象本身，而不是画面涂抹上。语言的节制、背景的抽象、形象的明确以及主题的鲜明，再考虑到孙大量偏爱的小尺幅，他的绘画由此获得了一种寓言般的文体。本次参展作品《球》以一种极简主义的外观被呈现，整幅画面只包括了七颗深色的圆球似乎是一幅不完整的绘画，结合在画面左下角出现的一条淡色边缘使人产生一种对画面之外景象的想象延伸。

Sun Daliang (b. 1971, Jiangsu) graduated from Shanghai Theatre Academy. Sun usually uses a huge amount of pure and direct painting methods to put daily images, psychological intentions and semiotics into absurd situations. He not only depicts sexuality, but also suppose to sexuality through characters and objects in his artworks. His works always convey a sense of shy to audiences through a way of vaguely describing details and unfinishedly using colours. However, his paintings methods are still precise that can successfully attract attentions from audiences to artworks. The purity, ambiguity, and precision in his artworks, also his preference to smaller size paintings, lead his works to a feeling of fable stories. The artwork Balls will be presented in the exhibition in a minimalism way; the seven dark balls almost dominating the whole canvas conveys a feeling of that the work is only a corner of another work to audiences, and when we realise a piece of light colour at the left corner of the painting the work really push us to imagine the scence happened out of the artwork.

谭英杰，1992年出生于湖南，2016年毕业于中央美术学院雕塑系。2017年后，他开始关注个人的身份以及在生存环境中的个人表达，并根据不同的空间语境进行了一系列的在地性项目。本次参展作品《白元件》曾经在拾萬空间的顶架项目中被作为一个装置艺术的一部分被展出，对于纯白颜色的使用使这件雕塑作品兼具了传统西方雕塑艺术的形似特点与现代极简艺术的深刻内涵。

Tan Yingjie (b. 1992, Hunan) graduated from China Central Academy of Fine Arts. He has paid attention to identities of different people and peoples’ personal expression in common life environment from 2017, and he have gotten on some projects related to the earth; he has created installations based on those space explorations. The artwork named Stand was presented in an installation art project that happened in the Roof Root belonging to Hunsand Space; his use of extremely white colour very infused a duality (copy of the world from traditional Western sculpture and indepth thinkings from modern Minimalist art) into the artwork.

朱荧荧，1989年生于西安， 2011年毕业于四川美术学院，2014年毕业于中央美术学院实验艺术系。她的创作媒介主要包含绘画、摄影和影像。在绘画作品中，通过引入摄影图像的参照，集中探讨了具象与抽象、图像表征及形态实体之间的微妙关系；在摄影和影像项目中，从更广阔的社会领域中对废弃影像进行回收和提取，持续探索图像所能构成的各种叙事方式、个人和集体记忆之于摄影媒介的承载方式等内容。本次参展的作品是《低迷愉悦》，艺术家以写实的方式表现了一种极尽抽象的画面，植物堆满了整个画面使得原本具象的绘画变得抽象起来，这也正对应了她对于具象与抽象关系的一种长期探索。

Zhu Yingying (b. 1989, Xi’an) currently lives and works in Beijing. Graduated from Sichuan Fine Arts Institute, oil painting department with BA, 2011, and from China Central Academy of Fine Arts, experimental art department with MA, 2014. The media of her works mainly include painting, photography and video. In her painting works, by introducing the reference of photographic images, the delicate relationship between representation and abstraction, image representation and morphological entities is explored. In photography and video projects, she recycled and extracted those abandoned images in the wider social field, continually exploring various narrative ways that images can constitute, the way of photography media carry personal and collective memory, and so on. Three artworks from Dim Pleasure series will be shown in the exhibition, there is a common feature of these three oil paintings; they have shown an image fully filled by vegetations, artist depicted them in a very realistic way but vegetations really messed it up into a kind of abstraction; this can also echo to her long-term research on the relation between real and abstract artworks.

拾萬空间于2014年成立于草场地艺术区211号院，并在2018年迁至798艺术区。拾萬空间对常规意义的方盒子展览保持警惕，意欲从当代艺术语言中的语法和语意结构出发并将之延展到更广泛的领域；希望通过持续的展览和项目，激发出当下文化中被忽视的部分，将当代艺术思想的价值生发到你我的身边。

Hunsand Space is founded at No. 211 Caochangdi Art District in2014 and relocated to 798 Art District in 2018. Remaining vigilant about the conventional ways of presenting art exhibitions in the white cube, Hunsand Space aims to take the semantics and syntax from the language of contemporary art as a point of departure and to extend them into broader fields. Through its vigorous exhibitions and projects, Hunsand Space hopes to activate the overlooked aspects in contemporary culture and to bring the value of contemporary art into our lives.