户尔空间启动北京新址开馆首展 「Touching Feeling 感触 触感」

Touching Feeling 

感触 触感

* 展览现场效果图 | Exhibition Renderings 

在后疫情时代的语境下，直面艺术市场逆全球化思潮，坚持打破时空语言的界限 ，持续推进实验艺术创作，并协助艺术家职业⽣涯在去“地域化”的平台上发展个人创作，户尔空间很荣幸地宣布，画廊入驻北京798艺术区，重启对中国本土艺术与国际交流平台的持续深耕，开启画廊艺术实践的全新篇章。并将于八月二十九日带来开幕首展——“感触触感”。

In this post-pandemic era, when deglobalization shows its trend in the art market, HuA International confronts the issue and dedicates itself to breaking the boundaries of time, space and various contexts by promoting experimental art practices and by empowering the life-long career of artists across geographies. Against the current backdrop, HuA International is reactivating its intensive work on both local and international art scenes. 

本次展览将展出六位来自不同地域、跨越年代的艺术家的作品，他们通过雕塑、录像、绘画和摄影，直面个人和社会历史的交汇之地，在亲密的情感层面上形成体验。

Touching Feeling will feature the work of six artists, from different geographies and generations, who confront the convergence of personal and social histories as experienced on an intimate, affective level through works of sculpture, video, painting, and photography.

我们如何触及感受？感觉、记忆和个人历史如何化为实体的形态？

How can we touch a feeling? How might sensation, memory, and personal history adopt physical forms? 

* Rebecca Horn 瑞贝卡霍恩 | Performance 1, 1972, 18分53秒，Performance 2, 1973，35分18秒，16mm 胶片，彩色

展览“感触触感”对二元论、情感性和表演性进行探索，思考着认知的身体中，肉体缘何不能被剥离，也考量了我们用身体体认、感知空间的方式。认识外在的有形世界，媒介不仅是渠道，同时更是伴随我们认知的一部分。

In its exploration of non-dualism, affectivity, and performativity, the exhibition Touching Feeling considers how flesh cannot be separated from the sensing body itself—how we perceive with and through the body, and the spaces it inhabits. We sense the tangible not through a medium but simultaneously with the medium. 

* Rebecca Horn 瑞贝卡霍恩  | Performance 1, 1972, 18分53秒｜16mm 胶片，彩色

* Rebecca Horn 瑞贝卡霍恩  | Performance 1, 1972, 18分53秒｜16mm 胶片，彩色

* Rebecca Horn 瑞贝卡霍恩  | Performance 2, 1973，35分18秒｜16mm 胶片，彩色

德国的身体艺术和行为艺术先锋瑞⻉卡·霍恩，从上世纪六十年代开始用“身体延伸物”回应她生病期间身体被禁锢所产生的自我隔绝感。她的艺术世界中充满了梦境式的假肢，作品挑战着人类与非人类的界限。陈丹笛子在她的多媒体作品中探讨着隐秘的情感边界，那些⻢蹄铁的蹄钉，指涉着人们在情感关系中所获得的或猛烈或模糊的痛——尽管如此，它或许又不可避免。

German body art and performance pioneer Rebecca Horn began making her “body extensions” in the 1960s as a response to the isolation she felt while confined in her body during an illness. Her artistic universe teems with dreamlike prosthetics that trouble the boundary between the human and non-human. 

* Chen Dandizi 陈丹笛子 ｜情感的转化｜2020 

尺寸可变 | 马蹄铁、蹄钉、金属清漆、数码微喷

* Chen Dandizi 陈丹笛子 ｜情感的转化｜2020 10 x 15cm x 101个 | 马蹄铁、蹄钉、金属清漆

陈丹笛子在她的多媒体作品中探讨着隐秘的情感边界，那些马蹄铁的蹄钉，指涉着人们在情感关系中所获得的或猛烈或模糊的痛——尽管如此，它或许又不可避免。

In her multi-media works Chen Dandizi explores the boundary of sensibility in secret. The spikes on the horseshoes refer to the pain people experience in their relationships. Sharp or vague, the pain seems to be inevitable.

* Tong Kunniao 童昆鸟 | 别开枪！屋顶不能见光。 | 2020

240 x 150 x 7cm（枪架）170cm（为鸟的旋转直径） | 金属、木头、倒、鸟毛掸子

童昆⻦的许多作品都关注到平衡的脆弱性，他试图在自我、群体和他人之间找到平衡。他的许多作品都是通过摇摇晃晃的动作以及平衡的找寻与失去，而达到平衡与和谐的效果。作为一种形式和概 念，这屡次出现在他的创作中。

Many of Tong Kunniao’s works foreground the fragility of equilibrium—whether finding balance within the self, one’s community, or with the other. A number of his works exemplify the ongoing struggle to achieve equilibrium and harmony by emphasizing the act of teetering, of falling in and out of balance, which appears again and again in his practice as a formal and conceptual preoccupation. 

* Stella Zhong 钟笛鸣 | 0= | 2020

11 x 12 x 5 cm | 泡沫、⽯膏、树脂、油彩

* Stella Zhong 钟笛鸣 | 凹 II | 2020

11 x 12 x 5 cm | 泡沫、⽯膏、树脂、油彩

钟笛鸣的绘画和装置作品营造了一个诗意的空间，阐释了亲密的语境，人的身体与建筑环境得以产生共振。

Stella Zhong’s paintings and installations articulate a poetics of space in which the body resonates with the built environment, articulating intimate spaces in which the corporeal exists in dynamic resonance with the architectural. 

* Fanny Gicquel 范尼吉奎尔 | The tissue of my nerves | 2020

1.6 x 2.7 m | 金属、细绳、油墨

范尼·吉奎尔创作了貌似冰冷的人造物装置，表面疏离着肉体的经验；而伴随其而进行的行为表演， 却由拉我们复归了肉身的世界。张移北的新作源于在家乡逛“早市”的所⻅。以图片为基础，并以艺 术家擅⻓的雕塑形式进行进一步转化，她的情感表达精微而克制，而画面多少惨烈且直接，提示着紧急时刻中死生之大事。

Fanny Gicquel created a hand-made installations that seem cold and indifferent, alienating the corporal experience; displaying together with it, though, is a video of performance, which bring back the flesh into the artwork. Zhang Yibei’s new piece originates from her observation at an open-air morning market. Based on a photo, the artist translates the experience with the medium of sculpture, expressing a subtle feeling despite the somewhat straightforward and dreadful image, reminding the viewers of the matter of life and death in such a time of emergency.

* Fanny Gicquel 范尼吉奎尔 | L'immensité avec vous | 2020｜9分07秒 

关于户尔空间｜About HuA International Gallery

2017年于柏林成立，户尔空间坐落在柏林每日镜报印刷厂旧址，艺术区 Mercator Höfe 中的一栋战前特色历史建筑中；同年户尔中国在北京草场地艺术区成立运营，2020年空间搬迁至798国际艺术区。画廊位于798艺术区798东街D08-3。

空间跨越语言、国籍、地域、性别，语境的界限，致力于发掘全球有独特才华的青年艺术家。以开放性的态度与艺术家共同成长，实验艺术创作实践，助力艺术家职业生涯的长远发展。

Founded in Berlin in 2017, HuA Berlin is headquartered at the pre-war historic building in the Mercator Höfe which has been well-known for around 4 decades as the seat of publishing house and printing office of the Berlin daily newspaper "Der Tagesspiegel”.  In the same year, HuA Beijing also started its operation in the Beijing International CaoChangDi Art District. In 2020, HuA Beijing is delighted to announce the opening of its new space in 798 International Art District in Beijing. The new address is D08-3, 798 East Street, 798 Art District in Beijing.