Social distancing, closed doors, empty train stations and airports, an incomplete trip or, perhaps, a farewell, the year 2020 is a recurring reminder of the inescapable and exposed vulnerability of human beings as individuals in the face of the forces of nature, no matter where we are, in Beijing, Berlin or any other corner of the planet.
世界变得很⼩，我们困在有形的且分离的空间内，靠着⼀ 枚⼩⼩的电⼦码完成着⽣存必需的移动；世界⼜⺎⾃地显得巨⼤，我们久违地重新感受到“距离”，地⽅与地⽅，国家与国家，边界再度分明。可能我们⼀样在这从未体验过的世界中有着相似的不知所 措，但幸运的是，这⼀年，灾难让我们也切肤地相信，当⼈类脆弱的个体交织，便会构成⼀张满是韧性的⽹，物理的隔绝只是⼀时，未来⼈类命运的闪光依然开始在指尖相触的时刻。正如拉斐尔·多 梅内克所说的那样，我们是同⼀太阳下的结果，但我们也是迷失⽮量的突变。
The world became small, and we were trapped in a tiny and separated space, relying on a small QR code to enable us to complete the necessary movements for survival; at the same time, the world seemed so huge that we felt "distance" again for the first time in a long time, and the borders between places and countries, were once again clear. It may be that we share a similar sense of being overwhelmed in a world we have never experienced before, however, fortunately, this year, the disaster has also made us believe that when the fragility of human beings become intertwined, they form a web full of resilience. The physical isolation is only temporary, and the light of humanity's future destiny still begins to shine at the moment when fingertips touch. As Rafael Domenech said: "We are the result of the same sun, a mutational state for the disoriented vector."
⼋⽉，带着⽐以往更加强烈的渴望，在经过漫⻓的等待后，我们终于在798再⻅，感触触感是⼀次从未有过的实验，四个国家五座城市的六 位艺术家相聚在全新的空间内，借助彼此间⽆法实现的物理交流进⽽探讨了在认知之中，⾁体缘何 不能被剥离，同时也重新考量了我们⽤身体所感知的⽅式；
九⽉，哪⼉凉快，哪⼉呆着，平衡在⽀点的机械⻦带着对物质世界的诘问代表童昆⻦来到柏林，如同⼀幅幅偏执的⾃画像，封装了每⼀天 微⼩的劫难，每⼀场个体的狂躁或恐慌。围绕着“此在” 与“抛弃”，构建了⼀种召唤与回应，我们的存在被任意地抛掷于动荡之中，可同时，我们也有着可将废墟重组的⼒量；
2020年的尾声，托⻢斯·吴与⾥克⼒·提拉瓦尼携⼿带来艺术合作项⽬ Green Go Home，在关怀和合作交融的社会参与概念的引导下，⼆⼗⼀位柏林艺术家的作品占据了舞台，从微妙的个⼈⼲预到直接反映当地现状的强烈政治性的输出，再⼀次由艺术的对话向我们证明，改变的⼒量总在交流中得以迸发。
This year, we return our attention to "Human." The first group exhibition, A Year Without the Southern Sun, seems to coincidentally foretell this relatively depressing year when the intersection of colonial relations and climate change initiated an exploration of the interplay between human relationships. Walking in ice, born in the spring in Berlin that was filled with gossip about the pandemic, a time when the dynamic entanglement between self and other was more subtle, we talked about vanity, loneliness, and death, the boundaries between self and other, and hurt, disturbance and care. In August, after a long time of waiting, we finally met again at 798 with a stronger longing than ever before. Touching Feeling is an unprecedented experiment in which six artists from four countries and five cities met in a new space to explore why the physical bodies cannot be stripped away in cognition and reconsider how we perceive our bodies through the lack of physical communication between them. In September, Just Stay in the Cold, the mechanical birds balanced on the fulcrum come to Berlin with questions about the world of matter on behalf of Tong Kunniao. These are paranoid self-portraits, encapsulating the havoc of everyday life, individual mania, or panic, these works structure a call and response, around the notions of Dasein [existence] and Geworfenheit [thrownness]. We are all in a state of "thrownness" into the arbitrary and erratic aspects of our existence; simultaneously, we have the power to reconstruct the ruins. In November, with the warm breeze of the South Pacific blowing in Beijing in early winter, Tropical Room is filled with symbols and landscapes that have been infiltrated by the empires in those moist, liminal nature. Chen Danzi deconstructed these complex and seemingly distant cultural symbols to fictionalize a new narrative of human life's daily picture in the post-colonial world. At the end of 2020, Tomas Vu and Rirkrit Tiravanija presented the collaborative art project Green Go Home. Guided by the concept of social engagement where care and cooperation intersect, the works of 21 Berlin-based artists take over the stage, from subtle personal interventions to strong political outputs that directly reflect the local situation. Once again, the dialogue of art proves that the power of change always bursts out in the interaction.
That the past year was destined to be a unique point, yet perhaps the beginning of a new era, we can't precisely predict the future, so we always step forward with caution and curiosity, and what art can bring is perhaps a constant reflection, understanding, guidance and companionship in this eternal uncertainty. In the new year, may we always be with each other in the open door.
We sincerely wish you a joyous Spring Festival!
Hua International will be closed from Feb.7th to Feb.28th for the Spring Festival holiday. And will reopen on Mar.1st with the current exhibition “Tropical Room”.
｜ About Hua International
Hua International is a contemporary art gallery based in Berlin and Beijing. Driven by a cosmopolitan and collaborative ethos, Hua International is a new global gallery for a fast-changing global art market. Founded by Hua in 2017, the gallery champions a cosmopolitan program across its two spaces, featuring emerging and established international artists with a special emphasis on cross-disciplinary, performative, and socially-engaged art.
The gallery has positioned itself at the epicenter of two vibrant art districts. In Berlin, it is located in a historic, pre-war building situated in Potsdamer Strasse; in Beijing, the gallery relocated to the acclaimed 798 Arts District in August 2020. Hua International also hosts curatorial projects and artistic collaborations in order to pursue new avenues of production, discourse and promotion of contemporary art. In a time of tectonic shifts in the art world, flexibility, experimentation and collaboration are key components of the gallery’s model in promoting works of art that are unique and new to the market.