艺术家 Artists
里克力·提拉瓦尼 & 托马斯·吴
Rirkrit Tiravanija & Tomas Vu
陈天灼 Tianzhuo Chen
拉斐尔·多梅内克 Rafael Domenech
贺天琪 He Tianqi
李昕頔 Xindi Li
刘玉姗 Liu Yushan
童昆鸟 Tong Kunniao
展期 Duration
2021.11.27
-
2022.02.19
地址 Location
户尔空间 北京市朝阳区酒仙桥路2号798艺术区东街 D08-3
Hua International Beijing D08-3, 798 East Street, 798 Art District, No.2 Jiuxianqiao Road, Chaoyang District, Beijing
Green Go Home是托马斯·吴与里克力·提拉瓦尼共同创作的合作项目，是一种灵活的参与式行为激活装置。
Green Go Home, a collaborative project by Tomas Vu and Rirkrit Tiravanija, is a flexible and engaging installation that activates audience’s behavior.
Green Go Home (The Sculpture), 2021
托马斯·吴&里克力·提拉瓦尼 | Tomas Vu & Rirkrit Tiravanija
铝、彩钢瓦、亚克力、丝网印 | Aluminum, color steel tile, acrylic, screen printing
2.5 x 2.6 x 3.7 (H) m
*此次展品为The sculpture系列中国独版 | This exhibit is the edition unique for China of The Sculpture series
Green Go Home不断地更迭其媒介，每当它占据一个新的时空景观时，都会以不同的呈现方式出现。作为一种与当下炙手可热的抗议与动乱的动态对话形式，“Green Go Home”这个顺应语境的合作项目将现实的图像与令人回味的文字相结合。这些图像包括革命者、流行文化人物，或者我们所熟知的艺术家。托马斯·吴创造的图像网络与里克力·提拉瓦尼的标语构建出多元的关系，从而交织出一层层的解释与误解。
Green Go Home is constantly changing its medium, presenting itself in different ways each time it occupies a new space-time landscape. As a form of dynamic dialogue with the current wave of protest and unrest, Green Go Home is a contextualized collaborative project that combines realistic imagery with evocative text. These images include revolutionaries, pop culture icons, or well-known artists. The network of images created by Tomas Vu and Rirkrit Tiravanija’s slogan creates a multifaceted relationship that weaves layers of interpretation and misunderstanding.
Green Go Home报纸丝网印系列｜Newspaper screen printing，2019
托马斯·吴 & 里克力·提拉瓦尼｜Tomas Vu & Rirkrit Tiravanija
丝网印刷，陶瓷粘土颗粒，报纸，银色铝合金框，玻璃背板｜Silkscreen on newspaper, ceramic pigment, silver aluminum frame, glass
56x60x3.7cm
户尔北京空间新一期的GREEN GO HOME项目，延续了其参与性与激进性的精神内核，以及人像印刷为基础的形式设计，呈现托马斯·吴与里克力·提拉瓦尼的经典作品，同时融合中国本地艺术家的创作，并针对于当下的时代状态——在因为疫情而不断隔离，国际交互有所中断，同时，虚拟的与线上的可能性逐渐显示其对物理世界的替代性力量之时，艺术家创作中对于“关系”的重新思考。
The forthcoming presentation of Green Go Home at Hua International illustrates the project’s continuing focus on engagement and radicalism at its core, as well as its stylistic design based on portrait printmaking. The presentation features well-known works by Tomas Vu and Rirkrit Tiravanija, while combining creations by local artists in China, which also points directly towards the current circumstance under the pandemic- constant quarantine, isolation, a halt in worldwide communication. Meanwhile, the new project showcases artists’ reconsideration of “relationship”, as seen in the growing trend where being online and virtual could be an alternative to the physical world.
营火（美术馆凳的结构）｜Campfire (structure of a museum bench)，2021
李昕頔｜Xindi Li
铝型材方管，红外碳纤维加热管｜Aluminum profile extrusion linear rail, Infrared carbon fiber heat bulb
140x70x45厘米
设想｜Scenario，2021
陈天灼｜Tianzhuo Chen
数码绘画（3300×2500px）｜Digital drawing (3300x2500px)
30幅｜30 pieces
在展览中，李昕頔的雕塑新作延续其机构批判的视角，同时为观者与工作人员提供了交流沟通与“篝火”热源；陈天灼的表演场景手稿，预演着行将进行的连接虚拟世界与现实世界的剧目；拉斐尔·多梅内克场域特定的屏风，是空间的区隔，亦是关系的连接；刘玉姗的新作，作为其长期项目的阶段性呈现，处处体现着跨文化交流的视角；贺天琪的绘画作品，则以炫目的色彩，对空间中黑白的印刷品，进行着视觉回应。而在展览开幕，艺术家童昆鸟将会呈现他的新作，《臭味相投》，作为一种关系层面的欢迎仪式。
In the exhibition, Xindi Li’s new sculpture work, with a focus on institutional critique, provides the heat sources of “bonfire” and communication between the viewers and the gallery space; the performance manuscripts by Tianzhuo Chenare a rehearsal of the forthcoming play, which connects the virtual and the reality; Rafael Domenech’s site-specific screen acts not only as a divide of space, but a connection of relationship; Liu Yushan’s new work is immersed in intercultural communication, which also represents a current stage of her long-term project; He Tianqi’s vibrant-color painting is another response to the black-and-white prints in the space. At the exhibition opening, artist Tong Kunniao presents his new work Cheers for Smell, a seemingly welcoming gesture that complicates relationship.
混凝土涂装(穿越空间的模型) | pintura concreta (a model to traverse space)｜2021
拉斐尔·多梅内克 Rafael Domenech
木材，数控切割字母，建筑安全网，零件｜wood, CNC cut letters, construction mesh, hardware
275 x 122 x 4cm/屏
普洛托斯｜Protos｜2021
拉斐尔·多梅内克 Rafael Domenech
有机玻璃，电线，LED灯泡｜Surplus plexiglass, electrical cable, LED light bulb
尺寸可变｜Variable dimensions
悟空项目—Drawing the Ephemeral｜Wukong Project—Drawing the Ephemeral，2021
刘玉姗｜Liu Yushan
版墨，液体树脂浇筑，热熔塑料，影像｜Link, resin, hot melt plastic, video
37x29cm
值得一提的是，Green Go Home的北京呈现，将不会止步于开幕。作为动态的对话形式，本项目将在展期不断叠加，分阶段充实空间中的既有作品，又将引入其他国际、国内艺术家的新作，进行以T恤印刷为媒介的线下艺术家与公众互动，以及其他形式的对话项目，持续不断打破旧秩序、建立新关系。
It is also notable that the presentation of Green Go Home in Beijing is not limited to the exhibition opening. As a constantly-changing conversational platform, the project brings in new works by both international and domestic artists during the exhibition period, enriching the existing works in the space. Additionally, artists will engage with the public in the physical space in the means of T-shirt printmaking and other conversations, which aim to break the order and establish new relations.
风景系列｜Landscape series，2021
贺天琪｜He Tianqi
50x60cm*4，30x40cm*1
布面丙烯｜Acrylic on canvas
虽然因各种原因而区隔，但在北京的冬天，这些考量着多重关系的艺术作品，将带着共识与歧义，在户尔空间回家共聚。
Though separated from each other for various reasons, these artworks, bearing the meanings of complex relationships, showing consensus and difference at the same time, gather at Hua International in this exhibition, in the wintertime of Beijing.
臭味相投｜Cheers for Smell，2021
童昆鸟｜Tong Kunniao
行为表演｜performance
开幕现场
关于艺术家
里克力·提拉瓦尼
Rirkrit Tiravanija
1961年生于阿根廷布宜诺斯艾利斯｜现生活工作在纽约、柏林及清迈Born in 1961 in Buenos Aires, Argentina｜Lives and works in New York, Berlin and Chiang Mai里克力·提拉瓦尼从不停止他对于艺术形式和展览系统的质疑。他综合表演、雕塑、装置等手法，将展示艺术的空间转换为人们社交互动的场所，成为会面地点成为人们偶遇和交流之处。他曾在各种国际机构举行个展，包括：华盛顿特区赫尚史密森尼美术馆(2019)，马里兰州格兰斯通美术馆 (2019)，阿尔勒Luma基金会(2018)，新加坡国家美术馆(2018)，纽约Creative Time (2018)，阿姆斯特丹市立博物馆(2016)，伦敦泰特现代美术馆(2013)等；提拉瓦尼曾获得众多奖项，包括：纽约古根海姆博物馆的Hugo Boss奖(2004)，国家艺术视觉艺术家奖学金(1994)，Gordon Matta Clark基金会奖(1993);他的作品也进入各种重要收藏：美国纽约古根海姆美术馆，美国洛杉矶当代艺术博物馆，英国伦敦泰特现代艺术博物馆，法国巴黎蓬皮杜艺术中心，美国明尼阿波利斯沃克艺术中心，中国香港K11艺术基金会，意大利都灵Sandretto Re Rebaudengo基金会，美国纽约现代艺术博物馆，德国柏林新国家美术馆等。Rirkrit Tiravanija never stops questioning art forms and exhibition systems. By integrating performance, sculpture, installation and other techniques, he transforms the art exhibition space into a place for social interaction, a meeting place and a place for people to encounter and communicate. He has held solo exhibitions at various international institutions, including: Hershon Smithsonian Museum, Washington DC (2019), Glenstone Gallery, Maryland (2019), Luma Foundation, Arles (2018), National Gallery of Singapore (2018), Creative Time, New York (2018), Stedelijk Museum Amsterdam (2016), Tate Modern London (2013), etc. Rirkrit Tiravanija has received numerous awards, including: Hugo Boss Award from The Guggenheim Museum in New York (2004), National Art Visual Artist Fellowship (1994), Gordon Matta Clark Foundation Award (1993); His works are also included in various important collections: The Guggenheim Museum in New York, the Museum of Contemporary Art in Los Angeles, the Tate Museum of Modern Art in London, the Pompidou Center in Paris, Walker Art Center in Minneapolis, K11 Art Foundation in Hong Kong, China, Sandretto Re Rebaudengo Foundation in Turin, Italy, The Museum of Modern Art in New York, The New National Gallery in Berlin, Germany, etc.
托马斯·吴
Tomas Vu
Born in Saigon, Vietnam｜Lives and works in New York托马斯·吴通过将丝网印刷，绘画和激光雕刻图像层叠在一起，创造出代表破坏，坍缩和重生周期的幻想场景。其作品的灵感和呈现主要来源于战时在越南长大的个人记忆，图像描绘了人与机器，自然和技术之间的史诗般的冲突，作品由层层开放的空间构成，模糊想象与记忆之间的界限。吴曾在世界各地展出，并在日本，意大利，中国和越南举办过个人美术馆展览，包括：Centro Colombo Americano，波哥大(2012)和中央美术学院博物馆(北京)(2015)等；吴同时还担任巡游团体展览项目 DRAW 与持续性合作项目 Green Go Home 的策展人，目前已有100多位艺术家参与；吴获得过诸多奖项，包括 Joan Mitchell 基金(2001)，古根海姆基金(2002)， Sharpe-Walentas 工作室计划(2015)，第30届卢布尔雅那图像艺术双年展(2016)最佳驻地艺术家和观众奖， Louis Comfort Tiffany 艺术家奖(2017)，以及约翰迈克尔科勒艺术中心(2018)的艺术/工业驻地。Tomas Vu creates fantastical scenes that represent cycles of destruction, collapse and rebirth by layering screen printing, painting and laser-sculpted images on top of each other. Inspired primarily by personal memories of growing up in wartime Vietnam, the images presented depict the epic conflict between man and machine, nature and technology, and the work is composed of layers of open Spaces that blur the boundaries between imagination and memory. Vu has exhibited around the world and has held solo exhibitions in museums in Japan, Italy, China and Vietnam, including: Centro Colombo Americano, Bogota (2012) and The Central Academy of Fine Arts Museum (Beijing)(2015); Vu is also the curator of DRAW, a touring group exhibition project and Green Go Home, a continuing collaboration project with more than 100 artists. Vu has received numerous awards, including the Joan Mitchell Foundation (2001), The Guggenheim Foundation (2002), the Sharpe-Walentas Studio Program (2015), the 30th Ljubljana Image Art Biennale (2016) Best Resident Artist and Audience Award, Louis Comfort Tiffany Artist Award (2017), and the Art/industrial residency of the John Michael Kohler Art Center (2018).
陈天灼
Tianzhuo Chen
Born in 1985｜Lives and works in Beijing and Shanghai陈天灼本科毕业于英国伦敦中央圣马丁艺术设计学院，然后进入英国伦敦切尔西艺术设计学院学习并获艺术硕士学位。作为这代艺术家中最鲜明的人物之一，陈天灼不拘一格的创作巧妙地游走于表演、装置、录像、摄影和绘画等领域，以及需要他人或观众参与而成立的“事件”形式，如地下派对，舞台表演，或更精确建构的仪式般的现场，将现实转变升华为幻境。Tianzhuo Chen graduated from the CSM in London, England, and then entered the Chelsea College of Art and Design in London, England where heobtained a Master's degree in art. As one of the most distinctive figures among artists of this generation, Chen's eclectic creations skillfully wander through the fields of performance, installation, video, photography and painting, as well as "events" that require the participation of others or audiences. These events include underground parties, stage performances, or more precisely constructed ritual-like scenes, which transform reality into an illusion.
拉斐尔·多梅内克
Rafael Domenech
Born in 1989｜Lives and works in New York and Berlin
拉斐尔·多梅内克在社会主义制度中长大并接受教育，对建筑空间和公共宣传的兴趣自然地为拉斐尔·多梅内克的早期作品奠定了基础。移居美国后，艺术家经历转型、重新定位和文化融合的过程，影响与兴趣也随之扩大。多梅内克的作品只有在将它们融入特定的语境，接受而非拒绝环境时才被认为是完整的。艺术家使用灯作为载体来展示信息，他对如何通过力量，规则与秩序形成客体的生产过程充满兴趣。这些图像描绘了建筑和城市的发展，而这些发展自然地由政治动机所推动。他的艺术项目旨在创建一个悬挂式存档机制，在其创作中，作品、观众和空间的交互与集成形成 了绝对的整体体验。多梅内克 2019 年毕业于美国哥伦比亚大学并获艺术硕士学位。他的近年个展曾在纽约 Yeh Art Gallery、 户尔空间、美国巴斯美术馆、弗雷德里克·斯尼策画廊、苏格拉底雕塑园展出; 他参加群展的机构、画廊和艺术节包括布朗克斯美术馆、朱莉·索尔画廊、 哈瓦那双年展、迈阿密双年展等。他还曾获得洛克菲勒兄弟基金会、莫蒂·弗兰克基金、索罗斯基金会决赛入围者等奖项。Having grown up and been educated in a socialist system, an interest for architectural spaces and public propaganda naturally defined the foundation for Domenech's early work. After migrating to the US, the artist experienced a transformational broadening of influences and interests through the transition, the process of geographical relocation and cultural integration.Domenech's work is perceived complete only when it assimilates itself into a specific context, accepting surroundings rather than refusing them. Domenech uses lamps as vehicles to display information. He is interested in how the production of objects is formed by forces, codes, regulations. The images depict architectural and urban developments that are politically motivated by nature. The project seeks to create a hanging archive, where the interaction and integration of work, viewer, and space form an absolute, overall experience.Rafael Domenech graduated with a BFA from New World School of the Arts in Miami in 2015 and later earned an MFA from Columbia University in 2019. He has been exhibited by major institutions such as The Bass Museum, The Sculpture Center, Yeh Art Gallery, Hua International, Fredric Snitzer Gallery, and Socrates Sculpture Park. He has received several awards including the Rockefeller Brothers Fund, The Morty Frank Fellowship Fund, and Soros Foundation finalist.
贺天琪
He Tianqi
born in 1990｜Lives and works in Xi'an, Shaanxi.贺天琪2016年毕业于西安美术学院，获硕士学位，曾为法国巴黎中国文化中心受邀访问学者。他的创作涉及架上绘画和公共空间现场绘画，作品巧妙的将思想和情感隐匿于其视觉机制和创作方式之间，将图像本身的叙事性抽离，形成自我的视觉景观。他近期的个展包括：“九颗黑珍珠”，墨方空间Mocube，北京（2020）;“涂鸦游戏”,banana art space,南京（2019);“静电”,墨方空间Mocube，北京（2018）；“三才图绘”，ocat西安馆，西安(2016)。参与的群展包括:“策展课II：一个馆群的抽样案例”，ocat深圳馆，深圳（2020);"OCAT西安馆六周年回顾展览2013-2019”,ocat西安馆，西安（2019）；“城市地理:一场关于西安历史的想象”，OCAT西安馆，西安（2018）等。He Tianqi graduated from Xi'an Academy of Fine Arts with a Master's degree in 2016. He was an invited visiting scholar at the Chinese Culture Center in Paris, France. His creation involves on-canvas and on-site painting in the public space. His works cleverly conceal thoughts and emotions under his visual mechanism and creation method, and gradually reduce the narrative nature of the image, forming his own visual landscape. His recent solo exhibitions include: "Nine Black Pearls" at Mocube, Beijing, China(2020)；"Graffiti Game", BANANA Art Space, Nanjing, China(2019); “Static”, Mocube, Beijing(2018); "Universe Creation", OCAT, Xi’an(2016); Group exhibitions include: "Sample cases from OCAT, Shenzhen, China(2020); "OCAT XIÁN 6 Anniversary Retrospective Exhibition", OCAT, Xi’an(2019)；"Mapping the city: a vision of history and Xi'an", OCAT, Xi’an（2018）
李昕頔
Xindi Li
Born in 1996｜Lives and works in Beijing李昕頔2018年从芝加哥艺术学院雕塑系毕业后，李昕頔回到家乡北京，继续进行个人艺术创作之外，也在艺术机构内全职从事展览设计和项目管理等相关工作。李昕頔的艺术实践深受汉斯·哈克(Hans Haacke)和安德里亚·弗雷泽(Andrea Fraser)等在机构批评(Institutional Critique)领域起到推动性作用的艺术家的影响，他的装置作品经常以无厘头的幽默以及对现实事物出其不意的戏仿，质疑艺术机构的本质以及它们在生产当代文化与定义当代社会审美方面的作用。Xindi Li studied sculpture in The School of the Art Institute of Chicago. After completed his study in 2018, Li returned to his home Beijing and started working as a full-time exhibition designer and art administrator while continuing his individual artistic practice. Following the paths of pivotal artists who work in the realm of Institutional Critique, such as Hans Haacke and Andrea Fraser, Xindi Li’s installation works pose questions and critically comments on the nature of art institutions and their role in producing culture and defining aesthetics in contemporary society with unexpected parody and non-sequitur humor.
刘玉姗
Liu Yushan
Lives and works in Beijing刘玉姗2020年毕业于纽约哥伦比亚大学视觉艺术专业，创作领域包括绘画、装置、表演和影像等。刘玉姗的作品通过对材料属性、光线等不确定性环境因素的改变，常常给观众营造出一种更私密、个人的氛围与感受，常常使用和制作女性复杂身体特质的图像探索其更多样的审美可能，同时关心身体与自然的关系。刘玉姗的作品被北京中间美术馆，筑中美术馆，清华大学，国家大剧院等机构收藏，曾在纽约Lenfest Art Center，波士顿美术馆，清华大学美术馆，广州时代美术馆等机构展出。Yushan Liu graduated in 2020 from Visual Art major, Columbia University, New York, is an independent artist active inNew York and Shanghai. Her creation includes painting, installation, performing and video, etc. By means of altering uncertain environment factors such as material property and light, her works usually create an atmosphere and feeling of privacy for viewers. She tends to use and make images typical of female complex physical characteristics to explore more varieties of aesthetic possibilities, and in the meanwhile to care for the relationship between body and nature. Her works are collected in such institutions as Beijing Inside-Out Art Museum, Zhuzhong Art Museum, Tsinghua University and National Grand Theatre. Her works were exhibited in Lenfest Art Center, New York, Boston Museum of Fine Arts, Tsinghua University Art Museum, and Guangzhou Times Art Museum.
童昆鸟
Tong Kunniao
Born in 1990 in Changsha, Hunan Province, China｜Lives and works in Beijing童昆鸟2015年毕业于中央美术学院雕塑系第三工作室，2016 年考上研究生并同年退学。童昆鸟作品形式多样，在装置、行为、影像、 雕塑、绘画等媒介中灵活穿插。他习惯利用现代社会这个永动废物工厂制造的(过剩)产物与个人日常生活中触手可及的残余物件进行创作。关注繁杂的社会结构对个体身份与地位的限制与消耗，分解现成物，结合机械串联，导入重力平衡等因素，从而回应材料背后的个体意识，社会机制之间的多重变量和脆弱性。在拜物情绪、消费文化符号盛行，信息过载的当下，不断突破人类再造物的想象边界，呈现刁钻与戏谑并行的重构。Tong Kunniao, graduated from the 3rd Studio of Sculpture Department of the Central Academy of Fine Arts in 2015, enrolled in the graduate school in 2016 and dropped out in the same year. Tong Kunniao’s artworks are diverse, interspersed with installation, performance, video, sculpture, painting and other media. He is accustomed to using the (excess) products of modern society, a perpetual waste factory, and the remnants of objects that are within his reach in his daily life. Focusing on the limitations and depletion of individual identity and status by the complicated social structure, he decomposes ready-made objects, combines mechanical tandem, and introduces factors such as gravity balance, thus responding to the multiple variables and vulnerabilities between individual consciousness and social mechanisms behind the materials. At a time when worship of objects and consumer culture symbols are prevalent and information is overloaded, he constantly breaks boundaries of human re-creations, presenting tricky and playful reconstructions in parallel.
关于户尔空间
About Hua International
户尔空间位于柏林和北京两地。作为一间新锐全球性画廊，户尔空间秉持着国际立场与合作精神，致力于潮流激变的全球艺术市场。画廊于2017年创立，在跨时区的两个空间内，积极倡导着国际化的艺术项目，携新兴艺术家和成熟的国际艺术家一道，呈现跨学科、表演性与社会参与的艺术。
画廊的选址分别位于两个充满活力的艺术区的中心。其中，柏林空间地处波茨坦大街一座历史悠久的战前建筑中，而北京空间则于2020年8月搬迁至知名的798艺术区。户尔空间还组织策展项目和艺术合作，追寻新的创作和叙说方式，持续推进当代艺术的进程。在艺术世界持续发生构造性变化的时代，户尔空间在运作模式上注重灵活性，实验性与合作性，致力于推进在艺术市场内全新而独特的艺术创作。
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.
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