杨洋 | 呼伦贝尔没有草原 | 现场
「水落石出」- 张东辉作品 “东辉墓”
心中有山，在哪都是爬山 / 张东辉
Duration：18th May – 22nd July, 2022Opening: 16:00, Wednesday, 18th May, 2022Hunsand Center for Contemporary Art (Shijiazhuang) is proud to announce its first collaboration with artist Yang Yang and will be presenting his solo project " Beyond Human Control" from 18th May, 2022. As a series of sculptures with the same name of the exhibition, Yang Yang did not have an expected plan when he created the work "Beyond Human Control". His production method was rough, allowing the shape, volume and mechanism of the work to take shape naturally, and finally embodied into some imaginary terrain and traces of animal activities. Correspondingly, in the painting "Nowhere But Everywhere", Yang Yang painted the gradient greens of the grassland in different seasons, and then tore it into pieces to destroy the unique moments in those seasons. If "Beyond Human Control" is a primitive, three-dimensional imagination of Yang Yang's hometown of Hulunbuir, or an emotional recovery from memory, then "Nowhere But Everywhere", focuses on the subtleties, an emotional gap between overlooking and looking down, and through active intervention to suggest changes in personal circumstances and the surrounding environment, as well as the hidden crisis.This crisis comes not only from Yang Yang's departure from his hometown and his "runaway", but also from the silent penetration of human activities into the natural ecology. The installation "Dense Forest" metaphorically describes this psychological and social boundary: ready-made items such as hangers, camouflage clothing, and plants are built into an artificial "forest". in which the camouflage uniform, as the daily wear of laborers, represents an effort to integrate into nature, but this "forest" is still like a green landscape in the city - with some natural beauty, but also cannot get rid of the deliberate discipline - the existence of the meat grinder is obviously suggesting some kind of arbitrary "invasion".By contrast, pastoralists in marginal areas appear to be better able to cope with the growing ambiguity of such borders. In the video work "Sheep", abandoned houses are transformed into sheep pens, and people work at sunrise to clean, pray, herd sheep, slaughter livestock, play games and feed themselves, and then repeat the cycle. The lens does not refer to anything; just as modern civilization has not changed the old rules here. All that is real is reasonable, just for survival or living. Like the fire in the photographic work “Untitled”, which burns, extinguishes, and then becomes its own meaning.However, those who "run away" can no longer go back to the "old world". The urban village hut in "Next Door Neighbors" has become a shelter between the old world and the new world. They are separated from the times, forming a set of independent operating rules. People are committed to it. They work and sleep, and leave small traces of life. Those traces are ordinary and simple songs of survival of ordinary people, just like the excerpts in "Poetry", which not only connect the memories of past hometowns, but also try to transform into new emotional connections. When they finally appear in the humble room of imagination, they constitute the life fable of each natural individual.Yang Yang, born in 1993 in Hulunbuir, Inner Mongolia, now lives and works in Guangzhou. Solo exhibitions: Beyond Human Control, Hunsand Center for Contemporary Art (2022); Nowhere But Everywhere, Canton Gallery, Guangzhou (2021). Selected group exhibitions: Baths of Caracalla, Canton Gallery, Guangzhou (2019); Art Museum Game of Guangzhou Academy of Fine Arts: Simulated Life of Art Research", Guangzhou Academy of Fine Arts, Guangzhou（2016）
Duration：18th May – 22nd July, 2022Opening: 16:00, Wednesday, 18th May, 2022Hunsand Center for Contemporary Art (Shijiazhuang) is proud to announce its first collaboration with artist Zhang Donghui and will be presenting his solo project "A Man, WeChat Moments and Ruined Port" from 18th May, 2022. The exhibition consists of five works, and the title indicates three of them, which are about self, personal circumstances and external environment. They are not only closely related to Zhang Donghui himself, but also directly and closely related to the city of Shijiazhuang, where he was born and grew up.The exhibition revolves around the work "One Person". According to relevant materials and records, Zhang Donghui re-experienced what the "one person" did and re-recognized the "one person" by visits, conversations, memories, the imaginations of the people and places involved in the 23 crimes committed by this person during his eight years in Shijiazhuang. This is a long-lasting searching process, Zhang Donghui used the language of sculpture and painting to recount from a dual perspective, and condensed all kinds of things that happened in Shijiazhuang into one cabinet.This kind of intimate experience and observation of "life" has begun to appear since the creation of "Donghui Tomb". In previous exhibitions, Zhang Donghui restored his residence in the form of tomb murals in equal proportions. In this exhibition, he will build walls and paint onsite to reproduce this work in half the volume, thus forming a contrasting relationship with "One Person". The open presentation of the daily residence is the disclosure of personal lifestyle, state and habits, and also Zhang Donghui's direct confession to the audience.Ruined port, also known as Jiang Fushan. The blasting and mining activities turned it into a " Ruined port ". In the city where Zhang Donghui lives, the concrete raw materials for many buildings come from here. People found that the city was built, and the mountain here was hollowed out, so they went back and reshaped the broken landscape with the method of building a city, turning it into a forest park. Zhang Donghui "restored" this process in his own way: he cuts the tiles with the texture of the mother stones into geometric shapes, which fit closely to the exposed and irregular surfaces of the stones, as if to cover up the shame, but also to repair and make up for it from the heart.As an individual, in the internal and external difficulties, perhaps simulation, imagination and empathy are the only sincerely and responsibly emotional expressions. It inherits the powerlessness of the artist and also reveals his inner truth. Zhang Donghui based on this simple sincerity, with a near clumsy way and even brute force, reproduced these realities related to him in front of the audience.
Zhang Donghui, born in Shijiazhuang, Hebei Province in 1992, graduated from the Sculpture Department of the Central Academy of Fine Arts in 2017. Now he works and lives in Beijing. Solo exhibition: One Person, WeChat moments and Ruined port, Hunsand Center for Contemporary Art, Shijiazhuang, (2022).
Hunsand Space (Beijing) was established in Caochangdi Art District in 2014, relocated to the 798 Art Zone in 2018. At the end of 2021, Hunsand Center for Contemporary Art (Shijiazhuang) was opened in Shijiazhuang. As a professional gallery, Hunsand Space (Beijing) keeps vigilance in presenting art exhibitions with conventional way in white cubes, aiming to take the semantics and syntax from the language of contemporary art as a point of departure and expand them into a broader field. Through its vigorous programs of exhibitions and projects, Hunsand Space (Beijing) hopes to stimulate the neglected aspects in contemporary culture and brings the values of contemporary art into our lives. In addition to exhibiting contemporary art exhibitions, Hunsand Center for Contemporary Art (Shijiazhuang) as an art complex is dedicated to presenting public programs, lectures, art workshops, art merchandise, catering and many other activities and services. Relying on geographical differences, the Center's mission is to integrate artistic and audible practices into geographical and humanistic dimensions, by which to experience and pursue the differences and connections between being traditional and modern, local and international, on-site and territorial, personal and historical, spiritual and physical, bringing the ideas of contemporary art into more people's lives.
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