展览时间：2022年5月18日-7月22日
开幕时间：2022年5月18日 周三下午4点
艺术家：杨洋
拾萬当代艺术中心(石家庄)荣幸宣布首次与艺术家杨洋合作并将于2022年5月18号展出个人项目《自燃》。
作为展览同名的系列雕塑，杨洋在创作《自燃》时并没有预期的计划，他的制作手法粗暴，任由作品的形态、体积和机理自然成型，最终具化为某种臆想的地势和动物活动的痕迹。与之相对应的是绘画作品《呼伦贝尔没有草原》，杨洋绘制出不同季节中草原绿色的渐变，再将其撕成碎片，借此来破坏那些季节中独有的时刻。如果说《自燃》是杨洋对自己的家乡呼伦贝尔一种原始、立体的想象，又或一种记忆中的情感复原，那么《呼伦贝尔没有草原》则专注于细微之处，一种远眺与俯视的情绪落差，并借由主动的干预来暗示个人境遇和周身环境的流变，以及其中暗涌的危机。这种危机既来自于杨洋对家乡的远去和“出走”，又源自人类活动对自然生态的无声渗透。装置作品《密林》便隐喻了这一心理和社会边界：衣架、迷彩服、植物等现成品被营造成一片人为的“树林”，其中，迷彩服作为劳动者的日常穿着代表了试图融入自然的努力，但这“树林”仍像城市中的绿化景观——拥有某些自然之美，但也摆脱不掉规训的刻意——那台绞肉机的存在显然正在提示着某种蛮横的“入侵”。相比之下，身处边缘地区的牧民似乎更能应对这种边界的日益含混。在影像作品《羊》里，废弃的房屋被改造成羊圈，人们日出而作，清扫、祈祷、放羊、宰杀牲禽、游戏和温饱，然后周而复始。镜头没有指涉什么，一如现代文明也没有改变这里旧有的规则，一切存在即合理，只是生存或者生活，就像摄影作品《无题》中的那团火，燃烧、熄灭，然后便自成意义。但是“出走”的人再也回不去“旧世界”，《左邻右舍》中那个城中村小屋便成了新旧世界夹缝中的栖身之地。它们游离于时代之外，也自成一套独立的运行法则，人们委身于此，劳作睡眠，并留下细小的生活痕迹。那些痕迹就是普通人平凡、朴素的生存之歌，一如《诗意》中被摘录的诗句，既勾连过往的家乡记忆，又试图转化成新的情感连接，当它们最终显形于想象的陋室之内，便构成了每个自然个体的生命寓言。
杨洋，1993年生于内蒙古呼伦贝尔，现工作生活于广州。个展：自燃，拾萬当代艺术中心，石家庄（2022）；呼伦贝尔没有草原，广州画廊，广州（2021）。部分群展：卡拉卡拉大浴场，广州画廊，广州（2019）；关于艺术的研究之模拟人生，广州美术学院，广州（2016）。相关链接：
杨洋 | 呼伦贝尔没有草原 | 现场
杨洋(YangYang)
顶上分享｜杨洋："老人说，看哪！落日像我即将失明的独眼"
展览时间：2022年5月18日-7月22日
开幕时间：2022年5月18日 周三下午4点
艺术家：张东辉
拾萬当代艺术中心(石家庄)荣幸宣布首次与艺术家张东辉合作并将于2022年5月18号展出个人项目《自燃》。展览由五件作品组成，标题便昭示了其中三件，它们关乎自我、个人境遇和外在环境，不仅与张东辉自己有着切身的关系，也与他出生、成长的城市石家庄有着直接和紧密的联系。展览围绕《一个人》展开，张东辉根据相关的材料记录，检索出一个人在石家庄生活的八年内，所犯的二十三条罪名中涉及到的人与地方，并通过走访、交谈、记忆和模拟想象的方式，重新经历这“一个人”所做的事，也重新认识这“一个人”。这是一次历时较久的寻访过程，最终，他用雕塑和绘画的语言方式，以双重视角进行重新叙述，将其种种浓缩于一柜之中。这种对“生活”贴身式的经历和观察，自其创作《东辉墓》时即开始显现。在以往的展览中，张东辉曾以墓室壁画的形式等比例还原了自己的住处，而本次展览，他将在现场搭建墙体、进行在地绘画，以一半的体量再现这件作品，由而与《一个人》构成对映关系。对日常生活居所的敞开式呈现，是个人的生活方式、状态和习性的袒露，也是张东辉向观众的直接告白。烂港又名蒋福山，因炸山采石而成了“烂港”。张东辉居住的城市中，很多建筑的混凝土原料便来源于此。人们发现城市建好了，这里的山也被挖空了，为了恢复生态，人们又用建造城市的方法重塑这里破碎的地貌，使其转型为森林公园。张东辉以个人化的方式“复原”了这一过程：他将带有母体石头纹理的瓷砖切割成几何形，紧密贴合在那些裸露且不规则的石头表面，像是遮羞，也像是源自内心的修复和弥补。作为个人，在内外交困之中，或许模拟、想象和感同身受是唯一真诚和负责的情感表达，它承接了艺术家的无力，也流露出内在的真情。张东辉便基于这种朴素的真诚，用近乎笨拙的方式乃至蛮力，将这些与他相关的现实再现到观众面前。张东辉，1992年生于河北石家庄，2017年毕业于中央美术学院雕塑系，现工作生活于北京。个展：一个人、朋友圈和烂港，拾萬当代艺术中心，石家庄（2022）。相关链接：
「水落石出」- 张东辉作品 “东辉墓”
我把你们的微信朋友圈都烧了
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).
拾萬空间（北京）于2014年成立于北京草场地艺术区，2018年迁至北京798艺术区，并于2021年年底开设石家庄分馆拾萬当代艺术中心。拾萬空间（北京）作为专业画廊，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。拾萬当代艺术中心（石家庄）为艺术综合体，除继续推出专业的艺术展览外，还将提供公教、讲座、艺术工作坊、艺术商品以及餐饮等活动和服务，并依托地缘差异，将艺术、声音融入地理、人文的维度，由而体验与追寻传统与现代、本土与国际、在地与全域、个人与历史以及精神与实体之间的差别与关联，让当代艺术思想进入更多人的生活。
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.
周二-周日 TUE-SUN 10:30-18:30石家庄画廊开放时间 Opening hours ：
周一-周日 MON-SUN 10:00-19:00
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拾萬当代艺术中心｜石家庄
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