{{sindex}}/{{bigImglist.length}}
{{memberInfo.real_name}}
{{commentname}}

拾萬空间|2022

{{newsData.publisher_name}} {{newsData.update_time}} 浏览:{{newsData.view_count}}
来源 | {{newsData.source}}   作者 | {{newsData.author}}

拾萬空间|2022 崇真艺客

放假时间

北京:2023年1月16日(周一)- 1月30日(周一) 

石家庄:春节期间正常开放


Holiday Breaks

Beijing : Jan.16th (Monday) - Jan.30th (Monday)

Shijiazhuang : We will be open as usual during Chinese New Year period.




展览 | EXHIBITION


-2022.2.26-3.25

-北京 | Beijing

-群展:奇想之春|Group exhibition:A Spring of Magical Thinking

-艺术家:陈可,段诗雨,黄冰洁,蒋子祺,刘符洁,梁姝妮,林山,彭可,张雪瑞,周力,朱荧荧|Artists: Chen Ke, Duan Shiyu, Huang Bingjie, Jiang Ziqi, Liu Fujie, Liang Shuni, Lin Shan, Peng Ke, Zhang Xuerui, Zhou Li, Zhu Yingying


拾萬空间|2022 崇真艺客


拾萬空间|2022 崇真艺客

拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客

左右滑动查看更多


展览“奇想之春”的构想借鉴了以第一人称写作而闻名的美国记者、散文家琼·狄迪恩(Joan Didion)在其《奇想之年》中独特的写作风格。这部回忆录聚焦于与作者相伴四十余年的丈夫和唯一的女儿在一年之内相继离世的情感历程,狄迪恩并未将这段经历书写成任何令人沮丧或催人泪下的描述,而是以振作的精神和反思性的文笔铺陈了个体如何被置于某种事与愿违的情景,又如何面对如历险般的境况。本次十一位艺术家的创作,并非试图寻求她们与作家在个人经历上的相似性,而是关注于当“失去”成为无形的常态时,艺术家们如何将其转换到艺术创作中去。身处城市飞速发展进程的当下,每个人都不可避免地被裹挟到不断更迭、逝去的现实中,也在有意识或无意识地面对着“失去”的悲痛,无论它停留在个人情感上,还是发生在社会归属、时间流逝的记忆再现、城市变迁、自然生态等层面,如何通过行动去发现和重建意义成为了每位创作者的动力。再则,在我们的感知系统经受着科技发展所造成的钝锉,也更因多重现实的叠加与错位、意识形态的侵占而趋于混乱时,我们又如何在变化的常态中找到出口,并重新安置自身的存在?

Inspired by Joan Didion’s adventurous spirit in the face of devastating life events, her diachronic approach to storytelling, and her ability to collapse subjective interpretations onto objective realities to discover meaning, the exhibition “A Spring of Magical Thinking” aims to relay Didion’s style. The exhibition presents ways of addressing the experiences of loss and grief in their practice. By no means does the exhibition suggest that the eleven invited artists share, nor their artworks drew from, experiences similar to that of the writer.In the present condition, issues as overarching as rapid urban development, global warming, the sudden onset of a global pandemic, or as personal as social injustice, gender, and ethnic inequalities, personal loss, every one of us experiences loss and grief, so much so that they have become invisible or we may have conscious or subconsciously normalized them. How does one derive and reconstruct meanings given these circumstances become the driving force for many artists' practices? Moreover, as our perceptual system dulls from technological advancements, and as multiple realities stack up together, disconnected or dislocated - physically or virtually, and as political ideologies encroach upon our sense of self, how can we find an outlet in the normalcy of transformation and restore our sense of existence?

相关链接:
拾萬北京 | “奇想之春”展览现场



-2022.3.05-4.17

-石家庄|Shijiazhuang

-刘亚洲:游牧时间|Liu Yazhou : Being A Nomad


展览现场视频

拾萬空间|2022 崇真艺客



拾萬空间|2022 崇真艺客


展览由刘亚洲2014-2015年的系列作品《平衡》展开:艺术家选取个人生活中的日常之物,采用现今短视频中常见的“平衡术”,将其层级摆放、罗列、叠加,塑造成某种非常规的形态,并在重力的作用下维持一段稳固的关系,最终,视频会记录下这一相对静止的过程,以及它们最后不可避免的坍塌。

The exhibition unfolds with Liu Yazhou’s Balance series completed between 2014-2015: the artist selects everyday objects and adopts the "balancing technique" common in today's short videos, arranging, placing, stacking, and shaping them into unconventional forms and maintaining a steady relationship with gravity; eventually, the video captures this process of relative stillness and their inevitable collapse at the end.

相关链接:
拾萬石家庄 | 刘亚洲“游牧时间”展览现场
拾萬石家庄 | 持续流动的边界



-2022.4.23-5.20

-北京 | Beijing

-谭英杰:被偷走的外壳|Tan Yingjie : The Stolen Shell


展览现场视频

拾萬空间|2022 崇真艺客

拾萬空间|2022 崇真艺客

这是谭英杰的不安和无奈所在,也是他创作本次展览系列作品的动机。但也正如展览标题《被偷走的外壳》所提示的那样,手机并未失窃,不见的只是“外壳”,而也正是缺少了这层保护屏障,它才能被强行“压”进所有者的身体,并迅速与“我”融为一体——它是客体,也是主体,“我”的行为转化为它的属性,它又以此来规训“我”的行动——由此,“我们”互相保护,以至互为因果。

This is how Tan Yingjie's uneasiness and helplessness come from, and it is also his motivation to create a series of works in this exhibition. However, as the exhibition title "The Stolen Shell" suggests, the mobile phone was not stolen, only the "shell"(case) was missing. Without this protective barrier, it can be forcibly "pressed" into the owner's body and quickly integrated with the "I"-it is the object and the subject. The behavior of "I" is transformed into its identity, which in turn disciplines the action of "I" - thus, "we" protect each other, and even cause and effect each other.

相关链接:
拾萬北京|谭英杰“被偷走的外壳”展览现场-献给
拾萬北京|谭英杰“被偷走的外壳”|展览延长&现场视频
拾萬北京 | 正常开展&谭英杰随访



-2022.5.18-7.22

-石家庄|Shijiazhuang

-杨洋:自燃|Yang Yang : Beyond Human Control


展览现场视频


拾萬空间|2022 崇真艺客


拾萬空间|2022 崇真艺客

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。

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.


《不饥不食》


相关链接:

拾萬石家庄 | 杨洋 & 张东辉双个展文章及现场图

拾萬石家庄 | 人间明暗-记杨洋&张东辉双个展

拾萬石家庄 | 杨洋:回忆是刺青




-2022.5.18-7.22

-石家庄|Shijiazhuang

-张东辉:一个人、朋友圈和烂港|Zhang Donghui : A Man, WeChat Moments and Ruined Port


展览现场视频


拾萬空间|2022 崇真艺客


拾萬空间|2022 崇真艺客


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。

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.


《一个人》

相关链接:

拾萬石家庄 | 杨洋 & 张东辉双个展文章及现场图

拾萬石家庄 | 人间明暗-记杨洋&张东辉双个展

拾萬石家庄 | 张东辉:往返北京与石家庄之间




-2022.6.25-8.07

-北京 | Beijing

-谭彼得:郎骑竹马来Tan Yingjie : Tan Bide: The Boy Coming on A Bamboo Horse


展览现场视频

拾萬空间|2022 崇真艺客


拾萬空间|2022 崇真艺客

展览名称出自李白的诗歌《长干行·其一》——郎骑竹马来,绕床弄青梅;同居长干里,两小无嫌猜——这两联诗句演化出两句家喻户晓的成语:青梅竹马与两小无猜。艺术家以此作为展览标题,意在萃取出诗句中极具理想化的纯粹情感,并通过不同时期的人物肖像传递出具有穿越性的情感共识。

The title of the exhibition is derived from Li Bai's poem "Ballad of a Trader’s Wife - Part One”: On a bamboo horse you came on the scene, around the well we played with mumes still-green; We lived, closeneighbors on riverside lane; carefree and innocent, we children twain. These two lines of the poem have evolved into two well-known idioms: childhood sweethearts and innocent playmates. With this as the title of the exhibition, the artist intends to extract the pure emotions that are idealized in the poems and convey a cross-cutting emotional consensus through the portraits of people from different periods.

相关链接:
拾萬北京|谭彼得“郎骑竹马来”展览现场
拾萬北京|谭彼得“郎骑竹马来”展览文章:时间的渡口



-2022.8.13-10.16

-石家庄|Shijiazhuang

-阎洲:刀子的最后一扭|Yan Zhou : The Last Twist of the Knife


展览现场视频


拾萬空间|2022 崇真艺客


拾萬空间|2022 崇真艺客

最近几年,阎洲以今天艺术实践者敏感的现实心绪为出发点,通过引入对中古中国历史和文化的考察,尤其是重新征引考古遗迹、史料和历史笔记小说,展开对历史中的事件与变局的想象,并由此期望对今天紧迫的现实作出某种试探的回应,尝试提供新的历史“证据”和“叙述”今天的路径。此次展览是这一实践的最新一章,聚焦于中古中国的河北区域。中华帝国游移的边界穿越此地,这里既是文明交流的现场,也是民族龃龉与纠缠频繁到访的地带,复杂的地缘动态酝酿着彼时的内外之忧以及叛服的选择。

In recent years, Yan Zhou has taken the sensitive reality of today's art practitioners as a starting point, and by introducing an examination of the history and culture of medieval China, especially by re-citing archaeological relics, historical materials and historical notebook novels, he has developed an imagination of events and changes in history, and thus expects to provide a certain tentative response to today's urgent reality, trying to provide new historical "evidence "and "narrative" paths for today. This exhibition is the latest chapter in this practice, focusing on the Hebei region of medieval China. The wandering borders of the Chinese Empire crossed this area, which was both the scene of civilizational exchange and a zone frequently involved ethnic disagreements and entanglements, and where complex geopolitical dynamics brewed internal and external concerns and choices of rebellion.

相关链接:
拾萬石家庄|阎洲“刀子的最后一扭”展览现场
回响 | 沉睡的安禄山,飞行于静谧之中
拾萬北京 | 大厦倾颓的梦:阎洲新作对谈



-2022.8.13-10.16

-石家庄|Shijiazhuang

-高索都:凳子、尖椒和小宾馆|Gao Suodou : Stool, chili pepper and small hotel


展览现场视频


拾萬空间|2022 崇真艺客


拾萬空间|2022 崇真艺客

2018年,高索都自天津美院毕业十年后,从北京回到家乡包头,开始了全新的生活。环境的改变也意味着创作视角的切换,面对同样的画布,高索都通过不断的深入和退出来明确自己的位置,进而将个人的艺术实践延展出四条线索:一,基于包头的城市街景进行的写生创作;二,基于日常所见进行的摄影创作;三,基于手机图像进行的主题化创作;四,基于绘画本身的材料语言进行的材料性实验。

In 2018, ten years after his graduation from Tianjin Academy of Fine Arts, Gao Suodu returned from Beijing to his hometown Baotou and started a brand-new life. Faced with the same canvas, Gao Suodu clarifies his position by constantly going deeper and deeper, and then extends his personal art practice into four threads: first, sketching based on the urban street scenes of Baotou; second, photography based on what he sees in daily life; third, thematic creation based on cell phone images; fourth, material experimentation based on the material language of painting itself. Fourth, material experiments based on the material he used in painting itself.

相关链接:
拾萬石家庄|高索都“凳子、尖椒和小宾馆”展览现场
拾萬石家庄|高索都:现实之上,生活之边



-2022.8.27-9.30

-北京 | Beijing

-群展:第六颗子弹:局部天气|Group exhibition: Drug: Local Weather

-艺术家:陈鹏、黄望福、刘国强、刘玉洁、宛超前、王垒、吴越之、张东辉、周天白、祝洵|Artists: Chen Peng, Huang Wangfu, Liu Guoqiang, Liu Yujie, Wan Chaoqian, Wang Lei, Wu Yuezhi, Zhang Donghui, Zhou Tianbai, Zhu Xun


展览现场视频


拾萬空间|2022 崇真艺客

拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客

左右滑动查看更多


表面即是深度,局部即是整体,忘了是谁说的了,但我记得这句话,因为某一个早晨,我突然意识到,我们已经完全生活在这表面的深渊之中,生活在自我构建的完备的小循环之内。我们甚至已经不是在这表面和局部形式的深度之下,而生活在其中的变幻之中。呼吸,变幻,下一次呼吸。这局部的变幻莫测带给了我们一切,它让你有机会成为另一个人,让你可以不存在,又让你可以同时存在于好几个时代。局部的变幻已从这表面变化的虚无中衍生出一种眩晕的必然。说它眩晕,则是因为这必然根植于每一次的偶然:概率的相遇——这块云彩恰好在你的头顶下雨了。朋友,你必然会出现在这里,因为你已经存在于每一个地方。

The surface reveals the depth, a part tells the whole. I forget who said this, but I remember it. One morning, I suddenly realized that we are already living completely within this abyss of surfaces, within the small cycle of self-constructed completeness. We are no longer even beneath the depth of this form of superficiality and localization, but live within the variations of it. Breath, change, the next breath. This local variability brings us everything. It gives you the opportunity to be someone else, to not exist, and to exist in severaleras at once. The local variability has given rise to a dizzying inevitability out of this apparently changing nothingness. I say it is dizzying, because this inevitability is rooted in every time by chance: the encounter of probability - this cloud that happens to rain over your head. You, my friend, are bound to be here, because you already exist in every place.

相关链接:‍‍‍‍‍‍
拾萬北京|第六颗子弹:局部天气|展览现场



-2022.10.7-11.19

-北京 | Beijing

-詹翀:低气压|Zhan Chong : Typhoon


展览现场视频


拾萬空间|2022 崇真艺客


拾萬空间|2022 崇真艺客


展览标题与艺术家早年的经历相关。他的家乡浙江丽水经常遭遇台风天气影响,每次台风来临之前,周遭环境都弥漫在一种低气压的状态中——风暴欲来,危机迫在眉睫,但又充满了未知和不确定。近几年来,尽管已经离开家乡多年,这样的感觉又开始复刻在他的身上。那是一种无形的压力,似乎具备穿透一切障碍物的可能,进而如影随形般附着在艺术家和他身边的事务之上——看不见,摆不脱,也甩不掉,宛如低气压的包围和笼罩。

The title of the exhibition relates to the artist's early experiences. His hometown of Lishui, Zhejiang Province, was often affected by typhoon weather, and before each typhoon, a state of low pressure pervaded the surroundings - a storm was imminent, a crisis was imminent, yet full of unknowns and uncertainties. In recent years, despite having been away from home for many years, this feeling has begun to resurface in his body. It is an invisible pressure that seems to have the potential to penetrate all obstacles and thus clings to the artist and his surroundings like a shadow - invisible, untouchable and impossible to shake off, like a low air pressure that surrounds and envelops him.

相关链接:
拾萬北京|詹翀 “低气压”展览现场
拾萬北京|詹翀 “低气压”|呼喊与细语
观展 |詹翀的哈德罗和特拉斯特
詹翀:绘画和文学,它俩儿撩骚方式不太一样




‍‍

-2022.11.05-2023.02.05

-石家庄|Shijiazhuang

-群展:风景画|Group exhibition : Landscape Painting

-艺术家:范桦晓、华烯宇、黄启佑、季俊、柯兰焰、雷禺、李涵、李强强、刘鹏、路佳霖、秦安心、田昌泽、田召亭、王希民、杨金玉、张振、周天白、周小聪、祝洵、朱钇名|Artists: Fan Huaxiao, Hua Xiyu, Huang Qiyou, Ji Jun, Ke Lanyan, Lei Yu, Li Han, Li Qiangqiang, Liu Peng, Lu Jialin, Qin Anxin, Tian Changze, Tian Zhaoting, Wang Ximin, Yang Jinyu, Zhang Zhen, Zhou Tianbai, Zhou Xiaocong, Zhu Xun, Zhu Yiming


展览现场视频


拾萬空间|2022 崇真艺客


拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客
拾萬空间|2022 崇真艺客

左右滑动查看更多


风景画是一种被大众广为接受的绘画题材,它在欧洲主要从宗教绘画中脱离而来,大多描绘自然风光,如山川江河等,而在中国古代,风景画主要表现为山水画,大量的文人山水描绘的都是想象中的场景,且尤其重视笔墨形式语言的塑造。今天的语境中,已经没有对“风景画”明确的门类划分,对艺术的认识也早已围绕“人”而展开,更多地则是进行媒介分类。

 Landscape painting is a widely accepted theme in Europe, mainly from religious painting, depicting natural scenery, such as mountains and rivers. While in ancient China, landscape painting was mainly represented as Chinese traditional landscape painting, with a large number of literati depicting imaginary scenes, with particular emphasis on the formal language of brush and ink. In today's context, there is no longer a clear classification of 'landscape painting', and the understanding of art has long revolved around 'people', more often categorizing the medium.

相关链接:
拾萬石家庄|群展“风景画”展览现场



-2022.11.05-2023.02.05

-石家庄|Shijiazhuang

-解群:橐龠永动机|Xie Qun : Tuo Yue Perpetual Motion Machine


展览现场视频


拾萬空间|2022 崇真艺客


拾萬空间|2022 崇真艺客

一个《道德经》中的概念。
本为“鼓风箱”之意,之后作为一种万物运转的隐喻。
一种统一人类与自然活动的动力学。
如果我们接受它,那呼吸与潮汐,风声与脑鸣,洞天与七窍,混沌融合,历史可以透过肉身,从荒古直落到当代。
A concept from the Tao Te Ching.
Originally meant "bellows", it was later used as a metaphor for the operation of all things.
A dynamic that unifies human and natural activities.
If we accept it, then the breath and the tide, the wind and the brain sound, the heavens and the seven orifices, the chaos merge, and history can fall from the ancient to the present day through the flesh.

相关链接:‍‍‍‍‍
拾萬石家庄 | 散会 | 橐龠永动机 — 解群个展
橐龠永动机|解群


-2022.12.10-2023.02.12

-北京 | Beijing

-梁铨·吴杉:橘·柑|Liang Quan · Wu Shan : Mandarin · Tangerine


展览现场视频


拾萬空间|2022 崇真艺客


拾萬空间|2022 崇真艺客


同生于南方的橘和柑,皆甘之于口,但细味略不同,展览便以此两种水果之名,借喻两位艺术家在共通的审美范畴里,所呈现出的不同的语言和感觉气息。


Both mandarins and tangerines are from the south of China,they are all sweet but have slightly different tastes. The exhibition uses the names of these two fruits as a metaphor for the different painting languages and senses that the two artists present in their shared aesthetic sphere.


相关链接:

拾萬北京|梁铨·吴杉“橘·柑”双人展展览现场

梁铨×吴杉:橘和柑皆甘之于口,但细味不同

                                                                        



拾萬 | 北京

正在展出

拾萬空间|2022 崇真艺客

梁铨·吴杉:橘·柑
2022年12月10日-2023年2月12日


拾萬 | 石家庄
同期展览
拾萬空间|2022 崇真艺客

群展:风景画

2022年11月5日-2023年2月5日


  相关链接:

拾萬石家庄|群展“风景画”展览现场


拾萬空间|2022 崇真艺客
解群:橐龠永动机

2022年11月5日-2023年2月5日


相关链接:

拾萬石家庄 | 散会 | 橐龠永动机 — 解群个展

散会 | 橐龠行旅图:禁足时代的颅内神游



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.


北京画廊开放时间 Opening hours :

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



拾萬空间|北京

北京市朝阳区798艺术区798西街02号

拾萬当代艺术中心|石家庄

河北省石家庄市桥西区裕华西路15号万象天成2F


微信 | WeChat: hunsandspace

微博|Weibo: 拾萬空间

Instagram: hunsand_space


T:010-57623059 (北京)

T:0311-66600320 (石家庄)

E:hunsand@hunsand.com
W: www.hunsand.com


{{flexible[0].text}}
{{newsData.good_count}}
{{newsData.transfer_count}}
Find Your Art
{{pingfen1}}.{{pingfen2}}
吧唧吧唧
  • 加载更多

    已展示全部

    {{layerTitle}}
    使用微信扫一扫进入手机版留言分享朋友圈或朋友
    长按识别二维码分享朋友圈或朋友
    {{item}}
    编辑
    {{btntext}}
    艺客分享
    {{mydata.real_name}} 成功分享了 文章
    您还可以分享到
    加载下一篇
    继续上滑切换下一篇文章
    提示
    是否置顶评论
    取消
    确定
    提示
    是否取消置顶
    取消
    确定
    提示
    是否删除评论
    取消
    确定
    登录提示
    还未登录崇真艺客
    更多功能等你开启...
    立即登录
    跳过
    注册
    微信客服
    使用微信扫一扫联系客服
    点击右上角分享
    按下开始,松开结束(录音不超过60秒)