Unparalleled collection Vol.2
NO.202, 2nd Floor, Sea World Culture & Arts Center, Shenzhen
* Please scroll down for the English version
photo courtesy of Hong Hao
物境之十 The Realm of Matters No.10
洪浩 Hong Hao
Medium: porcelain pieces from kilns of the Song Dynasty on stainless steel plate
尺寸 Size：136 x 136cm
photo courtesy of Hong Hao“瓷片”作为一种原生材料，以碎片化形式象征并揭示着“过去”的时间及先民的消费观念。艺术家跨越时空的限制，将不同年代的瓷片拼贴于一处，赋予其当代语境下的“二次价值”，勾连起古代及当代不同形式的消费主义文化。在材料的选择方面，瓷器碎片为一种不完整的器物形态，反而能切片化地呈现出古代从普通百姓至王室贵族的日用审美范式及真实生活方式，其被赋予的流行功能及不断衍变的标志性器型，在当时也反映着历史观语境下的消费文化，并作为一种“象征性”的标本物证。洪浩根据颜色、大小、形状等物理特性与现代考古研究判定的窑口、年代、地域等对这些瓷片进行精准分类，凭借物理认知、审美直觉及人文判断，以“因势生发”的创作状态将之一一镶嵌在画布上，或予以规律排布，或点状散落。这种综合视角摒弃了材料对象本身的功用感与商业性，转而以一种材料介质、信息遗存和审美考量的形态依存于作品之中，从而引发观者对物件价值的思考与判断。在艺术家的往复提炼中，“物”的社会含义在人为的循环行为介入下逐步消解，并最终回归到本质的物理形态。
物境之十四 The Realm of Matters No.14
洪浩 Hong Hao
Medium: acrylic and ancient porcelain pieces with glaze writing on canvas
尺寸 Size：89 x 137 cm
photo courtesy of Hong Hao在永不停歇的消费主义生活中，个体本身依然存有信念与精神。相对于外在探索，这种内求的感悟及对于自身灵魂的丰满富足能让个体拥有更稳定的价值观念，而这种自观自给的修行状态也会使人保持主观判断。对于消费主义的探讨，正如洪浩所言，“平静的认识看待一个无常的世界，可能会让自己的心情变得更加自在。”这份自在，我们又可否从商品经济与享乐惯性中审慎思考并寻得？
Unparalleled collection series Vol.2
W.ONESPACE is delighted to present the second edition of the Unparalleled Collection Series, and we are honored to invite artist Hong Hao as the featured host this time.
As a field that bridges the past and the present of the complex art forms, W.ONESPACE provides a unique platform and invites art practitioners in different areas, jointly present an image containing unique personalities, aesthetic interests of multi-perspective. Exhibited works and collections in the project have no priority, nor distinction. We expect the project to give the audience a realistic understanding of how the artists' habits influence their works, and how they relate to artists’ lives. Through a "real-life" scenario, we can put aside redundant interpretations of any art form, just offering an angle that could be perceived to see the story behind.In this exhibition, we will present different series of works by the artist Hong Hao in recent years, and by visually presenting a "real-life" scenario in his studio, we will explore the artist's thinking and exploration of humanities, materials, collection, and consumption behind his works. If we really need to mention the word "collection", then Hong Hao is more like collecting his own life. From the initial "Selected Scriptures" to the most representative "My Things", and gradually evolving into the series "Everchanging Appearance", "Reciprocating", and “The Realm of Matters”, Hong Hao has developed a peculiar art form of self-consciousness, in which he collects and arranges the information of our time and daily objects from his life, and always maintains this observation and reflection on the established objective existence. However, from the artist's perspective, collecting is obvious not his purpose, these acts are more like a laundry list of his own life, the artist only tries to present a sense of evidence, an objective restoration.In "The Realm of Matters" series, the artist's research subject shifts to ancient materials, so there are stacks of porcelain pieces, most from Song Dynasty in the studio. The precise classification and meticulous placement is astonishing, however Hong Hao himself is a little deprecating about his "obsessive-compulsive" ability to organize, laughing that "It's just to make my job easier.” From his point of view, the ancient fragments as materials nowadays represent only the consumer culture of people in different contexts. Rather than the objects themselves, he focuses more on the creative concept reflected in the works, which contains his creative process, personal perceptions and reflections on the intention of consumer behavior.As an indigenous material, the "porcelain pieces" symbolize and reveal the "past" time and the ancestors’ consumer culture in a fragmented form. The artist transcends time and space by collaging porcelain pieces from different eras together, giving them a "secondary value" in a contemporary context, and linking different forms of consumerist culture in ancient and contemporary times. In terms of material selection, porcelain pieces are an incomplete form of objects that can instead sectionally present the aesthetic paradigm of daily use and real lifestyles from common people to royalty in ancient times. Their popular functions and evolving iconic shapes also reflected the consumer culture in the historical context and served as a "symbolic" specimens. Hong Hao precisely classifies these porcelain pieces based on physical characteristics such as color, size, shape, as well as kiln, age, and region as determined by modern archaeological research. Relying on his physical cognition, aesthetic intuition, and humanistic judgment, Hong Hao sets these pieces on the canvas with a “grow out of the momentum" state of mind, either in a regular arrangement or scattered in dots. This comprehensive perspective abandons the sense of utility and commerciality of the materials themselves, and instead relies on the objects as a material medium, an information relic and a sense of aesthetic consideration, thus triggering the audiences’ thinking and judgment of the objects’ value. In his reciprocating refinement, the social meaning of "object" gradually dissolves under the intervention of human-made circular acts, and finally returns to what it is, an essential physical form.The artist himself takes the boundary between "gathering" and "collecting" very seriously, and is wary of having redundant ideas regarding an object other than seeing it as a material in his works. Therefore, in the process of creation, he always observes, perceives and reflects on the historical information and the meaning given to each object, and then removes its "artificial label”. By doing this, he constantly reverses the form and meaning of objects and information, and wisely arranges these objects between "useful" and “useless”, thus creating a picture of both formality and absurdity. A stack of delivery boxes will be set at the entrance of the exhibition, which are objects that have not yet appeared in Hong Hao's works but are closely related to his daily life. In order to acquire suitable porcelain pieces for his works, he has often searched and purchased materials of interest through online platforms in recent years, as a result, the delivery boxes have been accumulating. They bear the artist's record and discussion about everyday consumerism, and are accompanied by the production and circulation of consumer behavior, which may be a kind of confusion about objects and their own experience of “as it is".In the never-ending life of consumerism, individual still has faith and spirit. Compared to external exploration, this kind of inner seeking and enrichment of one's own soul can give the individual more stable values, and this state of self-observation and self-sufficiency will also enable one to maintain a subjective judgment. For the exploration of consumerism, as Hong Hao says, "A calm awareness in a changeless world may make one feel more at ease." Could we think carefully and find this kind of ease from the commodity economy and hedonistic inertia?This exhibition will continue to May 6th, 2023.请向下滑动文字 Please swipe down the text
Hong Hao was born in 1965 and graduated from the Printmaking Department of the Central Academy of Fine Arts in Beijing in 1989. He currently works and lives in Beijing. Specializing in the use of photography, printmaking, collage, video installation and painting to explore our complex relationship with consumer culture, the artist calmly observes contemporary society with keen artistic intuition from the appropriate distance. As one of the most important pioneers in Chinese contemporary art history, Hong Hao's artistic exploration is closely tied to the changing value system of the times. His art works can be found in numerous public collections including those of The Metropolitan Museum of Art, the Museum of Modern Art in New York, The National Gallery of Canada, White Rabbit Gallery, The British Museum, The Victoria and Albert Museum, Hong Kong's global museum of visual culture(M+), etc,.
The unparalleled collection series “n.one in a million” is a new project held by W.ONESPACE. In each episode, we invite different art practitioners, jointly showing an image that contains unique personalities and aesthetic interests of multi-perspective. As a field that bridges the past and present of the complex art forms, W.ONESPACE provides a unique platform to the host, letting them reveal the balances between art the lives, therefore enabling the audiences to truly understand how the host's collections affect their works and how they relate to their life. Through re-presenting and re-constructing the real living scene, we want to put aside the redundant interpretation of any art form, just offering an angle that could be perceived to see the story and the spiritual world behind the works.
万一空间是由三位90后艺术从业者在深圳创立的艺术空间。其诞生于疫情席卷全球的2020年，在后疫情时代涌现对艺术与生命的全新思考。空间致力于消解当代与古代的边界，融合美学研究逻辑下的现当代与古代艺术，构建一个不同国家、时期和形式的艺术在同一语境下共容的场域。W.ONESPACE is an art gallery founded in Shenzhen by three Generation Y art practitioners. It was established in 2020 during the outbreak of the COVID-19 pandemic. New perspectives on art and life have emerged in this post-pandemic era. W.ONE SPACE aims to melt the boundaries between present, future and the past by mixing contemporary and ancient art under the logic of aesthetic research, thus bringing together arts of different countries, different periods and different forms to interact and express in unity as ONE.