拾萬空间(杭州)于2023年11月4日带来张东辉的个展:为光延续一分钟。展览名字源自艺术家2023年的同名影像作品——一次简短地,让光继续点亮一分钟的尝试。
Hunsand Space (Hangzhou) presented Zhang Donghui's solo exhibition: "To Extend Light by One Minute" on November 4, 2023. The exhibition's name is derived from the artist's homonymous video work in 2023—an attempt to briefly let light continue shining for one minute.
ZHANG DONGHUI:TO EXTEND THE LIGHT BY ONE MINUTE
张东辉:为光延续一分钟
ZHANG DONGHUI:TO EXTEND THE LIGHT BY ONE MINUTE
作品图及细节图|Artwork Images and Details
纸质喷绘|Spray painting on paper
“三年了,我已麻木了”是我从疫情初期开始,对于出行管控规则的抵触与不愿配合,到后来被温水煮青蛙式的规训后,心理发生的变化。很多朋友都有类似的情绪共鸣,但表达的途径通常只发生在同温层,而且常被遭到封堵。我用了红色的广告字体,以游击的方式,将这句话中的每个字,分别喷到了散落在望京各处的八个核酸亭上。
It's been three years, and I've become numb" is how my attitude towards travel restrictions evolved from initial resistance and non-compliance during the early days of the pandemic to later changes in my mindset due to gradual conditioning. Many of my friends have experienced similar emotions, but our expression usually remains confined to our close circles and is often met with resistance. Using bold red lettering, I took a guerrilla approach to spray each word of this sentence separately on eight scattered nucleic acid testing booths throughout Wangjing.
仿绢喷绘、土壤、种子、木板、摁钉、野草 | Imitation silk spray painting, soil, seeds, wooden boards, drawing pin, weeds
疫情期间,我与朋友们离开市区出游的频率开始增多,前往京郊或外省爬山、徒步。每一次的出行,我会把那些偶然进到鞋里,和挽起的裤脚里的种子、土壤、植物等收集起来,装进密封袋存档,再在卫星地图上画出每次出行的徒步路线,最后把这三年来收集的自然物,栽入一个花盆中。During the pandemic, my friends and I started to venture out of the city more often, heading to the outskirts of Beijing or other provinces for mountain climbing and hiking. Each time we went out, I would collect seeds, soil, and plants that accidentally made their way into my shoes and rolled up pant legs, storing them in sealed bags as mementos. I would then mark the hiking routes of each trip on a satellite map and, finally, plant the natural items I had collected over these three years in a flowerpot.
为光延续一分钟|To Extend the Light by One Minute
在清晨,天还没亮透的时候,我站在路灯下,等到城市的道路交通系统关掉路灯的瞬间,我点燃了打火机。手中的火光接替了路政的照明设施,为黑暗中的城市延续了一分钟的光亮。
In the early morning, before the day had fully dawned, I stood beneath a streetlamp, waiting for the moment when the city's traffic system would turn off the streetlights. At that instant, I ignited a lighter. The flame in my hand replaced the illumination of the municipal lighting, extending a minute of light into the darkness of the city.
张东辉 | ZHANG DONGHUI
吴京合影站 | Wu Jing Group Photo Station
纸质喷绘、玻璃钢、油漆、铁方管、反光胶带| Paper printin, fiberglass, paint,steel square pipe, reflective tape
一般在道路施工或山路急转弯处,路政系统会提前放置一个玻璃钢假警察雕塑,以提示司机注意安全。我在陕西靖边县的山路自驾时,发现这一现象非常普遍,它们共同构成了这条山路上的人造风景。假警察的形象善良、温润,和儿童摇摇乐给人的观感相同,没有真警察那种暴力机关的强硬感,我想收藏一尊。于是我挑选了一尊,在现场将其分割成数块碎片,带回北京后将他们复原了起来。我又照着它的样子做了一个新的雕塑,把头改成了出演过很多警察和军人形象的演员-吴京的脸,再回到靖边县把吴京假警察装回了原位。打开百度地图搜索“吴京合影站”便可以导航前往合影打卡。
Usually, in road construction areas or sharp turns on mountain roads, the traffic management system places fiberglass sculptures of fake police officers in advance to alert drivers to be cautious. While I was driving along mountain roads in Jingbian County, Shaanxi, I noticed that this phenomenon was quite common. Together, these sculptures create an artificial landscape along this mountain road. The images of these fake police officers appear kind and gentle, similar to the impression one might get from a child's rocking toy. They lack the sternness associated with real police officers and the sense of authority. I decided to collect one of these sculptures, so I selected one, disassembled it into several pieces on-site, and brought them back to Beijing for reassembly. I then created a new sculpture in the likeness of the original, but with the face of actor Wu Jing, known for playing various police and military roles. I returned to Jingbian County and put the fake police officer with Wu Jing's face back in its original place. You can open Baidu Maps and search for 'Wu Jing Group Photo Station' for directions to this photo opportunity.
一堵白墙,作品《流星》中烧掉的2020-2021年纸质朋友圈灰烬|A white wall, the ashes of the paper-based social media posts from 2020-2021 burned in the artwork 'Meteor'
在2020-2021这一整年中,我把自己和微信好友们每天所发的朋友圈内容截图后,以手机屏幕7.5cm的宽度为准,打印并拼接了起来,总共两千多米,我把他卷成了一个大纸卷。我以在朋友圈直播的方式,用了10天的时间把这一年的纸质朋友圈从头到尾又看了一遍,边看边烧,阅后即焚。我以这一年的朋友圈灰烬为涂料,用手蘸着它们,涂抹到了一堵白墙之上,把一堵白墙变成了一堵灰墙。
Throughout the entire year of 2020-2021, I captured screenshots of the moments shared by myself and my WeChat friends on our Moments section. Using the width of a mobile phone screen, approximately 7.5 cm as my reference, I printed and assembled these screenshots into a continuous scroll, totaling over 2,000 meters in length. I rolled this scroll into a large paper roll.I revisited this year's printed Moments by live streaming them over WeChat Moments for ten days. As I watched, I simultaneously burned them, embracing the concept of ephemeral content. I then used the ashes of this year's Moments as paint. I dipped my hand into these ashes and applied them onto a white wall, transforming it into a grey wall.
张东辉 | ZHANG DONGHUI
吐口水是一种下流的和带有侮辱性的动作,在这套动作里,唾沫本身就像一颗具有攻击性的子弹。我把自己的名字当作弹药,以一种书写的方式,用一口一口的唾液在地上签下了自己的名字。
Spitting is a vulgar and derogatory action where saliva itself acts like an offensive bullet. In this set of actions, I used my own name as ammunition, and, in a written form, I signed my name on the ground using my saliva.
张东辉 | ZHANG DONGHUI
视频5'39"、千斤顶、木方|Video 5'39", hydraulic jack, wooden blocks
用千斤顶顶起一根木条,使之与地面之间形成一个倾斜的角度,再以木条为水平基准线播放投影。由千斤顶的发力所致,造成了一连串虚实相映的不稳定因素。但播放的内容是角度几经倾斜后,一根倾斜的蜡烛发出的火光,仍然稳定的垂直向上,安静的燃烧。无始无终。
Using a hydraulic jack to lift a wooden beam, creating an inclined angle with the ground, and then projecting content using the wooden beam as the horizontal reference. The exertion of force by the hydraulic jack results in a series of unstable factors, where the virtual and the real interplay. However, the content being projected is the flame of a tilted candle. Even after multiple changes in the angle, the flame remains stable, burning silently, undisturbed, with no beginning and no end.
张东辉 | ZHANG DONGHUI
用力垂直火光 | Vigorously Straight Up the Firelight Vertically
视频4'32"、千斤顶、木方|Video 4'32", hydraulic jack, wooden blocks
用千斤顶顶起一根木条,使之与地面之间形成一个倾斜的角度,再以木条为水平基准线播放投影。由千斤顶的发力所致,造成了一连串虚实相映的不稳定因素。但播放的内容是角度几经倾斜后,打火机的火光仍然稳定的垂直向上,由于打火机的持续燃烧,导致火机无法承受其内部不断增大的压力,最终自爆。Lifting a wooden beam with a hydraulic jack, creating an inclined angle between it and the ground, and then projecting content using the wooden beam as the horizontal reference. The force exerted by the hydraulic jack leads to a series of unstable factors where the virtual and the real interact. However, the content being projected is the flame of a lighter. Even after multiple changes in the angle, the flame remains stably burning vertically upward. Due to the continuous burning of the lighter, it cannot withstand the increasing internal pressure and eventually explodes.
我一直想捕捉到一片云在地上留下的投影,以此证明我抓住了这片云本身,但云的移动速度太快,而且身体进入阴影后就无法辨别出明暗交界线的位置了,尝试多次都以失败告终。后来在卫星地图上卧游时,我发现京郊与河北接壤处有一片云和它的投影,我查了一下这是卫星相机在半年前拍摄到后,更新在地图上的。如今这云的存在早以转化为其他形态了,那我不如就对那一瞬间的存在来一次考古吧。我来到此处,沿着卫星图里的阴影边缘,绕着这个遗址走了一圈,并记录下了徒步轨迹。在行走过程中,我穿过了松树林、柳树林、坟地、河沟、耕地、铁栅栏……I had always wanted to capture the projection of a cloud on the ground, as proof that I had grasped the cloud itself. However, the clouds moved too fast, and once my body entered the shadow, I couldn't distinguish the boundary between light and dark. Many attempts ended in failure. Later, while exploring on a satellite map, I discovered a cloud and its projection at the border of Beijing and Hebei, which was updated on the map half a year ago. The existence of this cloud has already transformed into other forms. So, I decided to do some 'archaeology' on the moment it was captured. I came to this location, followed the shadow's edge as seen on the satellite map, and walked around the site, recording my hiking route. During the journey, I passed through pine forests, willow groves, cemeteries, streams, farmlands, iron fences...张东辉 | ZHANG DONGHUI
由于核酸亭事件,我进了看守所。里面的生活隔绝了所有的社会和情感关系,如同进入了一个坟墓般的平行时空,在这个时空里,唯一可以与外界亲人取得联系的渠道是律师会见,律师就成了我与亲人之间沟通带话的唯一媒介。我通过嘴巴张开时唾液产生的气泡,来反射电脑屏幕上的文字,嘴巴的每一次开合,气泡表面就会被反射一个字,使口腔和气泡转化为一个临时屏幕,屏幕播放的内容就是每次律师会见时,律师给我带来的外面亲人对我说的话。Due to the nucleic acid booth incident, I ended up in custody. Life inside isolated me from all social and emotional connections, like entering a parallel dimension resembling a tomb. In this space, the only channel to communicate with loved ones in the outside world was through lawyer visits. Lawyers became the sole mediators between me and my family. I used the bubbles produced by saliva when opening my mouth to reflect the text on the computer screen. Each time my mouth opened and closed, a word was reflected on the bubble's surface, transforming my oral cavity and the bubbles into a temporary screen. The content displayed on this screen was the messages from my family brought by the lawyer during each visit.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,现生活工作于北京。
Zhang Donghui, born in Shijiazhuang, Hebei, in 1992, graduated from the Sculpture Department of the Central Academy of Fine Arts in 2017, and currently lives and works in Beijing.
相关链接:
拾萬艺术家 | 张东辉
拾萬石家庄 | 张东辉:往返北京与石家庄之间
拾萬石家庄 | 人间明暗-记杨洋&张东辉双个展
野获|张东辉:跑在坟墓之间
心中有山,在哪都是爬山 / 张东辉
拾萬空间(杭州)于2023年11月4日在画廊的户外空间带来艺术家金亚楠和翟宇辉的最新作品。
Hunsand Space (Hangzhou) presented the latest works of artists Jin Yanan and Zhai Yuhui in the gallery's outdoor space on November 4, 2023.
金亚楠:草地(100M)翟宇辉:荒原
JIN YANAN: LAWN(100M) ZHAI YUHUI: WASTELAND
展览现场|Exhibition View
金亚楠:草地(100M)翟宇辉:荒原
JIN YANAN: LAWN(100M) ZHAI YUHUI: WASTELAND
作品图及细节图|Artwork Images and Details
金亚楠 | JIN YANAN
硅胶管、塑料扎带 | Silicone tube, plastic tie
金亚楠以物的模拟状态为线索,对花园的意象进行重构。在对保险业的调查研究中,艺术家发现花园的景象被广泛运用在保险广告之中。保险金作为象征交换的载体,一方面传递人与人之间的情感关系,另一方面也投射出人对生命有限性的认知和对未知将来的延续性的要求。象征美好的花园,在其图像被大量挪用后,竟逆向地与人对死亡的预期相关联。或许是一种不被知觉的捆绑?草地上原本有一根管子,艺术家用深浅不一的绿色扎带一根一根地将它捆绑,捆绑关系形成了新的管子,也形成了新的草地。现实的草地、被模拟入侵的草地,美好的花园、与之相连的死亡预期,共同挑动着当下社会人的情感变动。
Jin Yanan uses the simulated state of objects as a clue to reconstruct the imagery of gardens. Through research in the insurance industry, the artist discovered that garden imagery is widely used in insurance advertisements. Insurance payouts, as symbols of exchange, not only convey emotional relationships between people but also reflect the awareness of the limited nature of life and the demand for continuity into an unknown future. The symbol of a beautiful garden, after being heavily appropriated, surprisingly becomes associated in reverse with people's expectations of death. Perhaps it's an imperceptible connection? There was originally a pipe on the grass, and the artist used green straps of varying shades to tie it up one by one. The relationships formed by these ties created a new pipe and a new grassland. The real grassland, the simulated invasion of the grassland, the beautiful garden, and the associated anticipation of death collectively provoke emotional changes in today's society.
金亚楠 | JIN YANAN
Lawn(The area of a lounge chair)
躺椅、塑料扎带|Lounge chair, plastic tie
金亚楠,1986年生于浙江杭州,2012年硕士毕业于中国美术学院雕塑系,2013年至今任教于中国美术学院雕塑系跨界雕塑工作室,现⽣活⼯作于杭州。金亚楠感兴趣于局部语境中的对话关系。早前他以参加艺术小组或群体性创作为途径,探究个人与群体之间的相互制衡关系。随后又尝试进入公共事业当中工作,在社区设计、城市规划中探寻各层级之间因由错位逻辑引发的协商失效。近几年,他更关注个体或群体单元在共谋机制中呈现的差异化表现。他通过架构一类针对体制的隐喻化设计,加强单元间对话的可能性及相互的侵略性。目前,他的这类设计一部分透过其作品的叙事线索及空间设计来呈现,另一部分则通过长期的项目策划工作展开。
Jin Yanan, born in Hangzhou, Zhejiang in 1986, Jin Yanan obtained a master's degree in Sculpture from the China Academy of Art in 2012. Since 2013, he has been teaching at the China Academy of Art's Department of Sculpture in the Cross-border Sculpture Studio. He currently lives and works in Hangzhou.Jin Yanan is interested in dialogic relationships within specific contexts. In the past, he explored the balance between individuals and collectives by participating in art groups or collaborative creative endeavors. He later ventured into public projects, investigating the negotiation failures caused by misaligned logics among different levels in community design and urban planning. In recent years, he has focused on the differentiated expressions of individual or collective units within collaborative mechanisms. He strengthens the possibilities of dialogue between units and their mutual aggressiveness by constructing metaphorical designs aimed at the system.Currently, this type of design is presented in part through the narrative clues and spatial design of his works and in part through long-term project planning.
相关链接:
金亚楠|晃晃悠悠总有所得
铜场| 金亚楠 [吟游魔术师]MAGIC BARD
金亚楠:来和去的想象
开幕现场|金亚楠:流动的间隔
月食 @上海外滩美术馆
翟宇辉 | ZHAI YUHUI
金属铅,钢板,树脂 | Metal lead, steel plate, resin
翟宇辉从形态和材料出发,将日常物进行重新的装配与改造。几个铅箱以重力的逻辑堆叠起来,使其呈现一种塔式结构。中间以钢板分割来增强这个结构的堆叠感。整个结构是一种很稳定,甚至很重(心理上)的感觉。相较于塔式结构的乌鸦又很轻盈和灵动。通过这种结构本身混合材料以及图像从而建立一个感性的世界。作品用这样一种物质结构呈现出凋零与新生的临界状态。箱子通过围合形成一个独立的空间,由于这个空间与我们身体所出的空间被分割开来,从而变得不可琢磨。铅又是一种密度很高的材料,进而又增强了这种内部空间的心理感受。这种感受同乌鸦在人们心目中预言、未知的形象似乎有相通之处。
Zhai Yuhui starts from form and materials to reassemble and transform everyday objects. Several lead boxes are stacked logically using the principles of gravity, creating a tower-like structure. Steel plates are used to divide the structure, enhancing the sense of stacking. The entire structure feels very stable and even heavy (psychologically). In contrast, the crows perched on the tower appear light and agile. Through this structural blend of materials and images, the artwork establishes a sensory world. In this material structure, the work presents a critical state between decay and renewal. The boxes create an enclosed space, which becomes inscrutable because it is separated from the space our bodies occupy. Lead is a dense material that enhances the psychological experience of this internal space. This sensation seems to share common ground with the image of crows as symbols of prophecy and the unknown in people's minds.
翟宇辉,1996 年出生于河南,现生活和工作于杭州。2020 年毕业于西南大学美术学院雕塑系,获学士学位。同年保送至中国美术学院跨界雕塑工作室,并于 2023 年获得硕士学位。2021 年成为铜场 Tproject 的一员,空间现场组的工作特点也同样启发了他。如今,他的作 品呈现出一种特殊的结构状态,这种结构状态凝结了材料、工作方法、以及图像的暗喻等,最终形成一种平行于现实的物质结构。由此,他通过这种方式践行了对广泛社会问题的关注。
Zhai Yuhui, born in Henan in 1996, Zhai Yuhui currently lives and works in Hangzhou. He graduated from the Sculpture Department of the School of Fine Arts at Southwest University in 2020, earning a bachelor's degree. In the same year, he was admitted to the Cross-border Sculpture Studio at the China Academy of Art and obtained his master's degree in 2023. In 2021, he became a member of the Copper Field Tproject, and the distinctive characteristics of the space's live scene work also inspired him. Today, his work presents a unique structural state that conveys the metaphor of materials, working methods, and imagery, ultimately forming a material structure parallel to reality. Through this approach, he addresses a wide range of societal issues.
相关链接:
铜场广场 | 翟宇辉毕业了
综合 | 翟宇辉【西南青年当代艺术群落·系列三十四】
拾萬 | 北京
仇世杰:黑色空中大丽花
2023年10月29日
展览现场视频
相关链接:
拾萬北京|展览现场|仇世杰:黑色空中大丽花
拾萬北京 | 即将展出 | 仇世杰: 黑色空中大丽花
林山:摇曳
2023年10月21日 - 2023年11月30日
展览现场视频
相关链接:
拾萬北京|展览现场|林山:摇曳
拾萬北京 | 即将展出 | 林山:摇曳
拾萬北京 | 林山 | 象外展评
拾萬空间,于2014年成立于北京草场地艺术区,2018年迁址到北京798艺术区。2021年底开设石家庄分馆拾萬当代艺术中心,并于2023年底迁至石家庄市井陉县北障城村。2023年初在杭州市西湖区转塘街道的孵鸡湾建立分部。拾萬北京总部位于798包豪斯建筑集群中的一处二楼下陷式空间,石家庄分部深入到太行山古村落中的一座老教堂,而杭州空间则改造自龙坞茶山旁的一间农舍。拾萬空间对常规化的展览保持警惕,希望从当代艺术的语境出发,通过持续的展览和项目,来回应我们共同的生存境遇,激发出当下文化中被忽视的部分。
Hunsand Space was established in 2014 in the Caochangdi Art Zone of Beijing. In 2018, it relocated to the 798 Art District in Beijing. At the end of 2021, Hunsand Space opened a branch, Hunsand Center for Contemporary Art, in Shijiazhuang, and by the end of 2023, it had moved to Beizhangcheng Village in Jingxing, Shijiazhuang. In early 2023, a new branch was established in Fujiwan, Zhuantang, Xihu, Hangzhou. The Beijing headquarters of Hunsand Space is located within a sunken two-story building in the Bauhaus architectural complex within the 798 Art District. The Shijiazhuang branch delves deep into an old church within a historic village in the Taihang Mountains, while the Hangzhou space has been transformed from a farmhouse near the Longwu Tea Plantation. Hunsand Space remains vigilant against the standardization of exhibitions and aims to respond to our shared existential experiences, sparking the often overlooked aspects of contemporary culture through ongoing exhibitions and projects.
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周二-周日 TUE-SUN 10:30-18:00(冬季)11:00-19:00(春夏秋)微信 | WeChat: hunsandspace