户尔北京 | 群展「大地之歌 ?The Song of the Earth」| 即将开幕

07.12.2024-25.01.2025

卡罗琳·巴赫曼于1963年出生在瑞士洛桑，现工作生活于瑞士库利和德国柏林。于2022年荣获瑞士梅瑞德·欧本汉奖，于2007年至2022年担任日内瓦艺术大学的教授兼绘画系主任。

卡罗琳·巴赫曼的画作，既受上世纪象征主义的影响——它们都在试图描绘一种无限的静止，人工描绘出来的自然景观可能会被误认为是永恒；同时在其中也有外光派绘画的影子。艺术家在日内瓦湖畔生活和工作，她会花数小时来观赏风景，记录大气事件的微小细节，记下微妙的色彩变化。就像数字时代之前的漫画上色师一样，他们的工作是将青色、洋红色、黄色和黑色这四种颜色的64种不同比例的组合所对应的手写编号，给到雕刻师使用。回到工作室后，巴赫曼用半透明的油画颜料，通过长时间的打磨来完成这些画作。她的肖像画作系列从2014年起持续至今，以类似的手法绘制她生活圈中的女性艺术家。巴赫曼首先用铅笔绘制她的模特们，在数次写生之后再用这些初步的黑白底稿作为模板来完成画作。

其近期个展包括麦习画廊，柏林，2024；伊夫里当代艺术中心，巴黎，2023；麦习画廊,卡尔斯鲁厄空间,2022;格雷戈里·斯泰格画廊，苏黎世，2021年；格拉鲁斯美术馆，2020年；杜安·托马斯画廊，纽约，2020年。她也曾与斯特凡·班兹在德国沃尔夫斯堡美术馆（2016年）以及莫伊兰德城堡博物馆（2014年）展览。此外，巴赫曼还参加了许多群展，包括日内瓦当代艺术博物馆，2021年；洛桑州立美术馆，2021年；卢塞恩美术馆，2020年；Palazzina，巴塞尔，2020年；利斯塔尔宫艺术馆，巴塞尔，2018年；温特图尔摄影博物馆，2011年；湖北艺术中心，2010年（与斯特凡·班兹）。

Caroline Bachmann was born in Lausanne, Switzerland in 1963, and lives and works between Cully, Switzerland, and Berlin. She's the winner of the Swiss Grand Award for Art | Prix Meret Oppenheim 2022, Bachmann was a Professor and head of the painting and drawing department at the University of art HEAD – Genève from 2007 to 2022. 

Caroline Bachmann’s paintings owe as much to turn-of-last-century Symbolism – in their attempt to depict an infinite stillness, whose synthetic depiction of nature could be mistaken for that of eternity – as to plein-air painting. The artist lives and works on the shore of Lake Geneva, where she spends hours contemplating the scenery, recording with a lead pencil on paper minute details of atmospheric events, making notes in the margins of subtle colour changes – not unlike comic book colourists of the pre-digital age, whose job it was to pass on to engravers written codes corresponding to the 64 possible combinations of percentages of cyan, magenta, yellow and black at their disposal. Back in the studio, the paintings are then built up over a lengthy period of time with translucent glazes of oil paint. The portraits, part of an ongoing series initiated in 2014 of women artists in her circle, are done in a similar fashion. The models are first drawn in pencil from life over a number of sittings. These preliminary black-and-white drawings then serve as templates for the finished paintings.

Recent solo exhibitions include Riegger,(Berlin,2024), Le Centre d'art contemporain d’Ivry – le Crédac(Paris,2023), Meyer Riegger, (Karlsruhe,2022), Galerie Gregor Staiger (Zurich, 2021), Kunsthaus Glarus (2020), Duane Thomas Gallery (New York, 2020), Kunstmuseum Wolfsburg (2016) and Museum Schloss Moyland (Bedburg-Hau, 2014), the latter two together with Stefan Banz. She has also participated in numerous group exhibitions including at Mamco (Geneva, 2021), MCBA Musée cantonal des beaux arts (Lausanne, 2021), Kunstmuseum Luzern (2020), Palazzina (Basel, 2020), Kunsthalle Palazzo Liestal (Basel, 2018) and Fotomuseum Winterthur (2011), as well as at Hubei Institute of Fine Arts with Stefan Banz (Wuhan, 2010).

陈丹笛子1990年出生在中国广西，于2015年毕业于广州美术学院油画系。现工作生活于中国浙江。

陈丹笛子的作品涉及视频、装置、摄影和文学等多种形式，?独特的视角揭示了关于?然和人类景观的私人瞬间洞见，并将这些瞬间所揭示的更大社会结构和个?心理展现出来。她运?自然界的意象，创造叙事和情感的纽带，将我们的混合现实引入更加深入的探索之中。陈丹笛子的作品通过缓慢?深入的方式，将关注点放在那些容易被忽略的事物上， 诗意地探究了不确定性作为当代生活的基本状态，探索了人类学家安娜·洛文豪普特·辛格所指出的，不可预知的相遇和这种脆弱状态不仅有能力转变我们，而且有能力重新塑造我们。

陈丹笛子的作品曾在巴黎八梨空间、柏林时代美术馆、上海双年展城市项目青策计划、深圳城市/建筑双年展、连州摄影节、OCAT深圳、北丘美术馆、Para Site、匹兹堡大学弗里克美术馆、墨西哥国家数字文化中心、户尔空间、常青画廊和广州画廊等地展出。她曾于2020年入围了第八届华宇青年奖。

Chen Dandizi was born in Guangxi, China in 1990, Chen graduated from the Oil Painting Department of Guangzhou Academy of Fine Arts in 2015 and lives and works in Zhejiang, China.

Chen Dandizi's work spans various forms, including video, installation, photography, and literature, revealing personal moments of insight about nature and the human landscape from a unique perspective. She showcases the larger social structures and personal psychology that these moments reveal. Utilizing imagery from the natural world, she creates narrative and emotional connections that invite deeper exploration of our mixed realities. Her work focuses poetically on those often overlooked, scrutinizing uncertainty as a fundamental condition of contemporary life. Chen explores the unpredictable encounters highlighted by anthropologist Anna Lowenhaupt Tsing, emphasizing that such fragile states have the potential to transform and reshape us.

Chen Dandizi’s works have been exhibited at various venues, including the Palais de Tokyo in Paris, Kunsthaus in Berlin, the Shanghai Biennale's Urban Projects, Shenzhen’s Urban/Architecture Biennale, the Lianzhou Photography Festival, OCAT in Shenzhen, North Hill Art Museum, Para Site, Frick Fine Arts at the University of Pittsburgh, the National Digital Culture Center in Mexico, Huer Space, Evergreen Gallery, and Guangzhou Gallery. In 2020, she was nominated for the 8th Huayu Youth Award.

科西玛·祖·克尼法森1988年出生在智利,于2009 年至 2017 年就读于莱比锡平面设计与书艺术学院，现工作生活于德国柏林。

科西玛·祖·克尼法森的作品常常以文学或艺术参考作为出发点，似乎触及了亲密与历史之间的神圣空间。她强调创作与欲望的纠缠，反复在她的画作中加入标志性的艺术历史主题，以此来反思自己对酷儿酒吧、艺术家工作室场景、对缪斯的沉思以及克里斯蒂娜·德·皮桑的中世纪文学乌托邦《女士之城》的启示的描绘。科西玛·祖·克尼法森的创作实践涵盖了不同的媒介，如使用乙烯基、油画、粉彩、墨水、布料碎片和蛋壳绘画，以及素描和写作。

其近期个展包括塞巴斯蒂安·格拉德斯通（Sebastian Gladstone）（2024年）、智利圣地亚哥当代艺术博物馆（2022年）、巴塞尔Weiss Falk（2022年）、伦敦piloto pardo（2021年）和柏林体育场（2020年）。此外，她还参加了柏林婚礼画廊（2019年）、莱比锡Verein für zeitgen?ssische Kunst（2021年）、波茨坦艺术协会（2022年）、柏林Berghain（2020年）、布鲁塞尔简报室（2023年）和东京XYZ Collective（2023年）的群展。她的专著Cento 于 2023 年与 Bom Dia Boa Tarde Boa Noite 在柏林出版。

Cosima zu Knyphausen was born in Chile in 1988, she studied at Hochschule für Grafik und Buchkunst in Leipzig from 2009 to 2017, and now Lives and works in Berlin.

Often departing from literary or artistic references, Cosima zu Knyphausen’s works seem to tap into the sacred space between the intimate and the historic. Highlighting the entanglement of creation and desire, she repeatedly engages in her paintings with iconic art historical motifs as a way to reflect on her own depictions of queer bars, settings in the artist's studio, meditations on the muse, all the way to illuminations from Christine de Pizan’s medieval literary utopia The Book of the City of Ladies. Cosima zu Knyphausen’s practice encompasses different mediums such as painting with vinyl, oil, pastel, ink, fabric scraps, and eggshells, as well as drawing, and writing. 

Recent solo exhibitions include Sebastian Gladstone (2024), Museo de Arte Contemporáneo, Santiago de Chile (2022), Weiss Falk, Basel (2022), piloto pardo, London (2021), and stadium, Berlin (2020). Furthermore, she has participated in group exhibitions at Galerie Wedding, Berlin (2019), Verein für zeitgen?ssische Kunst, Leipzig (2021), Kunstverein KunstHaus Potsdam (2022), Berghain, Berlin (2020), Briefing Room, Brussels (2023), and XYZ collective, Tokyo (2023). Her monograph Cento was published with Bom Dia Boa Tarde Boa Noite in Berlin in 2023.

胡安·乌斯莱，1954年出生于西班牙桑坦德，在瓦伦西亚的圣卡洛斯美术学院接受培训。目前生活工作于美国纽约和西班牙坎塔布里亚的萨罗。

胡安·乌斯莱发展出一种丰富的绘画风格，其作品游走于纯抽象与情感强烈的主观表达之间。自20世纪80年代初以来，他致力于在元叙事层面上通过个人经历创作绘画，同时也反映其绘画语言的基本规则。迄今为止，他最全面的绘画系列名为《我梦见你揭示》（So?é que revelabas），将贯穿乌斯莱视觉世界的诗意情感概念主义提炼至精髓，展现绘画的结构条件和绘画过程。每一笔画既是绘画动作的标记性影像，也是艺术家与其作品关系的直接物理表现。

他参加了第51届威尼斯双年展（2005年）并在第九届卡塞尔文献展上展出（1992年）。2002年，他获得了西班牙国家艺术奖。他的绘画和摄影作品在美国和欧洲的多个个展中展出，包括瓦伦西亚的Bombas Gens艺术中心（2021年）、圣地亚哥德孔波斯特拉的加利西亚当代艺术中心（2014年）、波恩艺术博物馆（2014年）、帕尔马现代与当代艺术博物馆（2010年）、瓦伦西亚的Bancaja基金会（2008年）、马拉加当代艺术中心（2007年），以及巴塞罗那的“la Caixa”基金会（2006年）。他还参加了众多群展，包括毕尔巴鄂的古根海姆博物馆（2022/2023年）、桑坦德的博廷中心（2021年）、纽约的Zeit Contemporary Art（2021年）、俄亥俄州哥伦布的哥伦布艺术博物馆（2019年）、卢森堡让大公现代艺术博物馆（2018年）、阿拉巴马州伯明翰艺术博物馆（2017年）、马拉加的毕加索博物馆（2016年）、威尼斯的卢西亚诺·贝内通基金会（2015年）、马德里的索菲亚皇后国家艺术中心（2013年）、莫斯科博物馆（2011年）、洛杉矶汉默博物馆（2010年）、都柏林的现代艺术博物馆（2009年）、卢森堡的MUDAM（2008年）。他的作品被许多公共收藏机构收藏，包括波士顿美术博物馆、索菲亚皇后国家艺术中心、纽约现代艺术博物馆（MOMA）、蓬皮杜艺术中心、“la Caixa”基金会、维也纳现代艺术博物馆（MUMOK）、MIGROS、卢森堡现代艺术博物馆(SMAK)、泰特现代艺术馆、斯德哥尔摩现代艺术博物馆、纽约公共图书馆、塞拉尔维斯博物馆、穆尔斯布罗赫博物馆、慕尼黑的 Goetz 收藏馆、丸龟平井博物馆和萨奇收藏。

Juan Uslé, born in 1954 in Santander, Spain, received his training at the Escuela Superior de Belles Artes San Carlos in Valencia. Juan Uslé lives and works in New York City and Saro in Cantabria, Spain.

Juan has developed a rich painterly oeuvre that operates in the space between pure abstraction and emotionally intense subjective expression. Since the early 1980s, he sought to create paintings informed—on a meta-narrative level—by his personal experience, while also reflecting the fundamental rules of his pictorial vocabulary. To date, his most comprehensive series of paintings called So?é que revelabas (I dreamed that you revealed) distils the poetic-emotional conceptualism that permeates Uslé’s visual universe down to its essence; the structural conditions of painting and the pictorial process. Each brushstroke is both the indexical image of the painterly gesture and the direct physical representation of the artist’s relationship to his work.

He participated in the 51st Venice Biennale (2005) and exhibited at documenta 9 in Kassel (1992). In 2002, he was awarded Spain’s National Art Prize. His painting and photography has been presented in numerous individual exhibitions in the US and Europe, including Bombas Gens Centre d’ Art, Valencia (2021), Centro Galego de Arte Contemporánea, Santiago de Compostela (2014), Kunstmuseum Bonn (2014), Museu d’Art Modern i Contemporani de Palma (2010), Fundación Bancaja, Valencia (2008), Centro de Arte Contemporáneo de Málaga (2007), and “la Caixa” Foundation, Barcelona (2006). He was also in numerous group exhibitions including Guggenheim Museo Bilbao (2022/2023), Centro Botín, Santander (2021), Zeit Contemporary Art, New York (2021), Columbus Museum of Art Columbus, Ohio (2019), Musee D′Art Moderne Grand-Duc Jean, Luxembourg (2018), Museum of Art, Birmingham, Alabama (2017), Museo Picasso, Málaga (2016), Fundación Luciano Benetton, Venice (2015), Museo Reina Sofía, Madrid (2013), Moscow Museum (2011), Hammer Museum, Los Angeles (2010), Museum of Modern Art, Dublin (2009), MUDAM Luxemburg (2008). His work is part of various public collections, including Boston Museum of Fine Arts, Museo Reina Sofía, MOMA, Pompidou, “la Caixa” Foundation, MUMOK, MIGROS, Musée d’Art Moderne Luxembourg, SMAK, Tate Modern, Moderna Museet, New York Public Library, Serralves Museum, Museum Morsbroich, Sammlung Goetz, Munich, Marugame Hirai Museum, and Saatchi Collection.

卡西亚·福达科夫斯基1985年出生在英国伦敦,于2006年毕业于牛津大学拉斯金绘画与美术学院,现工作生活于德国柏林。

她的创作丰富多彩，充满趣味，包括雕塑、电影、表演和写作，通过物质接触、超现实逻辑和喜剧理论来探索社会谜题。她的作品常常提及二元分类的魅力与危险，以及它在我们的政治和社会氛围中展现的荒谬性，揭示了文化规范之间的差异。在她运用喜剧手法的同时，悲剧元素往往也相伴相随，因此她的作品经常徘徊在恐怖与喜剧之间。她经常成为自我攻击的对象，她以严肃而又玩世不恭的态度探索自己作为艺术家的角色及其刻板印象。她长期以来对失败的迷恋，以及对成功的重新定义，使她创作了多场悲喜剧式的表演和写作作品。

其近期个展包括：纽约GAA 的《未命名》（2024年），波兰弗罗茨瓦夫 Galeria SIC! BWA 的 Gallery Power LTD（2024年），佛罗伦萨 Numeroventi 的《第一击和第二击》（2023年），柏林 BAW Garten 的《MOTUS 与 Kasia Fudakowski》（2023年），以及柏林 ChertLüdde 的 Gallery Power LTD（2023年）。此外，她还参与了多个群展，如威尼斯策展研究学院在 A plus A 画廊策划的《Double Take》（2024年），Brenda Guesnet 在比利时梅赫伦艺术馆策划的《The Fountain Show》（2024年），德国德绍包豪斯博物馆的《END EXPO，与姑息转向协会合作》（2024年），以及布拉格艺术馆的 Elmgreen & Dragset: READ（2024年）。

Kasia Fudakowski was Born in London,UK in 1985,she studied at the Ruskin School of Drawing and Fine Art, Oxford University, graduating in 2006,now lives and works in Berlin.

Her diverse and playful practice, which includes sculpture, film, performance, and writing, explores social riddles through material encounters, surreal logic and comic theory. Often referring to the allure and danger of binary categorisation and the subsequent absurdity that it unfolds in our political and social climate, her work reveals the discrepancies amongst cultural norms.Where she employs comic mechanisms, the tragic is never far behind, so that her work often hovers between the horrific and the comic. Frequently the target of her own attacks, she explores her own role as an artist and the stereotype thereof with both a seriousness and irreverence typical of her approach. Her long-term infatuation with failure, and redefining success, has resulted in a number of tragi-comic performances and pieces of writing.

Recent solo exhibitions include Untitled at GAA, New York (2024), Gallery Power LTD, and Galeria SIC! BWA Wroc?aw, Poland (2024), The First and Second Blow, Numeroventi, Florence（2023）, MOTUS with Kasia Fudakowski, BAW Garten c/o Neue Nationalgalerie, Berlin（2023), Gallery Power LTD, ChertLüdde, Berlin(2023). Furthermore, she has participated in group exhibitions at Double Take, curated by School for Curatorial Studies Venice at A plus A Gallery, San Marco, Venezia(2024),  The Fountain Show, curated by Brenda Guesnet at Kunsthal Mechelen, Belgium (2024), END EXPO, with The Association for the Palliative Turn at Bauhaus Museum, Dessau, Germany (2024), Elmgreen & Dragset: READ at Kunsthalle Prague (2024).

凯文·布莱登曼1994年出生在法国巴黎,于 2018 年毕业于巴黎塞吉艺术学院。现工作生活于法国巴黎和德国柏林。

凯文精心设计了身体和精神的体验，在这些体验中，周围的物体、情境和角色超越了它们的原有功能。他的作品和展览如同乐谱，为参观者提供了一种表演体验。通过这种方式，艺术家重新演绎并夸大了定义一个人环境的社会舞蹈。他的创作赋予另类文化及其代表人物一种忧郁而创新的深度，他对这些文化中所表达的内容以及其中的具体理性和独特诗意深感兴趣。自2018 年以来，他与艺术家 Paul-Alexandre Islas 共同创办了“Queer Is Not A Label”活动，该活动自创办以来曾在法国、英国和瑞士举办。Queer Is Not A Label 是一系列音乐与表演交汇的活动，支持并庆祝年轻一代的 LGBTQIA 艺术家，将身份和性别问题置于其创作实践的核心。

最近在巴黎 Sultana、雅典 Haus N.、巴塞尔 Basel Social Club与Conditions、柏林 KW Institute、普瓦捷 Confort Moderne、以及柏林 Berghain与Boros Collection和伯尔尼美术馆举办展览。2023年，他与Flora Citro?n共同在 Synagogue de Delme 完成驻留项目，并于2024年4月在法国文化中心和 CEAAC 的支持下，展开新的布拉格驻留计划。

Kévin Blindermanwas born in Paris in 1994, he graduated from the Paris-Cergy School of Arts in 2018. Now lives and works between Paris and Berlin.

Kévin Blinderman orchestrates physical and mental experiences in which surrounding objects, situations, and characters transcend their original function. His works and exhibitions are composed like scores, offering visitors a performative experience. In this way, the artist re-enacts and overplays the social choreographies that define one’s environment. His practice lends a melancholy and innovative density to alternative cultures and those who embody them. He is interested in what is expressed through them, in their concrete rationality and their own poetry. He is the co-founder since 2018 with artist Paul-Alexandre Islas of the “Queer Is Not A Label” evenings organized since its creation in France, Great Britain, and Switzerland. Queer Is Not A Label is a series of events at the intersection of music and performance that supports and celebrates a young generation of LGBTQIA artists placing issues of identity and gender at the heart of their practice.

Kevin Blinderman recently exhibited at Sultana (Paris), Haus N. (Athens), Basel Social Club with Conditions (Basel), KW Institute (Berlin), Confort Moderne (Poitiers), Berghain with the Boros Collection (Berlin), and Bern Kunsthalle. Concluding 2023 with a residency at Synagogue de Delme in duo with Flora Citro?n, and a new residency in Prague with the French Institute and CEAAC in April 2024.?

童昆鸟1990年出生在中国湖南,2015年毕业于中央美术学院雕塑系第三工作室，2016 年考上研究生并同年退学。现工作生活于中国北京.

童昆鸟的作品形式多样，在装置、行为、影像、 雕塑、绘画等媒介中灵活穿插，以创造充满黑色幽默的沉浸式世界而闻名。他习惯利用现代社会这个永动废物工厂制造的(过剩)产物与个人日常生活中触手可及的残余物件进行创作，自由采样中国和西方艺术史中的审美冲动，以特立独行、高度个人化的多媒体方式表达繁杂的社会结构对个体身份与地位的限制与消耗，分解现成物，结合机械串联，导入重力平衡等因素，从而回应材料背后的个体意识，社会机制之间的多重变量和脆弱性。在拜物情绪、消费文化符号盛行，信息过载的当下，不断突破人类再造物的想象边界，呈现刁钻与戏谑并行的重构。童昆鸟的许多作品都强调了平衡的脆弱性--无论是在自我内部、社区内部，还是与他人之间寻找平衡。作为当今中国最著名的年轻艺术家之一，童昆鸟的绘画作品让人能够深入了解他对人类经验的量化和机械化以及人类世中所有生命的脆弱性的复杂思考。

其近期展览包括2024年在蓝岸画廊举办的个展“童昆鸟作品展：机机复机机”，在重庆时代美术馆的群展“未来人类纪”，2022年在中国佛山的群展“第二届南海艺术展览”，2021年在中国上海cc基金会的个展“Golden Dystopia on Three Millimeters”，在中国北京skp-s举办的个展“Being Together“，在上海多伦现代美术馆的群展“中国当代艺术年度展览”，及2020年在德国柏林户尔空间的个展”Just stay in the cold”。

Tong Kunniao was born in Hunan, China in 1990, graduated from the Third Studio of the Sculpture Department at the Central Academy of Fine Arts in 2015, and was admitted to a master’s program in 2016, which he left in the same year. Now lives and works in Beijing, China.

Tong Kunniao is known for creating immersive worlds filled with dark humor through a diverse range of media, including installation, performance, video, sculpture, and painting. He often utilizes the (excess) products from modern society's perpetual waste factories and accessible remnants from personal daily life, freely sampling aesthetic impulses from both Chinese and Western art history. His unique and highly personalized multimedia approach articulates the constraints and consumption imposed by complex social structures on individual identity and status. By deconstructing ready-made objects, integrating mechanical links, and incorporating factors like gravity balance, he addresses the individual consciousness behind the materials, as well as the multiple variables and vulnerabilities within social mechanisms. In a time dominated by fetish emotions, consumer culture symbols, and information overload, he continually pushes the boundaries of human imagination about recreated objects, presenting works that are both sharp and playful in their reconstruction. Many of Tong's works emphasize the fragility of balance—whether it is within oneself, within the community, or in finding equilibrium with others. As one of China’s most renowned young artists today, his paintings offer a deep insight into his complex reflections on the quantification and mechanization of human experience and the fragility of all life in the Anthropocene.

His recent exhibitions include the 2024 solo exhibition "TONGKUNNIAO: Machine Upon Machine" at Gallery Lan, the group exhibition "Future Humanity Chronicle" at the Chongqing Contemporary Art Museum, the 2022 group exhibition "The Second Nanhai Art Exhibition" in Foshan, China, the 2021 solo exhibition "Golden Dystopia on Three Millimeters" at the CC Foundation in Shanghai, the solo exhibition "Being Together" at SKP-S in Beijing, the group exhibition "China Contemporary Art Annual Exhibition" at the Shanghai Duolun Museum of Modern Art, and the 2020 solo exhibition "Just stay in the cold" at Hua International in Berlin, Germany.