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户尔柏林 | 群展「焦虑废弃残片 ?Splinters of Angst Derelict」| 展览现场

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户尔柏林 | 群展「焦虑废弃残片 ?Splinters of Angst Derelict」| 展览现场崇真艺客

Splinters of Angst Derelict

焦虑废弃残片????

艺术家 Artist

由托马斯·吴和拉斐尔·多梅内克组织

Organized by Tomas Vu and Rafael Domenech

Bale Creek Allen, Ghada Amer/Reza Farkhondeh,

Korakrit Arunanondchai, Sanford Biggers,

Caroline Carlsmith, Alejandro Contreras,

william cordova, Aurélien Couput,

Jeremy Deller, Mark Dion,

Rafael Domenech, Fab 5 Freddy, Guerrilla Girls,

Baris Gokturk, Cash For Your Warhol,

Arturo Herrera, Alfredo Jaar,

Michael Joo, Sonia Kahn,

William Kentridge, Dr. Lakra,

Dinh Q. Lê, Barry Le Va,

Jonas Mekas, Gean Moreno, Jennifer Nuss,

Kambui Olujimi, Sigmar Polke,

Lee Quinones, Ema Ri, Alex Roberts,

Dieter Roth, Dennis Scholl, Dana Schutz,

Amy Silman, Luis Silva,

Kiki Smith, Sarah Sze, Rirkrit Tiravanija, Christy Titus,

Wang Xu, Tomas Vu, Tommy White,

Beau Willimon, and Sun Xun

展期 Duration

14.02-12.04.2025

地址 Address

户尔空间
波茨坦大街81b，柏林
Hua International, Potsdamer Str. 81B, 10785 Berlin

户尔空间荣幸呈现群展《焦虑废弃残片》，由艺术家托马斯·吴与拉斐尔·多梅内克共同组织。本次展览汇集了 40 余位艺术家的作品，他们以各自的艺术语言抵抗主流文化生产，反思当代艺术中“过度表现”的现象。

展览标题 “焦虑废弃残片” 揭示了艺术创作的碎片化、本质上的残余性，以及文化生产中的被遗弃感。“Splinter”（碎片）指向那些曾属于更大整体的事物，如同扎入肌肤的小刺，以微小却不可忽视的方式带来不适与反抗。“Angst”（焦虑）借鉴了瓦尔特·本雅明（Walter Benjamin）在俄国革命后旅居苏联时的感慨：“所有的梦想都变得灰暗”，精准捕捉了当代社会弥漫的不安。“Derelict”（废弃）则象征那些被遗忘的遗迹——犹如一张被雨水打湿的海报仍粘附在人行道上，等待被拾起。展览通过这一标题表达了一种集体焦虑，同时也对固化叙事提出抵抗。

Hua International is pleased to present Splinters of Angst Derelict, a group exhibition organized by Tomas Vu and Rafael Domenech. The exhibition, which brings together works by over 40 artists, unites a diverse group of voices committed to resisting mainstream cultural production and the contemporary phenomenon of hyper-representation.

The title, Splinters of Angst Derelict, captures artistic labor's fragmented, residual nature and the sense of abandonment in cultural production. The word “splinter”—an object that once belonged to a greater whole—becomes a metaphor for protest, discomfort, and resistance. It represents “something that sticks into someone’s finger as an agent that can generate pressure or pain right into a body.” The term “angst” draws from Walter Benjamin’s poignant reflection during his time in Russia after the Soviet Revolution: “All the dreams have gone grey,” encapsulating the pervasive anxieties of our era. “Derelict” alludes to residual ephemera like a lingering wet poster on a sidewalk, hoping for someone to pick it up. Together, the title underscores a collective unease and a refusal to conform to reductive narratives.

户尔柏林 | 群展「焦虑废弃残片 ?Splinters of Angst Derelict」| 展览现场崇真艺客

《焦虑废弃残片》挑战了当代具象艺术的主流框架，不是为了排除视角，而是探索另一种文化生产方式。参展艺术家拒绝“过度再现”——即对人体的过度描绘，转而推动创新实践。他们将绘画作为思想的概念支架，所有作品均未装裱，而是直接展示在纸板和木质悬挂结构上，营造出即时性和临时感，这也同时致敬莉娜·博·巴尔迪（Lina Bo Bardi）标志性的玻璃画架。展览摒弃墙面与传统画框，打破常规展览设计的时间顺序，使作品得以以动态、非线性的方式存在。

在这里，绘画不仅是一种媒介，更是一种思维架构——流动、残存、可移动，为革命性思想提供空间。作品涵盖版画、摄影、视频及纸上创作，展现激进的可能性，并构建出一个自发性与意图交汇的场域。从瞬间的笔触到精细的构图，展览汇集了一系列焦虑而充满活力的艺术探索和变革记录。

The exhibition challenges the dominant frameworks of contemporary figurative discourses without excluding perspectives, instead proposing alternative modes of cultural production. By resisting hyper-representation—the overt depiction of bodies—the participating artists push forward innovative practices. Using drawing as a conceptual scaffolding for ideas, the works are unframed and all displayed on cardboard and wooden hanging structures, evoking a sense of immediacy and impermanence while referencing Lina Bo Bardi’s iconic Easels of Glass. By discarding walls and traditional frames, the exhibition disrupts the chronological constraints of conventional exhibition design, allowing the works to exist dynamically and non-linearly.

The concept of a drawing is central to the exhibition, celebrated not merely as a medium but as an architecture for thought—a fluid, residual, and mobile framework for revolutionary ideas. The works, which move across the mediums of print, photography, video, and works on paper, offer up radical potential and a space where spontaneity and intent converge. From fleeting marks to intricate compositions, the exhibition is a collection of anxious yet vital documents of artistic exploration and change.

这些来自工作室、档案馆和个人收藏的作品，拒绝迎合市场需求和社交媒体推动的同质化趋势。主题涵盖从个人挣扎到对文化生产的广泛批判，营造出一个由陌生美学和观念激发迷失感与发现感的空间。展览的开放性和去中心化策展方式，邀请观众进入一场多声部对话，抵制对艺术和文化的单一解读。

通过反抗当代文化生产的同质化倾向，本次展览试图找回在现代艺术同化进程中被遗忘的色彩与质感，并提出一个紧迫而充满希望的主张：回归艺术实践的“绘画板”，让创造力在最原始、未驯服、充满革命性的形态中自由生长。

Splinters of Angst Derelict assembles works from studios, archives, and personal collections, united in their refusal to conform to market demands and the homogenization driven by social media. Themes range from personal struggles to broader critiques of cultural production, fostering a space where unfamiliar aesthetics and ideas provoke both disorientation and discovery. The exhibition’s ambitious, nonhierarchical approach invites viewers into a polyphonic dialogue, resisting reductive interpretations of art and culture.

By rejecting the sameness of contemporary cultural production, Splinters of Angst Derelict seeks to rediscover colors and textures lost in the homogenization of modern art. This exhibition offers an urgent and hopeful proposition: a return to the “drawing board” of artistic practice, where creativity flourishes in its raw, untamed, and revolutionary form.

户尔柏林 | 群展「焦虑废弃残片 ?Splinters of Angst Derelict」| 展览现场崇真艺客

艺术家托马斯·吴在展览现场

Artist Tomas Vu at the exhibition图片摄影 Photos by Joe Clark

ABOUT

the Artist

关于艺术家

托马斯·吴?????

Tomas Vu

出生于越南西贡，现生活工作在美国纽约。托马斯·吴通过将丝网印刷，绘画和激光雕刻图像层叠在一起，创造出代表破坏，坍缩和重生周期的幻想场景。其作品的灵感和呈现主要来源于战时在越南长大的个人记忆，图像描绘了人与机器，自然和技术之间的史诗般的冲突，作品由层层开放的空间构成，模糊想象与记忆之间的界限。托马斯吴出生在越南西贡，十岁时随家人搬到德克萨斯州的El Paso。1987年，吴获得德克萨斯大学埃尔帕索分校的学士学位，于1990年在耶鲁大学继续他的学业，并在那里获得了硕士学位。自1996年以来，他一直是哥伦比亚大学艺术学院的教授。2000年，他被任命为LeRoy Neiman中心视觉艺术教授。自该中心成立以来，吴担任该中心主任/艺术总监。

吴曾在世界各地展出，并在日本，意大利，中国和越南举办过个人美术馆展览，包括: Centro Colombo Americano，波哥大(2012)和中央美术学院博物馆(北京)(2015)等；吴同时还担任巡游团体展览项目 DRAW 与持续性合作项目 Green Go Home 的策展人，目前已有100多位艺术家参与; 吴获得过诸多奖项，包括 Joan Mitchell 基金(2001)，古根海姆基金(2002)， Sharpe-Walentas 工作室计划(2015)，第30届卢布尔雅那图像艺术双年展(2016)最佳驻地艺术家和观众奖， Louis Comfort Tiffany 艺术家奖(2017)，以及约翰迈克尔科勒艺术中心(2018)的艺术/工业驻地。

Tomas Vu received a BFA from the University of Texas, El Paso, and later earned an MFA from Yale University. He has been a professor at Columbia University School of the Arts since 1996 and was appointed the LeRoy Neiman Professor of Visual Arts in 2000. In 1996, Vu helped found the LeRoy Neiman Center for Print Studies. Since its inception, he has served as Director/Artistic Director of the Neiman Center.

Vu transforms canvases into dazzling, fantastical landscapes. While some areas are covered in depictions of fauna, others reveal intimate fragments and swirling, bubble-like worlds painted in an illusionistic fashion. Similarly, large swaths are intensely layered with an endlessly dense network of lines that have been silk-screened onto the surface, so complex that they form their own idiosyncratic geometry. Vu’s use of mechanical reproduction does not yield to issues of media and identity. Instead, they evoke associations of algorithmic reiterative logic found in digital technology. Traces of his origin and personal memories can be found in his work, which depicts the epic conflict between man and machine, nature and technology, illustrating his view of the decisive tension in our modern era. Layered open spaces, interpenetrating different dimensions: spaces come alive which blur the line between imagination and memory. Nuanced details and gigantic forms lead the viewer to fully immerse themselves in his transformative body of work.

Vu has exhibited nationally and internationally and has had solo museum shows in Japan, Italy, China, and Vietnam. He has had solo exhibitions at Milwaukee Institute for Art and Design (1998), Museum Haus Kusaya, Yokuska (2001), Centro Colombo Americano, Bogotá (2012) and the China Central Academy of Fine Arts Museum, Beijing (2015).

Vu has received numerous awards including the Joan Mitchell Foundation Fellowship Award (2001), Guggenheim Fellowship (2002), Sharpe-Walentas Studio Program (2015), Residency and Audience Award for Best Artist at the 30th Biennial of Graphic Arts Ljubljana (2016), the Louis Comfort Tiffany Artist Award (2017), and the Arts/Industry Residency at the John Michael Kohler Arts Center (2018). He lives and works in New York City.)

拉斐尔·多梅内克

Rafael Domenech

拉斐尔·多梅内克（Rafael Domenech）是一位居住在纽约的跨学科艺术家(1989年生于古巴)。站在新一代艺术家的最前沿，多梅内克重新定义展览体验。他探索建筑、城市设计与当代材料生产的概念，开发生产不同类型的物体和空间:如实验性出版物、展馆、装置与公共项目。多梅内克的建筑干预与出版方式相联通，如切割、编辑、修改和流通，并以此作为研究策略，扩大了他对展览模式的关注。展览作为一个积极的生产机器，而不仅仅是一个存储容器。

其作品曾在纽约雕塑中心、长岛市苏格拉底雕塑公园、纽约Storefront for Art and Architecture、迈阿密海滩巴斯美术馆、迈阿密菲利普与帕特里夏·弗罗斯特艺术美术馆、纽约布朗克斯艺术美术馆、西班牙维多利亚Artium美术馆、迈阿密 Fredric Snitzer画廊，以及柏林和北京户尔空间中展出。他曾获得洛克菲勒兄弟基金、塔尔萨艺术家奖学金和辛塔斯奖学金等奖项。多梅内克拥有哥伦比亚大学的艺术硕士学位。

Rafael Domenech is an interdisciplinary artist living in New York (b. Cuba, 1989). Domenech is at the forefront of a new generation of artists that is redefining the exhibition experience. He explores notions of architecture, urban design, and contemporary material productions to develop and produce different typologies of objects and spaces, such as experimental publications, pavilions, installations, and public programs. Domenech’s architectural interventions intersect publishing methodologies such as cutting, redacting, revising, and circulation as research tactics to amplify his interest in the exhibition model as an active machine for production rather than a repository space.

His work has been exhibited at SculptureCenter; Socrates Sculpture Park, Long Island City; The Storefront for Art and Architecture, New York; The Bass Museum, Miami Beach; Phillip and Patricia Frost Art Museum, Miami; Bronx Museum of the Arts, New York; Artium Museum, Vitoria, Spain; Fredric Snitzer Gallery, Miami; and Hua International Gallery, Berlin, and Beijing. He was the recipient of an award from the Rockefeller Brothers Fund, the Tulsa Artist Fellowship, and the Cintas Fellowship. He holds an MFA from Columbia University.

关于户尔空间

About Hua International

户尔空间（Hua International）是一家位于柏林与北京两地的当代艺术画廊，展览、出版和公共项目致力于跨学科及行为表演的艺术实践。画廊专注于发展与艺术家长期动态的合作关系，以其地理上的两地性为依托，扩展艺术家及其作品在迥异文化背景下的展览和接受。

以 XC.Hua 为名，经历了两年实验艺术策展项目运营积累后，花笑婵于2020年8月正式更名成立了户尔空间（Hua International），并在北京798艺术区、柏林历史悠久的当代艺术中心之一麦卡托庭院分别设立空间。在常驻两地空间之外，户尔空间也在国际知名的艺术博览会展示其艺术家作品。

Hua International is a contemporary art gallery located in Berlin and Beijing whose exhibitions, publications, and public programming supports cross-disciplinary and performative artistic practices. The gallery focuses on developing long-term relationships with its represented artists and leverages its geographic bilocation as a means to critically expand how their work can be presented and received in radically diverse cultural contexts.

After two years curating the experimental art and performance project XC.Hua, Xioachan Hua founded Hua International in August 2020 and inaugurated the new gallery with spaces in Berlin’s historic Mercator H?fe and Beijing’s acclaimed 798 Arts District.