户尔柏林 | 群展「一色之伤 A Single Hurt Color」| 即将开幕
一色之伤
A Single Hurt Color
艺术家 Artist
阿尔贝托·贾科梅蒂
格克苏·库纳克
科尔亚·凯特纳·萨恩斯
迪恩·萨梅希玛
玛丽安娜·乌季宁
袁铭
Alberto Giacometti
G?ksu Kunak
Kolja K?rtner Sainz
Dean Sameshima
Marianna Uutinen
Ming Yuan
开幕 Opening
18:00 - 21:00
2025.11.21 - 2026.02.07
地址 Location
波茨坦大街 81B，D-10785 柏林，德国
Potsdamer Strasse 81B, D-10785 Berlin, Germany
户尔空间很荣幸为您呈现展览《一色之伤》，展览标题取自格特鲁德·斯泰因（Gertrude Stein）1914 年作品《温柔的按钮 (Tender Buttons)》中开篇散文诗〈一个醒酒器，那是一只盲玻璃瓶〉（“A Carafe, That Is a Blind Glass”）。在斯泰因的文本中，物件不再只是符号，而是行动者：杯子、盒子、窗帘、瓶壶都承载着能动性。颜色可以成为淤痕，容器可以成为声音，描述本身也成为一种关系伦理。斯泰因的实验源自观察塞尚，他的肖像作品让她意识到世界可以被打碎再重组，感知本身可以成为创作主体，这一观念影响了阿尔贝托·贾科梅蒂。贾科梅蒂临摹塞尚的《塞尚夫人》，随后用一生的时间将人的存在塑造成以距离为真正媒介的形式。他的拉长人物既是边缘也是光晕，既在眼前又远在天边。斯泰因开篇散文诗的最后一句“差异正在扩散”（the difference is spreading）为本展提供了另一把钥匙：它指向一种身份、关系与形式开始变化的感受间隔。
展览汇聚阿尔贝托·贾科梅蒂、格克苏·库纳克、科尔亚·凯特纳·萨恩斯、迪恩·萨梅希玛、玛丽安娜·乌季宁和袁铭等六位艺术家，通过雕塑、绘画、影像、表演和装置，呈现色彩、表面与肌理如何承载记忆、情绪与张力。格克苏·库纳克的装置《别让他们射那风筝》以 3D 打印头像、影像投射和刺绣窗帘呈现土耳其移民在德国的生活经验与社会压迫；迪恩·萨梅希玛的黑白摄影记录观者在空白银幕前的身影，将负空间转化为欲望和情感的媒介；科尔亚·凯特纳·萨恩斯的 Hypernode 系列将胚胎性形态与机械结构叠加，呈现跨尺度的物理与生物互动；玛丽安娜·乌季宁通过折叠丙烯条纹形成色彩浮雕，使绘画成为可触的空间体验；袁铭通过复制梵克雅宝和法贝热首饰盒探讨物体、身份与社会结构的关系。展览中反复出现的容器、屏幕、窗帘和盒子，让颜色、表面与形式承载历史、情感与社会经验，身体与物体的边界在光影和材质中模糊，视觉与触觉在微妙张力中汇聚。《一色之伤》延续了斯泰因与贾科梅蒂的观察经验，提出颜色可以成为事件，形式可以成为关系；最精准的艺术有时也是最克制的。它的意义在于让感知在间隔中累积——在醒酒器的微痛、空白银幕的静默，或首饰盒的低语中，视觉与触觉交汇。我们所见的不只是物象，更是被暂时而精确地置于阈限的感受。
Hua International is pleased to present A Single Hurt Color, whose title takes its inspiration from the opening prose poem of Gertrude Stein’s 1914 work Tender Buttons, “A Carafe, That Is a Blind Glass.” In Stein’s text, objects no longer merely signify; they act. Cups, boxes, curtains, and carafes carry agency. Color becomes bruise, a container becomes voice, and description itself becomes an ethics of relation. Stein’s experiment was rooted in looking at Cézanne, whose portraits taught her that the world could be shattered and reassembled, and that perception itself could be the subject. Stein’s prose strains toward cubism, and its planes and repetitions anticipate abstraction. A generation later, Alberto Giacometti copied Cézanne’s Madame Cézanne, then spent a lifetime modeling human presence as if distance were the true medium. His attenuated figures are all edge and aura, near and far at once. The closing line of Stein’s opening poem, “the difference is spreading,” points to a felt interval in which identity, relation, and form begin to change.
The exhibition brings together six artists, Alberto Giacometti, G?ksu Kunak, Kolja K?rtner Sainz, Dean Sameshima, Marianna Uutinen, and Ming Yuan, through sculpture, painting, video, performance, and installation, exploring how color, surface, and texture carry memory, emotion, and tension. G?ksu Kunak’s installation Don’t Let Them Shoot the Kite combines 3D printed busts, projected video, and embroidered curtains to explore the lived experience and social pressures of Turkish migrants in Germany; Dean Sameshima’s black-and-white photographs capture viewers before blank cinema screens, transforming negative space into a medium of desire and emotion; Kolja K?rtner Sainz’s Hypernode paintings layer embryonic and mechanical forms, visualizing cross-scale interactions between the physical and the biological; Marianna Uutinen’s folded acrylic strips create chromatic reliefs, making painting a tangible spatial experience; and Ming Yuan’s replicated Van Cleef & Arpels and Fabergé jewelry boxes examine the relationships between objects, identity, and social structures. Recurrent elements such as containers, screens, curtains, and boxes allow color, surface, and form to carry history, emotion, and experience, blurring the boundaries between body and object and producing a subtle convergence of vision and touch. A Single Hurt Color carries forward Stein and Giacometti’s lesson: color can be an event, form can be a relation, and the most precise art can also be the most withholding. Its purpose is not exclusion but to let meaning accumulate in the space between. In that interval, the ache of a carafe, the hush of a blank screen, or the quiet inside a jewel box, vision and touch converge. What we see is not only what is there; it is also what it feels like to be held, briefly and exactly, at the threshold.
格克苏·库纳克G?ksu Kunak
别让他们射那风筝 Don't Let Them Shoot The Kite, 2025
科尔亚·凯特纳·萨恩斯 Kolja K?rtner Sainz
无题（耳到眼）Untitled (Ears to Eyes), 2025
迪恩·萨梅希玛 Dean Sameshima
独处（No.4）being alone (no. 4), 2022
档案喷墨打印 Archival inkjet print
线 I String I, 2021
布面丙烯 Acrylic on Canvas
不在场证明·兔 Alibi Rabbit, 2025
布面油画 Oil on Canvas
关于艺术家
格克苏·库纳克
G?ksu Kunak
格克苏·库纳克（G?ksu Kunak, 1985年生，安卡拉）现居柏林，是艺术家、研究者和作家，其创作实践跨越行为艺术、影像、绘画和研究。通过时间政治（chronopolitics）和混合文本形式，他们探索当代生活的语言、非西方戏剧结构以及异性父权体系带来的压力。受阿拉伯式文化和移民生活经验影响，他们构建层叠的场景，使手势、声音和物体成为记忆与抗争的承载体。
格克苏获得哈杰泰佩大学艺术史硕士学位，导师为副教授 Zeynep Yasa Yaman。他们曾在哈杰泰佩大学艺术史系担任研究与教学助理，并曾尝试在 Bojana Kunst 教授指导下进行关于酷儿时间政治与表演（黑盒作为时间内爆）的博士研究，但未完成。
奖项：2025 年柏林艺术学院柏林艺术奖；Dieter Ruckhaberle 奖提名。
展览与演出包括纽约 Performa 双年展；柏林新国家美术馆；柏林 Neuer Berliner Kunstverein；柏林 Sophiensaele；布鲁塞尔 Kaaitheater；安特卫普 De Singel；柏林 KW 当代艺术研究所；日内瓦当代艺术中心；Bergen Assembly。
代表作品与项目：Ajaib Mahluqat (Acayip Mahlukat)，2023；AN(A)KARA，2021；个展 Dhikr，Number1MainRoad，柏林；Bygone Innocence，Pilevneli，伊斯坦布尔。出版物及著作包括《#225 I thought this would》，Belladonna*，2018。
G?ksu Kunak (b. 1985, Ankara) is a Berlin based artist, researcher, and writer whose practice moves between performance, moving image, drawing, and research. Working with chronopolitics and hybrid text forms, Kunak explores the languages of contemporary life, non Western dramaturgies, and the pressures of heteropatriarchal structures. Influenced by Arabesk culture and the lived realities of migration, they stage layered scenarios in which gesture, voice, and object become carriers of memory and resistance.
G?ksu holds an M.A. in art history with the supervision of Assoc. Prof. Dr. Zeynep Yasa Yaman. They worked as a research and teaching assistant at the Art History Deparment of Hacettepe University. They've begun working on their Ph.D. on queer chronopolitics in relation to performance, blackbox (as a temporal implosion) with Prof. Dr. Bojana Kunst, but never finished.
Awards: Berlin Art Prize of the Akademie der Künste, 2025; nominee, Dieter Ruckhaberle Prize. Performances and exhibitions include Performa Biennial, New York; Neue Nationalgalerie, Berlin; Neuer Berliner Kunstverein, Berlin; Sophiensaele, Berlin; Kaaitheater, Brussels; De Singel, Antwerp; KW Institute for Contemporary Art, Berlin; Centre d’Art Contemporain, Geneva; Bergen Assembly.
Selected works and productions: Ajaib Mahluqat (Acayip Mahlukat), 2023; AN(A)KARA, 2021; solo shows Dhikr, Number1MainRoad, Berlin; Bygone Innocence, Pilevneli, Istanbul. Publications and writing include the book #225 I thought this would (Belladonna*, 2018). Education: MA in Art History, Hacettepe University, Ankara; former research and teaching assistant, Hacettepe University.
科尔亚·凯特纳·萨恩斯
Kolja K?rtner Sainz
科尔亚·凯特纳·萨恩斯（Kolja K?rtner Sainz, 1998年生）是德国画家，现居莱比锡，目前在莱比锡美术学院攻读 MFA。他的创作探索具象与抽象共存的中间状态。通过多层油画与墨水，他将形式视为演化系统，呈现模糊、漂移与感知上的变化，其中具象与结构互相牵引。
重要个展与双人展：Hypernode，Tabula Rasa 画廊，伦敦，2024；Solstice Room，Miart DS 画廊，米兰，2024；Perpetuum，DS 画廊，巴黎，2023；Terminus，Spencer Brownstone 画廊，纽约，2023；The Consolation of Clinamen，Tabula Rasa 画廊，北京，2023。
重要群展：Forever After，Reuter Bausch 画廊，卢森堡，2024；293.94km，Frise Künstlerhaus，汉堡，2022；Schauplatz，HGB 莱比锡，2021。
Kolja K?rtner Sainz is a German painter based in Leipzig and currently pursuing a MFA at the Academy of Fine Arts Leipzig. His work searches for an intermediate state where representation and abstraction coexist. Through layered oil and ink, he treats forms as evolving systems, rendering blurs, drifts, and perceptual shifts in which figuration and structure pull against each other.
Selected solo and two-person exhibitions: Hypernode, Tabula Rasa Gallery, London, 2024; Solstice Room, Miart DS Galerie, Milan, 2024; Perpetuum, DS Galerie, Paris, 2023; Terminus, Spencer Brownstone Gallery, New York, 2023; The Consolation of Clinamen, Tabula Rasa Gallery, Beijing, 2023.
Selected group exhibitions: Forever After, Reuter Bausch Gallery, Luxembourg, 2024; 293.94km, Frise Künstlerhaus, Hamburg, 2022; Schauplatz, HGB Leipzig, 2021.
迪恩·萨梅希玛
Dean Sameshima
迪恩·萨梅希马（Dean Sameshima，1971年生，加州托伦斯）现居柏林，是一位艺术家，其摄影与绘画探索酷儿欲望的空间构架与匿名诗学。系列作品being alone呈现独自坐在成人电影影院的观者，将空白银幕和黑暗空间转化为对共同孤独与被保留亲密感的研究。通过书籍、档案和公共空间，萨梅希马追踪凝视如何成为一种语言，以及愉悦空间如何让我们既独处又相互关联。
教育经历：美国帕萨迪纳艺术中心学院 MFA，2001；加州艺术学院 BFA，1997。
重要个展：Portraits，Good or Trash，巴黎，2025；Fragments，Neuer Aachener Kunstverein，亚琛，2025；being alone，Soft Opening，伦敦，2024；being alone，Queer Thoughts，纽约，2023；647(a)，Peres Projects，柏林，2017。
重要群展：第60届威尼斯双年展，2024；盖蒂博物馆，洛杉矶，2025；ICA 洛杉矶，2024；加州摄影博物馆，2024；性博物馆，纽约，2023；亨利艺术馆，西雅图，2021；洛杉矶当代艺术博物馆，2021。
Dean Sameshima is a Berlin based artist whose photographs and paintings chart the architectures of queer desire and the poetics of anonymity. His series being alonepresents solitary viewers inside porn cinemas, turning blank screens and dark rooms into studies of common solitude and withheld intimacy. Across books, archives, and public sites, Sameshima traces how looking becomes a language, and how spaces of pleasure can render us alone and together.
MFA Art Center College of Design, Pasadena, 2001; BFA California Institute of the Arts, 1997.
Selected solo exhibitions: Portraits, Good or Trash, Paris, 2025; Fragments, Neuer Aachener Kunstverein, Aachen, 2025; being alone, Soft Opening, London, 2024; being alone, Queer Thoughts, New York, 2023; 647(a), Peres Projects, Berlin, 2017.
Selected group exhibitions: The 60th International Art Exhibition of La Biennale di Venezia, 2024; Getty Museum, Los Angeles, 2025; ICA Los Angeles, 2024; California Museum of Photography, 2024; Museum of Sex, New York, 2023; Henry Art Gallery, Seattle, 2021; MOCA Los Angeles, 2021.
玛丽安娜·乌季宁
Marianna Uutinen
玛丽安娜·乌季宁（Marianna Uutinen，1961年生，Pieks?m?ki）现居赫尔辛基和柏林，创作折叠丙烯条纹形成色彩浮雕，使绘画进入雕塑空间。她的调色从三原色、苯胺、金色到黑色，在庸俗与清晰之间展开感官对话，使物质本身成为吸引力，手势呈现为物体形式。
教育经历：芬兰美术学院；1989年在赫尔辛基首次展出。
重要展览与荣誉：1997年威尼斯双年展；2006年芬兰奖；2004–2008年芬兰美术学院绘画教授。
收藏机构：阿尔布赖特·诺克斯美术馆（美国布法罗）；路易斯安那现代艺术博物馆（丹麦 Humleb?k）；赫尔辛基美术馆；Kiasma 与 EMMA（赫尔辛基）；现代博物馆（斯德哥尔摩）；奥斯陆当代艺术博物馆。
Marianna Uutinen lives and works in Helsinki and Berlin. Uutinen builds chromatic reliefs from creased acrylic, pushing painting into the space of sculpture. Her palette moves between primaries, anilines, gold, and black, staging a sensual play between kitsch and clarity in which material fact becomes allure and gesture takes on object form.
Finnish Academy of Fine Arts; debut in Helsinki, 1989.
Selected exhibitions and honors: Venice Biennale, 1997; Finland Prize, 2006; Professor of Painting, Finnish Academy of Fine Arts, 2004 to 2008.
Collections include Albright Knox Art Gallery, Buffalo; Louisiana Museum of Modern Art, Humleb?k; Helsinki Art Museum; Kiasma and EMMA, Helsinki; Moderna Museet, Stockholm; Museum of Contemporary Art, Oslo.
袁铭
Ming Yuan
袁铭（Ming Yuan，1997年生，成都）现居法兰克福，从事绘画、雕塑、声音和论文创作。她从历史唯物主义出发，结合自身的离散经历，探索意识形态与道德如何通过物体得以体现，从奢侈品包装到仪式性陈设，她将框架、丝带和首饰盒视为主体，通过这些物件检验阶级、装饰与身份的规范与潜规则。
教育经历：自2019年起就读于法兰克福施泰德艺术学院 MFA，2025年毕业，同时在丹麦皇家艺术学院查尔滕堡雕塑学院师从 Simon Dybbroe M?ller 教授学习。
重要项目：不在场证明（关于空奢侈品盒与礼物经济的系列，进行中），2025；展览： 一色之伤，户尔空间，柏林，2025。
文字与声音作品曾在德国和中国的独立及项目空间展出。
Ming Yuan is an artist based in Frankfurt am Main working across painting, sculpture, sound, and essay. Drawing on historical materialism and her own diasporic experience, Yuan examines how ideology and morality take shape in objects, from luxury packaging to ritual display. Frames, ribbons, and cases become protagonists that test the codes of class, ornament, and identity.
MFA at the St?delschule, Frankfurt am Main, since 2019; graduation 2025 additionally studying with Professor Simon Dybbroe M?ller at the Royal Danish Academy of Fine Arts, School of Sculpture Charlottenborg, Copenhagen.
Selected projects: ALIBI(ongoing series on empty luxury boxes and the gift economy), 2025; participation in A Single Hurt Color, Hua International, Berlin, 2025.
Writing and sound works presented in independent and project spaces in Germany and China.
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.
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