新展倒计时 | 这是一个好 “地方”

这是一个好“地方” This is a Wonderful Land

艺术家  Artist

戴陈连、郭隆耀、黄嘉彦、银坎保、张东辉、郑江

Dai Chenlian, Guo Longyao, Huang Jiayan, Yin Kanbao Zhang Donghui, Zheng Jiang

元美术馆欣然宣布，将于2026年5月10日至2026年8月14日特别呈现六人群展这是一个好 “地方”，由策展人张莉娸担纲策划。

雷武铃在《赞颂》书中写道「地方：个人之具体所在，个人在无限空间中的立足之点。是个人看见、感触、行走、记忆的世界。它亲切、真实、具体。它有限定之边界，又无限广阔。它是个人、传统、地理、气候、方言、日常和人民。最重要的，它是真实、具体。《地方》：个人的世界，我的世界，我的现实、记忆与家乡」。将“地方”从地理学上的经纬坐标，还原为个人经验与情感记忆的所在。

在高度信息化与全球流动的今天，虚拟连接看似消弭了物理距离，却也让“地方”一词变得愈发暧昧。我们比任何时候都更容易抵达远方，也比任何时候都更难回答“我是谁，我来自哪里”。

展览汇聚戴陈连、郭隆耀、黄嘉彦、银坎保、张东辉、郑江以绘画、雕塑、影像、装置等媒介的创作。他们分别来自浙江、甘肃、湖南、广东、河北——五条不同的地理脉络，五种迥异的方言与水土，却在各自的实践中，不约而同地将目光投向同一片精神坐标：土地，层层剥开生命经验中的记忆，呈现出既个人又普世的真实。

六位艺术家，六种路径，却共同指向一个命题：地方不在地图，而是个人的好“地方”。

This is a Wonderful Land

In ZanSong, Lei Wuling writes: Land: the concrete place of the individual — the foothold of a person within infinite space. It is the world one sees, feels, walks through, and remembers. It is intimate, real, and tangible. It has defined boundaries, yet is boundlessly vast. It is the individual, tradition, geography, climate, dialect, the everyday, and the people. Most importantly, it is real and concrete. 'Land': the individual's world, my world, my reality, memory, and hometown. In this framing, ‘land’ is restored from its geographic coordinates to its true nature: the dwelling-place of personal experience and memory.

In an age of pervasive information and global mobility — where virtual connectivity seems to dissolve physical distance — ‘land’ has grown increasingly elusive. We can reach distant places more easily than ever before, yet we find it harder than ever to answer: Who am I? Where do I come from?

This exhibition brings together works by Dai Chenlian, Guo Longyao, Huang Jiayan, Yin Kanbao, Zhang Donghui, and Zheng Jiang, spanning painting, sculpture, video, and installation. Hailing respectively from Zhejiang, Gansu, Hunan, Guangdong, and Hebei — five distinct provinces in different parts of China, five different dialects and soils — each artist has, independently and yet in concert, turned their gaze toward the same spiritual coordinates: the land. Layer by layer, they peel back the sediment of lived memory to reveal a truth that is at once deeply personal and universally human.

By Dai Chenlian contemplates migration and dwelling, passage and eternity. He captures a subtle state suspended between memory and forgetting — much like the hometown each of us carries within: at once vivid and indistinct.

Apricot Cloud, Golden Crown, and Golden House by Guo Longyao construct a spiritual dwelling through the modelling of colour and texture. Apricot blossoms billowing like clouds, purple gold worn as a crown, gold rendered as a home: these images draw from the inheritance of Gansu Province’s landscape, yet transcend any fixed geography to become a place to which the spirit may always return.

Huang Jiayan undertook a collaborative act of creation with nature on the loess plateaus of northern Shaanxi. Earth that would otherwise have been carried away by water is given new form through the interplay of negative and positive space. The mottled textures read like geological fingerprints, recording the inscription that wind and water have written upon the land. His plaster casts freeze the process of natural erosion — a phenomenological replication of a place.

Yin Kanbao, from the Leizhou Peninsula, used tools left behind by his grandfather to bring the soil of his 1/3 Mu field into wall bricks in his work My Land of 1/3 Mu. The soil is scooped, shaped, and stacked into what he calls ‘a wall of freedom and survival.’ He lifts his ‘field’ onto his back and walks toward the future — an act that pays homage to agrarian civilisation while performing a kind of nomadic self-settlement: the land can be carried; home can be rebuilt.

Confessions of Love, a performance art video by Zhang Donghui, links Beijing and Shijiazhuang through a sequence of actions. He measures the road home with bike-drive, using friction and inscription to wrestle with the self. When the words scratched into concrete slabs become worn, and the slab stays atop the ancestral graves, nostalgia appears— it becomes physical, even painful, contact with the ground. One Day asks friends from Beijing and Shijiazhuang to respond, sentence by sentence: I and myself, I and home, I and the past, present, and future.

Zheng Jiang draws his raw materials from the everyday life of Jiangnan — rattan-strung beds, tuff stone, palm rope, mineral pigments. In his hands, the humble bed becomes something more: landscapes emerge across its surface, and the familiar object is quietly transformed into a vessel of memory. He calls this layering ‘home upon home’ — not a representation of where he came from, but the actual texture of it, the smell of it and the warmth of it.

Six artists. Six paths. Yet all converge upon a single proposition: land is not found on any map — it is each person's own ‘Wonderful Land.’

元美术馆是由北京建龙集团及骏豪集团发起的非营利性美术馆，位于北京市朝阳区骏豪中央公园广场。

“一元复始，万象更新”，元美术馆从“元”开始，在混凝土构筑的山水建筑内开辟出独特的艺术场域，意在引领耽于都市生活的观众回归心灵本源，提供审美、沉思与交流的空间。

元美术馆坚持以具有国际视野的价值判断来审视当下的种种艺术现象，在研究梳理工作的基础上为公众呈现多元化的当代艺术展览，以此推动中国当代艺术的话语生产。同时，元美术馆也将深度连结本土艺术家，关注年轻一代艺术家的创作与发声，支持新兴的艺术思潮与前卫实践，与艺术家及公众一起探索当代艺术的边界。