拾萬空间（北京）荣幸宣布将于2022年2月26日-3月25日推出艺术家群展“奇想之春”。
Hunsand Space (Beijing) is delighted to announced the coming group exhibition "A Spring of Magical Thinking" from feb 26th to mar 25th, 2022.
展览时间：2022年2月26-3月25日（周一公休）参展艺术家：陈可，段诗雨，黄冰洁，蒋子祺，刘符洁，梁姝妮，林山，彭可，张雪瑞，周力，朱荧荧
展览“奇想之春”的构想借鉴了以第一人称写作而闻名的美国记者、散文家琼·狄迪恩（Joan Didion）在其《奇想之年》中独特的写作风格。这部回忆录聚焦于与作者相伴四十余年的丈夫和唯一的女儿在一年之内相继离世的情感历程，狄迪恩并未将这段经历书写成任何令人沮丧或催人泪下的描述，而是以振作的精神和反思性的文笔铺陈了个体如何被置于某种事与愿违的情景，又如何面对如历险般的境况。作者在看似向前推进的时间中，将已逝去的记忆重复地嵌入，又叠加进当下的主观回应，线性叙事在思绪的拉扯间愈加碎片化，更带读者一起堕入她的记忆旋涡，反复迂回在当下与过去的重叠时空中。当往事已成追忆，作者的思考不仅希冀着对从前的延续，也追寻着当下的出口。
本次十一位艺术家的创作，并非试图寻求她们与作家在个人经历上的相似性，而是关注于当“失去”成为无形的常态时，艺术家们如何将其转换到艺术创作中去。身处城市飞速发展进程的当下，每个人都不可避免地被裹挟到不断更迭、逝去的现实中，也在有意识或无意识地面对着“失去”的悲痛，无论它停留在个人情感上，还是发生在社会归属、时间流逝的记忆再现、城市变迁、自然生态等层面，如何通过行动去发现和重建意义成为了每位创作者的动力。再则，在我们的感知系统经受着科技发展所造成的钝锉，也更因多重现实的叠加与错位、意识形态的侵占而趋于混乱时，我们又如何在变化的常态中找到出口，并重新安置自身的存在？
“奇想” （Magical Thinking）一词是中性的，它并非单纯地指向天马行空的想象，而是为那些事与愿违的无奈赋予某种“希望”。它在人类学概念中常被定义为先行于逻辑（pre-logic），并泛指一些民间信仰或原始崇拜中对某些现象的非理性归因，例如两件毫不相干的事情可能仅因在时间上接踵而至，就被认定为有因果关系。 “奇想”甚至可以被理解为思维混乱的表征，常将私人情感与一般现实混淆起来，这种心理活动同时也往往是驱动艺术创作中不可或缺的感知发现与理性思考的结合。狄迪恩曾用“为了活下去，我们述说自己的故事” 这样铿锵有力的语句将情感控诉转换为个人信仰的宣言。对用作品表达自己的艺术家而言， “还有那些无法用语言来描绘的事情，所以才有了艺术。” 此次展览邀请的十一位艺术家均为女性，一方面，她们以作品对美国艺术史学家琳达·诺克林（Linda Nochlin） 在半个世纪前震荡艺术界的《为什么没有伟大女性艺术家？》做出回响。她在开篇中所提及的 “解放运动背后强大的力量主要源于情感——个人的、心理的和主观的，它的核心在于面对当下和急需。” 即便在半个世纪之后的今天，引用这句话放在正在发生的一切难以置信的社会事件中，仍然显得讽刺且更为迫切。另一方面，展览试图放大作品中感知层面的元素，去发现诸多维度上的个人情感如何成为引向参差现实的途径， 以及个体创作者在其中寻找意义的方式。我们又能在这些从各自生活轨迹中所获取的细腻琐碎的主观感受所完成的作品中，发掘出哪些嵌套在一起的时代片段？
在这个春寒料峭、转瞬即逝的季节，通过呈现这十一位女性艺术家的创作，展览“奇想之春”期待与观众一同在面对、共存、出逃相同的命运中找到共鸣。
Duration: Feb 26th-Mar 25th, 2022 (Closed on Mondays)
Opening: Feb 26th, 2022 (Saturday)
Artists: Chen Ke, Duan Shiyu, Huang Bingjie, Jiang Ziqi, Liu Fujie, Liang Shuni, Lin Shan, Peng Ke, Zhang Xuerui, Zhou Li, Zhu Yingying
Inspired by Joan Didion’s adventurous spirit in the face of devastating life events, her diachronic approach to storytelling, and her ability to collapse subjective interpretations onto objective realities to discover meaning, the exhibition “A Spring of Magical Thinking” aims to relay Didion’s style. The exhibition presents ways of addressing the experiences of loss and grief in their practice. By no means does the exhibition suggest that the eleven invited artists share, nor their artworks drew from, experiences similar to that of the writer.
"The Year of Magical Thinking" is a memoir by American fiction writer and essayist Joan Didion, in which the author responded to the death of her husband and the severe illness of their only daughter. Didion’s account of such a devastating period of her life was anything but depressing. In her seemingly forward timeline, Didion interjected her memories of the past with deadpan statements of the facts of loss repetitively. Her subjective responses of the present rivet her narrative with compelling thoughts as she takes readers into the whirlwind of memories, meandering to-and-fro through the overlapping time and space between the present and the past. When the past has become a memory, the author's reflections not only hope for the continuation of the past but also search for an exit in the present. Didion's way of writing this memoir resonates with what Norman Mailer commented on her journalism as “enormously personalized journalism in which the character of the narrator was one of the elements in the way the reader would finally assess the experience.”
In the present condition, issues as overarching as rapid urban development, global warming, the sudden onset of a global pandemic, or as personal as social injustice, gender, and ethnic inequalities, personal loss, every one of us experiences loss and grief, so much so that they have become invisible or we may have conscious or subconsciously normalized them. How does one derive and reconstruct meanings given these circumstances become the driving force for many artists' practices? Moreover, as our perceptual system dulls from technological advancements, and as multiple realities stack up together, disconnected or dislocated - physically or virtually, and as political ideologies encroach upon our sense of self, how can we find an outlet in the normalcy of transformation and restore our sense of existence?
The term "magical thinking" is neutral and does not simply refer to wild imaginations but instead gives a sense of "hope" to the hopelessness of the unfulfilled. Anthropological concepts often define it as pre-logic and generally refer to the irrational attribution of certain phenomena in folk beliefs or primitive cults. For example, two unrelated events may be considered causally related simply because they follow each other in time. "Whimsy" can even be understood as a symptom of confused thinking, often confusing private emotions with general reality, a mental activity that at the same time is often an essential combination of perceptual discovery and rational thought that drives artistic creation.
“We tell ourselves stories in order to live.” Joan Didion turned what was meant as an indictment into a personal credo. For the artists, “because there are things that cannot be spoken, that’s what art is for.” The eleven artists invited to this exhibition are all women who, on the one hand, respond to American art historian Linda Nochlin's 1971 essay, "Why have there been no great women artists?" that shook the art world half a century ago. “The force behind the recent upsurge of feminist activity…" as Nochlin observed in her opening paragraph, "has been chiefly emotional – personal, psychological, and subjective – centers… on the present and its immediate needs…” Quoting such a seminal text half a century is ironic given the series of unimaginable social events unfolding at this moment and more urgent. On the other hand, the exhibition attempts to amplify the perceptual elements of the artworks, which undermines the bias mentioned above, and to discover how personal feelings and emotions in any dimension may reveal our compounded realities and ways in which individual artists generate meaning from them. Furthermore, what would we discover in these nested fragments of the times that we can uncover in these works of art yielded from the delicate, trivial, and subjective feelings of their creators’ respective life paths?In this brief spring season, when chills continue to linger, the presentation of works by eleven female artists in "A Spring of Magical Thinking" wishes to find resonance with the audience as we confront, coexist, and escape from the common fate.
拾萬空间（北京）于2014年成立于北京草场地艺术区，2018年迁至北京798艺术区，并于2021年年底开设石家庄分馆拾萬当代艺术中心。拾萬空间（北京）作为专业画廊，对常规意义的方盒子展览保持警惕，意欲从当代艺术语言中的语法和语意结构出发并将之延展到更广泛的领域；希望通过持续的展览和项目，激发出当下文化中被忽视的部分，将当代艺术思想的价值生发到你我的身边。拾萬当代艺术中心（石家庄）为艺术综合体，除继续推出专业的艺术展览外，还将提供公教、讲座、艺术工作坊、艺术商品以及餐饮等活动和服务，并依托地缘差异，将艺术、声音融入地理、人文的维度，由而体验与追寻传统与现代、本土与国际、在地与全域、个人与历史以及精神与实体之间的差别与关联，让当代艺术思想进入更多人的生活。
Hunsand Space (Beijing) was established in Caochangdi Art District in 2014, relocated to the 798 Art Zone in 2018. At the end of 2021, Hunsand Center for Contemporary Art (Shijiazhuang) was opened in Shijiazhuang. As a professional gallery, Hunsand Space (Beijing) keeps vigilance in presenting art exhibitions with conventional way in white cubes, aiming to take the semantics and syntax from the language of contemporary art as a point of departure and expand them into a broader field. Through its vigorous programs of exhibitions and projects, Hunsand Space (Beijing) hopes to stimulate the neglected aspects in contemporary culture and brings the values of contemporary art into our lives. In addition to exhibiting contemporary art exhibitions, Hunsand Center for Contemporary Art (Shijiazhuang) as an art complex is dedicated to presenting public programs, lectures, art workshops, art merchandise, catering and many other activities and services. Relying on geographical differences, the Center's mission is to integrate artistic and audible practices into geographical and humanistic dimensions, by which to experience and pursue the differences and connections between being traditional and modern, local and international, on-site and territorial, personal and historical, spiritual and physical, bringing the ideas of contemporary art into more people's lives.
周二-周日 TUE-SUN 10:00-18:00
拾萬空间｜北京
拾萬当代艺术中心｜石家庄
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