【拾萬当代艺术中心｜石家庄】即将展出｜ 刘亚洲: 游牧时间
拾萬空间（石家庄）荣幸宣布将于2022年3月5日-4月17日推出刘亚洲个展“游牧时间”。
Hunsand Center for Contemporary Art (Shijiazhuang) is delighted to announced the coming exhibition "BEING A NOMAD" from Mar 5th to Apr 17th, 2022.
展览时间：2022年3月5日- 4月17日
开幕时间：2022年3月5日周六下午4点
艺术家：刘亚洲
拾萬当代艺术中心（石家庄）非常荣幸地开启石家庄空间的首展：游牧时间—刘亚洲个展。
展览由刘亚洲2014-2015年的系列作品《平衡》展开：艺术家选取个人生活中的日常之物，采用现今短视频中常见的“平衡术”，将其层级摆放、罗列、叠加，塑造成某种非常规的形态，并在重力的作用下维持一段稳固的关系，最终，视频会记录下这一相对静止的过程，以及它们最后不可避免的坍塌。
这是一种相对的临界状态。绝大部分时间里，视频中的影像都是静止的，时间在流逝，似乎又被物品间稳定的关系所凝固，哪怕最后的坍塌瞬间，艺术家也有意消除了声音，这进一步抹除了静与动之间的界限——时间到此，只是游移，不计因果。但这静止之中也蕴含着累卵般的岌岌可危，因为坍塌的时间不能确定，确定的只是坍塌本身，它在意料之中，也在预期之外，它占有时间，又在时间之内，一如游牧，方向不定，但节奏和速度却由自己控制，于是自由触发偶遇，并维护着一种持续的存在状态。
这种确定中的不确定，或者不确定中的确定，也体现在2016年的作品《地面-墙面2号》中：一架左右摇曳的风扇，一张廉价的一次性桌布，艺术家利用不稳定的风力，经过不断的尝试，最终让桌布自身平展、持续地吹挂在墙上，直至影像最后，艺术家拔掉电源，无形的张力散去，短暂的平衡关系瞬时解体。同年创作的《梯状物》则让这种平衡稳固在一种临界状态：三组水泥砖被参差地堆砌在一起，上面两组错出的部分用树枝支撑，于是坚硬的与柔软的互相借力，最终达到一种恒定的态势。在某种维度上，两件作品都是《平衡》系列的内收或外张。
如果说恒定或静止也是一种运动，那么加速则不断改变空间，其前提便是保持（实现）平衡，一如磁悬浮列车启动前的悬空准备，或者人的直立及行走。而汽车作为当下主要的速度装置，正在重新定义着人们自由移动的范围，于是从2020年开始，刘亚洲尝试了多种解构汽车的可能，并围绕其种种技术性要素，思考功能之外的广延和内涵。《地平线》便是这一阶段的作品，它虽然是一组互动装置，但对观众的参与并不积极也不渴望——它就兀自待在那里，观众靠近，汽车大灯切成远光，观众离开，又切回近光。所以它看似互动实则只有两种状态，或者说它只是把光打在墙上，仅以空洞来放大无机的切换和距离本身，就像《平衡》系列，存在并且游走，提示出无处不在的“游牧时间”——在时间里游牧，或者，只是游牧在时间里。
Hunsand Center for Contemporary Art (Shijiazhuang) is proud to present its inaugural exhibition, “Being A Nomad - Liu Yazhou Solo Exhibition.”
The exhibition unfolds with Liu Yazhou’s Balance series completed between 2014-2015: the artist selects everyday objects and adopts the "balancing technique" common in today's short videos, arranging, placing, stacking, and shaping them into unconventional forms and maintaining a steady relationship with gravity; eventually, the video captures this process of relative stillness and their inevitable collapse at the end.
This piece demonstrates a state of relative criticality. For the vast majority of the video duration, the image remains still, with time passing and seemingly frozen as the objects remain stably balanced; even in the final moment of collapse, the artist intentionally eliminates sound, further confusing the boundary between stillness and movement. The sense of time wanders rather than manifests causality. But the static embeds a precariousness because of the unknown time of the collapse. Yet, the collapse itself is definite. They are both within and beyond our anticipations, which possess time and are built within it. It is like being a nomad, whose directions are indeterminate, while one commands the rhythm and speed. Thus, freedom leads to chance encounters that sustain a continuous existence.
Such uncertainty within certainty or vice versa is also prevalent in Liu’s 2016 work Ground-Wall No. 2, which captures an electric fan swaying from side to side facing a cheap disposable tablecloth. The artist kept the tablecloth hanging on the wall flat by adjusting various fan speeds until the end of the video; when he pulls the power, the formless tension keeping the tablecloth in its place is removed, dissolving the temporary balance of these objects. In the same year, the artist's Trapezoid stabilizes such a balance in a critical state. Three sets of concrete bricks are stacked together in a jagged manner, with the top two sets supported by branches so that the hard and the soft leverage one another, eventually reaching a state of equilibrium. To some extent, both works are the inward or outward expansion of the Balance series.
If we were to conceive the constant or stationary as a kind of movement, then the acceleration would transform a physical space with the precept of maintaining (physical) balance, similar to charged levitation before the start of a maglev train, or when a person is standing upright and walking. As a primary transportation device, the car has redefined the scope of people's freedom of movement. From 2020 onwards, Liu Yazhou experimented with various means of deconstructing a car revolving around its many technical components, during which he considered the extension and connotation beyond its functions. Horizon was a work drawn from his experiments. Although it is an interactive installation, it does not actively expect or seek out viewer participation. It stands in place; as the viewers approach it, its headlights switch to long-range, and once the viewer leaves, they change back to short-range. Although the installation claims to be interactive, it only switches between these two modes. In other words, it projects the light on the wall, only to amplify the inorganic switch and distance itself through the void. Like the Balance series, it exists while wandering, suggesting the ubiquity of "being a nomad" where one drifts with time or is just a nomad of time.
The exhibition will open on March 5, 2022.
刘亚洲，1990年出生于石家庄。2017年硕⼠毕业于中央美术学院雕塑系，2014年学⼠毕业于四川美术学院雕塑系，现工作生活于北京。其个人项目包括：拾－荒, 指纹画廊, 北京（2019） 僧侣与艺术家, ⽊⽊美术馆, 北京（2018）刘亚洲:轨迹, 杨画廊, 北京 （2017）部分群展：⽣活之内 ，UCCA-Lab —尹⼭湖美术馆，苏州（2021） 上层建筑, 狮语画廊, 上海（2019）⺠间的⼒量-北京⺠⽣现代美术馆, 北京（2015）等。
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.
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