拾萬北京 | “奇想之春”展览现场
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。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？
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.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?
展览现场 Exhibition View
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陈可 Chen Ke
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1978年生于四川通江，现生活和工作于北京。2005毕业于四川美术学院油画系硕士。对自我和女性艺术家身份的参照认知，一直是陈可思考的主线。从虚拟小女孩形象、到历史公众人物、到过往女性运动群像，这些她借助的对象中承载着她内在的变迁和成长。这批着色的黑白照片是陈可在大学期间的作品，于她是创作自觉意识和未来绘画的起点。符号的直接、色彩的浓烈、旧时光的温度，光影交错的剧场感，在那时的摄影中已有萌芽，少女本能欲望的躁动，对外界又渴望又惶恐，一切才刚刚开始。
Born in Tongjiang, Sichuan in 1978, Chen Ke currently lives and works in Beijing. In 2005, she graduated from the Oil Painting Department of Sichuan Fine Arts Institute with a master's degree. The reference and cognition of self and the identity of female artists has always been the main line of Chen Ke's thinking. From the images of virtual little girls, to historical public figures, to thegroup portraits of women ' s movement in the past, these objects she used carried her inner changes and growth. These colored black-and-white photos are the works of Chen Ke during her college years, which was the starting point for her to create self-consciousness and future paintings. The directness of symbols, the intensity of colors, the warmth of old times, and the sense of theater where light and shadow were intertwined had already sprouted in her photography at that time. The restlessness of the girl’s instinctive desire, her desire and fear of the outside world, everything had just begun.
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段诗雨 Duan Shiyu
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1992年⽣于浙江嘉兴，现生活和工作于中国上海和荷兰格罗宁根。2014年毕业于杭州职业技术学院（中国）园艺⼤专， 2017年毕业于Minerva Art Academy（荷兰）纯艺本科，2019年毕业于Frank Mohr Institute（荷兰）绘画硕⼠。在对生命形态的观察和学习中，段诗雨将生命力以各种方式在不停地消耗这一特征作为现阶段艺术实践的发想源头之一，物质、体力、精神上的这种表象的消耗本质是同步生成了另一种形态而已。通常橡皮在擦拭中的残留会被作为废弃物清除，但《剩余画⾯》系列铅笔画却保留了这部分，它像消逝过程的瞬间定格。磨损掉的那部分线条和橡皮，又萌生了新的视觉语言，共生共存在画面上。当段诗雨将自己放躺在沙滩与海水的交汇处时，唯有通过识别海浪袭来的声音的大小，来控制屏气的时间点，以防呛水。观看《屏息》视频时你不易捕捉到她肢体上的明显动作，这种尽量降低自我对外界主观干预的意图，更倾向于交流而非对抗，是种感知回应。
In the observation and study of life forms, Duan Shiyu regards the characteristic of continuous consumption of vitality in various ways as one of the sources of artistic practice at this stage. The essence of this consumption is to synchronously generate another form. Usually, the residue of eraser in wiping will be removed as waste, while this part was retained in the pencil painting series of "Remaining Image", which was like a frozen moment of the process of disappearing. The worn-off parts of the lines and the eraser residues sprouted a new visual language, coexisting in the image. When Duan Shiyu laid herself in the shallows, she could only control the timing of breath-holding by recognizing the sound of the waves to prevent choking. It is not easy to capture obvious movements on her limbs when watching the video "Hold the Breath". This intention to minimize the intervention of the self to the subjective world was more inclined to communication rather than confrontation, which is a kind of perceptual response.
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黄冰洁 Huang Bingjie
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1994年生于湖南湘潭，现生活和工作于⼴东广州。2016年毕业于湖北美术学院油画系。黄冰洁习惯将自己的生活、梦境和灵感以文字或草图的形式记录下来，生成一个充盈着想象力的种子培育基，她会选择在自己愉悦平静时提取种苗，充满爱意地撒种在她绘画的伊甸园里。天真和浪漫，让她画里的人和物好像天地初生时没有定性也没有定形，也可互相幻化，似随心而动的即兴舞步。少女裸体常出现在她的绘画内容里，这种美更接近于自然和原始。核心画面造形原自于青铜器，在此处变成舞动的少女花《蕊》之心；被压弯了腰的树上信步而来的猫和慵懒的女人身体相互作用拉伸了《游戏》中画面叙事的张力；《向心山》的存在是为了触摸到心，思之深会让人将所见所听都指向所念之人。
Born in Xiangtan, Hunan in 1994, Huang Bingjie now lives and works in Guangzhou, Guangdong. She graduated from the Oil Painting Department of Hubei Institute of Fine Arts in 2016. Huang Bingjie is used to recording her life, dreams and inspirations in the form of words or sketches to germinate imagination seeds. she will choose to extract seedlings when she is happy and calm, and sprinkle them affectionately in the Garden of Eden she paints. Innocence and romance make people and things in her paintings seem to have no definiteness or shape, just like at the beginning of heaven and earth. They can also be transformed into each other, like impromptu dance steps that move at will. Nude girls often appear in her paintings, which are closer to nature and primitive. The shape in the focus of painting “Flower Pistil” was originally from bronze ware, here it became the heart of a dancing girl. The interaction between the cat walking on the bent tree and the lazy woman's body stretched the tension of the work “The Game”. The existence of artwork “A Mountain by the Heart” was to touch the heart. Deep thoughts would guide people with what they saw and what they heard to the people they missed.
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蒋子祺 Jiang Ziqi
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1994年生于广东深圳，现生活和工作于杭州。2019年研究生毕业于瑞士苏黎世艺术学院。好奇心引着蒋子祺将触角吸附在了一个跨学科编织的知识网上，当她开始警惕以“人类中心”的视角与周遭世界相处时，人与自然的关系跃然成为她近期偏关注的内容。人驯化自然物成为农作物，又模仿其功能用于人造物。若自然物有意识开始模仿人，它会是以什么形态出现呢？蒋子祺启用了反向仿生的思维，借用人造物生成的疑似攀援植物的异物，貌似携带着人肉身的某种触感，开始渗入到人类临时占有的物理空间。
Born in Shenzhen, Guangdong in 1994, Jiang Ziqi now lives and works in Hangzhou. She graduated from Zurich University of the Arts in 2019 with a master's degree. Curiosity led Jiang Ziqi to attach her tentacles to an interdisciplinary web of knowledge. When she began to be vigilant about getting along with the world from an anthropocentric perspective, the relationship between man and nature became her recent focus. Human beings domesticated natural objects into crops, but meanwhile imitated their functions for artificial objects. If natural objects consciously begin to imitate human beings, in what form will they appear? Jiang Ziqi initiated the thinking of reverse bionics, borrowing foreign objects from suspected climbing plants generated by artificial objects. They seemed to carry a certain touch of human flesh, beginning to penetrate into the physical space temporarily occupied by human beings.virtual little girls, to historical public figures, to thegroup portraits of women ' s movement in the past, these objects she used carried her inner changes and growth. These colored black-and-white photos are the works of Chen Ke during her college years, which was the starting point for her to create self-consciousness and future paintings. The directness of symbols, the intensity of colors, the warmth of old times, and the sense of theater where light and shadow were intertwined had already sprouted in her photography at that time. The restlessness of the girl’s instinctive desire, her desire and fear of the outside world, everything had just begun.
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刘符洁 Liu Fujie
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1983年出生于河北，现生活和工作于北京。2013年毕业于中央美术学院雕塑系。如果试着描述感触的状态，它有即时性，流动性，也可直达内心。刘符洁借用视觉语言呈现她的感触时就附着这样的特性，并在其艺术实践中体验自身与材料的触摸感，与空间的延展感。《闲散者的凝视》初版本是在巴黎驻留期间创作的，她尽量放空自己，以无目的闲散游走的方式去感受这个城市。真实与虚幻如镜外与镜中世界有时难辨，“穿越镜子的一瞬间，让人更能感受到自我的真实存在”，顺着这个感觉她选用了表面具有反射效果的材料和所去城市的景观局部图像搭建了一个镜面关系场域，邀请入场者感受她的瞬间触动。
Born in Hebei in 1983, Liu Fujie now lives and works in Beijing. She graduated from the Sculpture Department of the Central Academy of Fine Arts in 2013. If you try to describe the state of feeling, it has immediacy, fluidity, and can also touch the heart. Liu Fujie uses visual language to present her feelings with such characteristics, experiencing the sensation between herself and the materials as well as the sense of extension of space in her artistic practice. The first version of “Wanderer’s gaze” was created during her residency in Paris. She tried to empty herself and feel the city by wandering aimlessly. The real and the unreal were like the world outside the mirror and the world inside the mirror. Sometimes they were difficult to distinguish. "The moment you pass through the mirror, you can feel the real existence of yourself." Along with this sensation, she chose materials with reflective surfaces to build a mirror-like relationship field with the images of the city landscape she went to，inviting the visitors to feel her instant touch.
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梁姝妮 Liang Shuni
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1989年生于贵州贵阳，现生活和工作于⼴东广州。2010年毕业于云南艺术学院文华学院服装设计专业。意识苏醒了，我们才开始真切去感知身体作为容器的存在。人类胚胎在5-6周时生成原始生殖腺，它即可以导向男性也可以导向女性。梁姝妮在自我及身体认知上，不断地试探着走出层层的世俗概念禁锢，以模糊边界来消解固化思维。绘画里的镜头感和画面感，装置里的蒙太奇感，好似看到了一部具有黑色幽默感的魔幻现实主义电影。《金手指》中造物主的慵懒一指“程序大脑”就被安置到无意识的躯体上；《园丁半身像》以无法辨别年龄样貌的女巫形象出现，是她在控制《焚烧后松软的玉米田》中乒乓球的节奏，轻触着肉体好似要点醒什么？最终，《制图员-燃烧》里不甘于被控制的人类借用焚烧物化身体达到重生，超脱躯壳而到达外延的深远。
Born in Guiyang, Guizhou in 1989, Liang Shuni now lives and works in Guangzhou, Guangdong. In 2010, she graduated from Wenhua College of Yunnan Art University, majoring in fashion design. When consciousness is awakened, we begin to truly perceive the existence of the body as a container. Human embryos develop primordial gonads at 5-6 weeks, which can lead to either male or female. In terms of self-identification and body cognition, Liang Shuni constantly tried to get out of the inhibitions of layers of cultural stereotypes, using blurred boundaries to dissolve the fossilized thinking. The sense of shots and scenes in the painting, as well as the sense of montage in the installation, seem to have seen a magical realism movie with a sense of black humor. In the “The Midas Touch”, a "program brain" was placed on the unconscious body with the creator’s lazily pointing. “Half Length Sculpture of the Gardener” appeared as a witch who could not distinguish her age.
Did she control the rhythm of the ping-pong ball in “Loose Cornfield After Fire” to wake up somebody by lightly touching the body? In the end, the human being who was unwilling to be controlled in” Cartographer Series-Burning” was reborn by burning the materialized body, leaving the body to reach the further extension.
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林山 Lin Shan
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1988年生于广东深圳，现生活和工作于深圳。2012年本科毕业于中国美术学院壁画系，2015年硕士毕业于意大利威尼斯美术学院油画系。林山将她日常所见的植物以拟人化的手法描绘在画面上，来表达人的情欲和人与人之间微妙的关系。调皮生动的造型将观看者引入幻境，此境中有她营造的松弛和轻盈。她所画的大部分植物是被人圈养的，试图将画面前景的绿化带植物或盆栽植物回植到后景的野外中去，但这种向往的野性最终受到多年沉积在意识和身体里的规训所羁绊。
Born in Shenzhen, Guangdong in 1988, Lin Shan now lives and works in Shenzhen. She graduated from the Mural Department of China Academy of Art in 2012 with a bachelor's degree. She got her master's degree from the Oil Painting Department of Accademia di Belle Arti di Venezia in Italy in 2015. Lin Shan’s paintings depict the plants in her everyday life in an anthropomorphic way to express lust and the delicate relationship between people. The playful and lively shapes lead the viewer into a fantasy world with the relaxation and lightness she created. Most of the plants she painted were kept in captivity. She tried to replant the green belt plants or potted plants in the foreground of the picture into the wild in the background. However, this longing for wildness was finally fettered by the disciplines deposited in consciousness and body for many years.
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彭可 Peng Ke
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1992年生于湖南长沙，现生活和工作于洛杉矶和上海。2015年毕业于罗德岛设计学院。彭可在惯常的城市生活中拍摄下日常画面唤醒新的感观体验，意图探讨普遍性与个殊性的关系，强调我们与城市的共生态。《心再次变得私密》是借鉴了玻璃花窗的装裱工艺，在空间上可将二维作品中反复出现的网状图形实体化，又在结构上为平面图像设置了空间上的物理障碍。在她的作品中，物品暂时从它们的原始语境中被剥离悬置，着重于它们作为“物”的本体性以及在城市支持系统中的能动性。
Peng Ke was born in Changsha, Hunan in 1992, she now lives and works between Los Angeles and Shanghai. She graduated from Rhode Island School of Design in 2015. Peng Ke takes quotidian photos in habitual urban life to awaken new sensory experience, attending to engender the relationship between universality and individuality, reminding us of our symbiotic relationship with the city. “Heart Again Becomes Private” refers to the tin-came glass technique. Echoing the recurring net motif throughout Peng Ke’s practice, the metal structure joining the glass pieces functions as a physical obstacle. While objects in the constructed landscape reveal the mimetic representation of reality, Peng’s work highlights their thingness by suspending them from original contexts, designating her subjects as the manifestations of their participation in the urban system.
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张雪瑞 Zhang Xuerui
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1979年生于山西，现生活和工作于北京。2004年毕业于中央美术学院。绘画和装置是张雪瑞主要的创作媒介，“格子”作为创作构建元素已被多次反复提及，而“心”形语言最早被使用，是在2012年她从熟人的衣物上剪下了一个心形，诉说了一个真实故事。她有意弱化原本出于情感表达的初期体验，让其抽离惯有所指变得宽广自由。一如她在艺术劳作时想到家人的日常劳作，希冀自己以“平常心”的状态获得松弛自在。但心的一动一念，怎会轻易受控，我们还是可以在2021年和2022年的两件作品中，感受到了它的颤动，破碎与重建，柔软与尖锐。
Born in Shanxi in 1979, Zhang Xuerui now lives and works in Beijing. She graduated from Central Academy of Fine Arts in 2004. Painting and installation are Zhang Xuerui's main creative mediums.“Square” as her creative construction element has been mentioned many times, while the "heart" shape element was first introduced in 2012 when she cut out a heart-shape pattern on the clothes of her acquaintance, telling a true story. She deliberately weakened the initial experience of emotional expression, allowing it to withdraw from the habitual meaning and become broad and free. Just as she thought about her family's everyday routines when she was working on art, she hoped that she would be relaxed and comfortable in a state of "ordinary mind". However, how can the movement of the heart be easily controlled? We can still feel its trembling, breaking and rebuilding in the two works in 2021 and 2022.
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周力 Zhou Li
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1995-2003年生活和工作于法国，现生活和工作于深圳。1991年毕业于中国广州美术学院油画系，2015年被聘中山大学艺术文化创新与发展研究中心、抽象与当代艺术研究所所长，2013年至今，受聘于广州美术学院客座教授。“桃花源”确切的地理位置无从考证，它指向人们在当下所需要的一个属于自己的精神乐园，包含了现实社会尚未实现的愿景：人与人，人与万物和谐美好地共生互爱的生态。《桃花源》作品源于艺术家对生命循环往复的体验与理解，粉色既有回忆，也像新生儿的皮肤。生死相伴，当逝去发生时，充满爱的色彩又成为抚慰伤痛的光晕。在这个以“仁”为核心的愿景里，粉色如自然来复之气韵，如人心柔韧之力量。在由此幻化的绘画意境中，你可以闻到花香，看到远山，听到鸟鸣，品到甘露，感受到自我与世界在取消边界后的奇妙共存。
From 1995 to 2003, Zhou Li lived and worked in France. She currently lives and works in Shenzhen. Zhou Li graduated from Oil Painting Department of Guangzhou Academy of Fine Arts in 1991. In 2015 Zhou Li was appointed Director of the Institute of Abstraction and Contemporary Arts, at the Centre of Research on Artistic and Cultural Innovation and Development, Sun Yat-Sen University, Guangzhou, China. Since 2013 she has been a guest professor of Guangzhou Academy of Fine Arts.She was employed as the director of the art and culture innovation and development research center and the Institute of abstract and contemporary art of Sun Yat sen University in 2015. Since 2013, she has been employed as a visiting professor of Guangzhou Academy of fine arts. The exact geographical location of "The Peach Garden" cannot be verified. It points to a spiritual paradise that people need at the moment, which contains the unfulfilled vision of the real society: an ecology where people and people, people and all things live in harmony and love each other. The works of " The Peach Garden "series originated from the artist's experience and understanding of the cycle of life. Pink brought back memories, and it also symbolized the skin color of a newborn. Life and death are accompanied. When the passing happened, the color of love became a halo to soothe the pain. In this vision with "benevolence" as the core, pink is like the charm of nature and the strength and resilience from the human heart. In this illusory mood of painting, you can smell the fragrance of flowers, see distant mountains, listen to bird song, taste nectar, and feel the wonderful coexistence of the self and the world after the boundary is disappeared.
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朱荧荧 Zhu Yingying
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1989年生于西安，现生活和工作于北京。2011年毕业于重庆四川美术学院油画系，2014年毕业于北京中央美术学院实验艺术系获硕士学位。朱荧荧收集80年代左右的老照片，它们的拍摄不是以审美为导向，更多是一些内部调研的采样照片，使用于法学、医学、农业等的实践性研究。她需要一个相对客观的参照去重建一个属于自己的私人想象。对于她来说，绘画开始时的对象形态越实，抽象思维延展后生成的创作结果可能反差性就越强，借实画虚。皮肤、植物、食物…这些旧图像是感知通道的入口，以为是回到过去，实际是通往未来，如真如幻。
Born in Xian in 1989, Zhu Yingying now lives and works in Beijing. She graduated from the Oil painting Department of Chongqing Sichuan Academy of Fine Arts in 2011.She got her master's degree from the Experimental Art Department of Beijing Central Academy of Fine Arts in 2014.Zhu Yingying collects old photographs from around the 1980s. The shooting of these photographs was not aesthetic oriented, but more for sampling photos from internal research, which were used for practical research in law, medicine, agriculture and so on. She needs a relatively objective reference to reconstruct her own private imagination. For her, the more realistic the object at the beginning of the painting, the stronger the contrast of the creative results generated after the extension of abstract thinking will be, borrowing the reality to draw imagination. Skin, plants, food...These old images were the entrances to the perceptual channel, thinking that they were back to the past, but in fact they were heading to the future, as if it were a reality.
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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.
拾萬空间｜北京
拾萬当代艺术中心｜石家庄
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