拾萬石家庄 | 即将展出 | 梁姝妮：林场 | 路佳霖：山心·更新
展览时间：2023年3月5日-5月7日
开幕时间：2023年3月5日 周日下午4点
艺术家：梁姝妮
拾萬当代艺术中心（石家庄）即将带来艺术家梁姝妮的个展《林场》。梁姝妮儿时曾在贵州省贞丰县“林场”周围生活过一段时间，有关家乡的初始记忆和对外面世界的想象便来源于此，这构成了展览的主题，也影射出作品中的诸多方面。
“林场”是我童年时最常去的场所，在县城里“林场”相当于当时的公园，它没有基本的公园设施，“林场”也不是一个正式的名字，由于它是离县城最近的树林区域，树下的空地又能野餐，在出行不便且休闲项目匮乏的当时成为县城人假期最爱去的地方。
“林场”的前身是一块荒野，在七十年代被林业部门纳入育苗基地，培育的树苗会被移植到其他地方，八十年代初“林场”作为育苗基地的功能慢慢淡出，林业部门退出这块区域，原先培育的树苗留下来渐渐自成生态，九十年代初（也就是我成长的年代）县城居民自发的将这块地作为休闲社交的去处，可谓是它最兴盛的时期。当2019年我再次回到“林场”时，这块地方已不再为任何人所用。由于太久无人踏足，及膝的茂密植被覆盖了一切，到了无路可走的地步。
“林场”作为我儿时最早的乐土一直带给我最亲切，最愉快的经历，而现在再回想起它总会有更为复杂的感受，在时间、环境和人为的作用下“林场”终究从一片荒野变成了另一片荒野。
——梁姝妮 自述
此次展览汇集了梁姝妮2016年到2023年的作品，从水彩、丙烯、油画到装置，内容围绕“人”“场景”和“时间”展开，并以粗犷的笔触和自由奔放的想象为我们提供了别样的视觉经验。虽然梁姝妮并未接受过严格的学院美术训练，但学习服装设计的她，一直对织物和现成品有浓烈的直觉反应，本次展览亦会呈现这一系列手工作品，我们因而会看到一个丰富多彩又脱离开主流视觉文化的展览样貌。
梁姝妮，1989年生于贵州贵阳。2010年毕业于云南艺术学院文华学院。现生活和工作于广东广州。梁姝妮对在日常生活尤其是人具有比较敏感的观察力，而且视角多元。表达是伴随着现实促发她的思考而来的，但思绪的发散又会让她进入到亦真亦假的构建中。从细微描绘，到心理分析，到本质追问，她的绘画或雕塑装置有时让观看者有一种在时空来回穿越的超现实既视感。
展览时间：2023年3月5日-5月7日
开幕时间：2023年3月5日 周日下午4点
艺术家：路佳霖
拾萬当代艺术中心（石家庄）将于2023年3月5日带来艺术家路佳霖的个展《山心·更新》。这是广西境内两个地方的名字，是路佳霖去旅行路上看到的两个地名，由于经常在外写生，遂对地名有很强的记忆力，这两个地方的名字也因为经常出现在路佳霖的感觉记忆里，故借由两个地方名作为本次展览的名称。
路佳霖出生于哈尔滨，后考入广西艺术学院，中国南北两极巨大的地理差异，本就给初入异地的他带来了一种距离感，而每次跟随工作室下乡写生，面对独特、陌生的自然和地域风貌，更是让他难以融入当地的人文环境。带着差异之下的新奇与敬畏，路佳霖选择放弃任何先入为主的思维定式，而是以“旁观者”的角度和“游戏”的姿态去观察和创作，以此来厘清自己在面对自然和描绘现实中的位置。这种视角自带一种对生命差异性和同质感的尊重与欣赏，于是，笔刷掠过布面留下的痕迹生成渔民晾晒的渔网、微风吹拂摇曳的枝叶，画面中的形式美感似乎也不由自主地散发出来。相应的，也许正因无法融入，轻盈感也尾随而至。
为了户外写生时便于携带，这些作品普遍尺幅不大，而路佳霖却借此找到了自己擅长的创作方式，由而能够充分调动个人面对现实场景时的真情实感。今天的艺术家对图像素材的积累手段会更加丰富，如：相机、PS和AI等。无国界文化差的用色更是互联网时代的一种创作手段，相对原始的“写生式创作”在年轻艺术家群体里并不多见。但路佳霖仍然选择了这种“古典”的创作方法，他将自己从纷繁芜杂的数字图像世界中解放出来，用脚步丈量现实，以在场应对陌生，进而游走和感知于这个不断在他面前展开的世界。
路佳霖，1998年生于黑龙江省哈尔滨市。2017-2021年就读于广西艺术学院美术学院油画系 谢森导师工作室，2021年至今就读于广西艺术学院美术学院油画系 谢森导师研究生工作室。现工作学习于广西。
广西艺术学院美术学院油画系谢森工作室特色课程之二《个人课题》：路佳霖——冷静的旁观者和游戏心理
Hunsand Center for Contemporary Art（Shijiazhuang）will soon present artist Liang Shuni's solo exhibition "Forest Farm". Liang Shuni spent some time living around the "Forest Farm" in Zhenfeng County, Guizhou Province during her childhood. Her initial memories of her hometown and imagination of the outside world came from this experience, which constitutes the theme of the exhibition and also alludes to many aspects of the works.
"Forest Farm" was the place I visited most frequently in my childhood. In the county town, "Forest Farm" was equivalent to a park at that time. It didn't have basic park facilities, nor was "Forest Farm" an official name. Due to its location in the nearest forested area to the county town, the open space under the trees was suitable for picnics, making it the favorite place for people in the county town to spend their holidays at a time when travel was inconvenient and leisure activities were scarce.
"Forest Farm" was originally a piece of wilderness. In the 1970s, it was included by the forestry department as a tree nursery base. The saplingscultivated would be transplanted to other places. In the early 1980s, "Forest Farm" gradually lost its function as a tree nursery, and the forestry department withdrew from the area. The saplings that had been grown there remained and gradually formed an ecological system. In the early 1990s (which was the time when I grew up), the residents of the county town spontaneously made this area a place for leisure and socializing, which was perhaps its most prosperous period. When I returned to "Forest Farm" in 2019, this place was no longer used by anyone. Due to the lack of human activity for too long, the knee-high dense vegetation had covered everything, reaching an impasse.
"Forest Farm" has always brought me the most familiar and pleasant experiences of my childhood, but now, thinking back on it always brings more complex feelings. Under the influence of time, environment, and human activity, "Forest Farm" ultimately became another piece of wilderness.
——Liang Shuni
This exhibition brings together Liang Shuni's works from 2016 to 2023, including watercolors, acrylics, oil paintings, and installations. The content revolves around "people", "scenes", and "time", providing us with a unique visual experience with bold brushstrokes and free imagination. Although Liang Shuni did not receive strict art training in academics, she has always had a strong intuitive response to fabrics and ready-made items after studying fashion design. This exhibition will also present this series of handmade works, allowing us to see a rich and colorful exhibition that breaks away from mainstream visual culture.
Liang Shuni was born in Guiyang, Guizhou in 1989. She graduated from Wen Hua College of Yunnan Arts University in 2010. She currently lives and works in Guangzhou, Guangdong. Liang Shuni has a sensitive observation of daily life, especially people, and has a diverse perspective. Her expression is triggered by reality, but her wandering thoughts often lead her into a world of truth and falsehood. From subtle depictions to psychological analysis and essential questioning, her paintings or sculpture installations sometimes give viewers a surreal sense of traveling through time and space.
Hunsand Center for Contemporary Art（Shijiazhuang） will soon present artist Lu Jialin's solo exhibition "Shanxin · Gengxin" on March 5, 2023. The exhibition takes its name from two places in Guangxi Province that Lu Jialin saw during his travels. As he often goes on outdoor sketching trips, he has a strong memory for place names. The names of these two places have left a deep impression on him, so he has used them as the title for this exhibition.
Lu Jialin was born in Harbin and later enrolled in Guangxi Arts Institute. The huge geographical differences between the north and the south of China gave him a sense of distance when he first arrived in a different place. Every time he went to sketch in rural areas with studio team, facing the unique and unfamiliar natural and geographical environment, he found it difficult to integrate into the local cultural environment. With novelty and awe under the difference, Lu Jialin chose to observe and create from the perspective of an "onlooker" and the posture of a "player", so as to clarify his position when facing nature and depicting reality. This perspective brings a sense of respect and appreciation for the difference and homogeneity of life, so the brush strokes on the canvas generate the fisherman's drying net and the swaying branches under the breeze, and the formal beauty in the picture seems to emanate involuntarily. Correspondingly, perhaps because of the inability to integrate, the lightness also follows.
In order to be convenient to carry for outdoor sketching, these works generally have small sizes, but Lu Jialin has found his own way of creation through this, which can fully mobilize his true feelings when facing real scenes. Today's artists have more diverse means of accumulating image materials, such as cameras, PS, and AI. The use of color in the face of cultural differences is also a means of creation in the Internet age. The relatively primitive "sketch-style creation" is not common among young artists. But Lu Jialin still chose this "classical" way of creation. He liberated himself from the chaotic digital image world, measured reality with his feet, responded to the unfamiliar on the spot, and then wandered and perceived in this world that was constantly unfolding in front of him.
Lu Jjialin was born inHarbin, Heilongjiang in 1998. In 2017-2021 he studied in the Oil Painting Department of Guangxi Arts Institute, under the guidance of instructor Xie Sen’s Studio. From 2021 till now, he is postgraduate studying in the Oil Painting Department of Guangxi Arts Institute, under the guidance of instructor Xie Sen’s Studio. Now he is working and studying in Guangxi.
同期展览
2023年2月18日-2023年3月26日