拾萬杭州 | 即将展出 | 张东辉：为光延续一分钟 | 金亚楠：草地（100M）翟宇辉：荒原
拾萬空间（杭州）将于2023年11月4日带来张东辉的个展：为光延续一分钟。展览名字源自艺术家2023年的同名影像作品——一次简短地，让光继续点亮一分钟的尝试。
Hunsand Space (Hangzhou) is pleased to present Zhang Donghui's solo exhibition: "To Extend Light by One Minute" from November 4, 2023. The exhibition's name is derived from the artist's homonymous video work in 2023—an attempt to briefly let light continue shining for one minute.
艺术家：张东辉
展期：2023年11月4日 - 2023年12月10日
开幕：2023年11月4日（周六下午四点）
总有一些事会让人耿耿于怀或念念不忘，然后，忍不住想要做些什么。可能是一次行走或闲逛，一次不经意的偶遇，或者一个无意义的动作；甚至，只是百无聊赖，一个恍惚的刹那，不知不觉看向脚下，或者莫名其妙地注视远方……然后，就在某个瞬间，一个想法被“点亮”，猝不及防，也不可名状，但终归让人念兹在兹，想要做一些变化。
这些微小的事物就在张东辉的日常生活里，它们构成了本次展览作品的动机——看似平淡无奇，却与切身的肉体经验相关。但微小的太容易被人忽视，因为太普遍而见怪不怪，进而变得习以为常。但张东辉就在大多数人的视而不见中尝试干预与行动，或者，在看似既成事实的钢板上“跳跃”，从而带来一些颤动——与他人共振，并让坚固的松动，以及，让乏味和无趣变得鲜活——哪怕只有“一分钟”。
张东辉，1992年生于河北石家庄，2017年毕业于中央美术学院雕塑系，现生活工作于北京。
相关链接：
拾萬空间（杭州）将于2023年11月4日在画廊的户外空间带来艺术家金亚楠和翟宇辉的最新作品。
Hunsand Space (Hangzhou) will present the latest works of artists Jin Yanan and Zhai Yuhui in the gallery's outdoor space on November 4, 2023.
艺术家：金亚楠、翟宇辉
展期：2023年11月4日 - 2023年12月10日
开幕：2023年11月4日（周六下午四点）
草地永远是那片草地。绿草一旦枯黄颓败，嫩芽随即倏倏冒头，历经风霜、几度枯荣，草地终会复绿。金亚楠和翟宇辉的这次展览，从草地生发，在习以为常的事物中捕捉凋零与新生的转合。
日常物是翟宇辉工作的主要对象，在材料和形态的转换中，日常物从惯常的语序中被解放出来，形成新的叙事结构。本次展览中，自然里的乌鸦和生活中常见的箱子成为主角。箱子以不同的转向被堆叠为塔式结构，铅制的箱体压制着塔的变动的状态，稳定又临时；乌鸦立于铅塔之上，在合一与离分间、沉重和轻盈间、凋零与新生间开启另一个感性的世界。
仿真花、塑胶人，周遭大量出现的模拟物代替现实，虚拟与现实的边界变得模糊，真假难辨。金亚楠以这种物的模拟状态为线索，对花园的意象进行重构。在对保险业的调查研究中，艺术家发现花园的景象被广泛运用在保险广告之中。保险金作为象征交换的载体，一方面传递人与人之间的情感关系，另一方面也投射出人对生命有限性的认知和对未知将来的延续性的要求。象征美好的花园，在其图像被大量挪用后，竟逆向地与人对死亡的预期相关联。或许是一种不被知觉的捆绑？草地上原本有一根管子，艺术家用深浅不一的绿色扎带一根一根地将它捆绑，捆绑关系形成了新的管子，也形成了新的草地。现实的草地、被模拟入侵的草地，美好的花园、与之相连的死亡预期。
金亚楠，1986年生于浙江杭州，2012年硕士毕业于中国美术学院雕塑系，2013年至今任教于中国美术学院雕塑系跨界雕塑工作室，现⽣活⼯作于杭州。金亚楠感兴趣于局部语境中的对话关系。早前他以参加艺术小组或群体性创作为途径，探究个人与群体之间的相互制衡关系。随后又尝试进入公共事业当中工作，在社区设计、城市规划中探寻各层级之间因由错位逻辑引发的协商失效。近几年，他更关注个体或群体单元在共谋机制中呈现的差异化表现。他通过架构一类针对体制的隐喻化设计，加强单元间对话的可能性及相互的侵略性。目前，他的这类设计一部分透过其作品的叙事线索及空间设计来呈现，另一部分则通过长期的项目策划工作展开。
相关链接：
翟宇辉，1996 年出生于河南，现生活和工作于杭州。2020 年毕业于西南大学美术学院雕塑系，获学士学位。同年保送至中国美术学院跨界雕塑工作室，并于 2023 年获得硕士学位。2021 年成为铜场 Tproject 的一员，空间现场组的工作特点也同样启发了他。如今，他的作 品呈现出一种特殊的结构状态，这种结构状态凝结了材料、工作方法、以及图像的暗喻等，最终形成一种平行于现实的物质结构。由此，他通过这种方式践行了对广泛社会问题的关注。
相关链接：
Artists: Zhang Donghui
Duration：4 Nov. 2023 - 10 Dec. 2023
Opening: 4pm, 4 Nov. (Sat.), 2023
There are always some things that linger in one's mind or remain unforgettable, and then, one can't help but want to do something. It might be a walk or a stroll, a casual encounter, or a meaningless gesture; even just out of boredom, a moment of absent-mindedness, looking down or gazing at the distance without reason... Then, at some moment, an idea is "lit up," sudden and indescribable, but it remains on one's mind, making one want to bring about a change.
These small things are part of Zhang Donghui's daily life, and they constitute the motivation for the works in this exhibition—seemingly ordinary but related to tangible bodily experiences. Yet, small things are too easy to overlook because of their commonality, and they become habitual. But Zhang Donghui tries to intervene and take action where most people choose to look away, or to "leap" on seemingly established facts, thus bringing about some tremors—resonating with others, making the solid become loose, and making the mundane and uninteresting come alive, even if just for "one minute."
Zhang Donghui, born in Shijiazhuang, Hebei, in 1992, graduated from the Sculpture Department of the Central Academy of Fine Arts in 2017, and currently lives and works in Beijing.
Artists: Jin Yanan，Zhai Yuhui
Duration：4 Nov. 2023 - 10 Dec. 2023
Opening: 4pm, 4 Nov. (Sat.), 2023
The grassland remains the same. Once green grass withers and fades, tender shoots promptly emerge, going through seasons of growth and decline. The exhibition by Jin Yanan and Zhai Yuhui captures the withering and renewal within the familiarity of everyday things, drawing inspiration from the grassland.
Everyday objects serve as the primary focus of Zhai Yuhui's work, liberated from their customary order through material and form transformations, creating new narrative structures. In this exhibition, the crow from nature and common boxes from daily life take center stage. Boxes are stacked in a tower-like structure with different orientations. The leaden bodies of the boxes suppress the tower's fluctuating state, creating a stable yet temporary composition. The Crow stands atop the lead tower, opening up another sensory world that oscillates between unity and separation, heaviness and lightness, withering and renewal.
Simulated flowers, plastic figures, and a multitude of simulacra replacing reality blur the boundaries between the virtual and the real, making it difficult to distinguish between truth and falsehood. Jin Yanan uses this simulation as a clue to reconstruct the image of a garden. In their investigation of the insurance industry, the artist discovered that garden imagery is widely used in insurance advertisements. Insurance money, as a symbol of exchange, conveys not only emotional relationships between individuals but also reflects human awareness of the finiteness of life and the continuity of the unknown future. The symbol of the beautiful garden, after being extensively appropriated, paradoxically becomes associated with people's expectations of death. Perhaps it's an imperceptible entanglement? There was originally a pipe in the grassland, which the artist bound one by one with green ties of varying shades, forming a new pipe. This binding relationship also creates a new grassland. The real grassland, the simulated invaded grassland, the beautiful garden, and the associated expectation of death.
Jin Yanan, born in Hangzhou, Zhejiang in 1986, Jin Yanan obtained a master's degree in Sculpture from the China Academy of Art in 2012. Since 2013, he has been teaching at the China Academy of Art's Department of Sculpture in the Cross-border Sculpture Studio. He currently lives and works in Hangzhou.Jin Yanan is interested in dialogic relationships within specific contexts. In the past, he explored the balance between individuals and collectives by participating in art groups or collaborative creative endeavors. He later ventured into public projects, investigating the negotiation failures caused by misaligned logics among different levels in community design and urban planning. In recent years, he has focused on the differentiated expressions of individual or collective units within collaborative mechanisms. He strengthens the possibilities of dialogue between units and their mutual aggressiveness by constructing metaphorical designs aimed at the system.Currently, this type of design is presented in part through the narrative clues and spatial design of his works and in part through long-term project planning.
Zhai Yuhui, born in Henan in 1996, Zhai Yuhui currently lives and works in Hangzhou. He graduated from the Sculpture Department of the School of Fine Arts at Southwest University in 2020, earning a bachelor's degree. In the same year, he was admitted to the Cross-border Sculpture Studio at the China Academy of Art and obtained his master's degree in 2023. In 2021, he became a member of the Copper Field Tproject, and the distinctive characteristics of the space's live scene work also inspired him. Today, his work presents a unique structural state that conveys the metaphor of materials, working methods, and imagery, ultimately forming a material structure parallel to reality. Through this approach, he addresses a wide range of societal issues.
拾萬 ｜ 北京
正在展出
仇世杰：黑色空中大丽花
2023年10月29日
相关链接：
林山：摇曳
2023年10月21日 - 2023年11月30日
相关链接：
拾萬 ｜ 石家庄
深入太行山
相关链接：
拾萬空间，于2014年成立于北京草场地艺术区，2018年迁址到北京798艺术区。2021年底开设石家庄分馆拾萬当代艺术中心，并于2023年底迁至石家庄市井陉县北障城村。2023年初在杭州市西湖区转塘街道的孵鸡湾建立分部。拾萬北京总部位于798包豪斯建筑集群中的一处二楼下陷式空间，石家庄分部深入到太行山古村落中的一座老教堂，而杭州空间则改造自龙坞茶山旁的一间农舍。拾萬空间对常规化的展览保持警惕，希望从当代艺术的语境出发，通过持续的展览和项目，来回应我们共同的生存境遇，激发出当下文化中被忽视的部分。