拾萬杭州 | 即将展出 | Taka Kono：俊雄在这
拾萬空间（杭州）非常荣幸地带来日本艺术家Taka Kono（鸿野隆）的首个中国个展。展览名称源自艺术家2021年在美国新泽西darkZone空间所做的一件墙面喷字作品：《俊雄was here》。“俊雄”是日本著名恐怖电影《咒怨》中的男童，Taka以此牵连出自己对于鬼怪和神魂的关注，本质上是对现实中无力感的一种浪漫化回应。
Hunsand Space (Hangzhou) is delighted to present the first solo exhibition in China by Japanese artist Taka Kono. The exhibition's title originates from a wall-spray piece the artist created in 2021 at the darkZone space in New Jersey, USA: "俊雄 was here." "俊雄"（Toshio）refers to a character from the famous Japanese horror film "Ju-on," and Taka explores his fascination with ghosts and spirits, essentially providing a romantic response to the feeling of powerlessness in reality.
艺术家：Taka Kono
展期：2023年12月23日 - 2024年2月25日
开幕：2023年12月23日（周六下午四点）
对于恐怖，日光下的人们往往避而不谈。我们靠近光亮、温暖、轻柔、愉悦，在不断自我满足的舒适之中追求生命永恒的绵延。技术的高度发展一度使人意满形忘，忽略曾经的历劫，忘却舒适不过是被人类中心照亮的窄路与偶发状态。病毒与战争却再次提醒，幽玄天地间，于人类而言，黑暗、寒冷、冲突、恐惧，以及幽深难测的不确定性才是广袤与常态。
从妖怪画的百鬼夜行到能剧中的神魔鬼畜，从电影里的各种怨灵再到东京奥运会开幕中森山未来的舞蹈，日本艺术对灵魂与恐怖的思考与探索始终没有间断。Taka近年的作品一直在探索恐怖与亲密的交接点，用他的话来说，鬼魂的存在是件浪漫的事。话语中隐藏的前置背景交错着人类的孤独和科学理性光芒下可知世界的绝对统一。Taka对恐怖的构筑，要求的是直面恐怖，直面经验之外的一切不确定的未知之物。当未知侵入私密环境，直观的感官刺激迫使我们面对现实，回到并参与那个经常被回避的对话，意识到人类生存的流动性和时常出现的不安状态。
Taka Kono（鸿野隆）本次展览部分作品
Taka Kono（鸿野隆）过往作品和展览精选
Taka Kono（鸿野隆）, 1994年出生于日本神户, 他在雕塑、装置和表演中探索恐怖和亲密关系的复杂交叉点。Taka的作品常以湿发和排水沟为主题, 这些元素概括了他艺术探索中令人不安但又令人熟悉的领域。
展览中的黑暗，反映的是我们不可避免的人类普遍状况, 而不是灌输恐惧。而湿润的感觉则反映了我们人类生存的流动性和其经常令人不安的特质。Taka的作品迫使观众面对现实, 通过接受来激起宣泄。另外，他的作品还涉及到“缺席”这一主题, 缺席不是空洞，而是作为与过去存在共鸣的空间，这一概念促使观众与曾经存在的回声发生互动。
Taka Kono 亦艺术策划了一场恐怖和亲密的舞蹈, 促使观众审视他们的恐惧和欲望。它呼吁人们认识到不适, 拥抱复原力, 并参与到一个经常被回避的对话中——这些对于理解我们共同的人类状况都是至关重要的。通过这种交流，Taka 为我们集体心理中经常沉默的方面发出了声音。
近期精选展览包括：EASTEAST (科学博物馆, 东京, 日本, 2023)，Terminal B (Smena Center of Contemporary Culture, 喀山, 俄罗斯, 2022), down4u (Ritsuki Fujisaki Gallery, 东京, 日本, 2022), GARDEN OF GODS (SXSW x ultrastudio, 休斯顿, 美国, 2022), only only makes sense if there’s nothing else (darkZone, 新泽西州, 美国, 2021), dream knowledge, no, ledge, noh, no knowledge (mcg21xoxo, 松户, 日本, 2020)。
Artists: Taka Kono
Duration：23 Dec. 2023 - 25 Feb. 2024
Opening: 4pm, 23 Dec. (Sat.), 2023
When it comes to horror, people often avoid discussing it in broad daylight. We gravitate toward brightness, warmth, softness, and pleasure, pursuing the eternal continuity of life within the constant self-indulgence of comfort. The high development of technology has led to complacency, ignoring past tribulations, forgetting that comfort is only a narrow path and a transient state illuminated by human-centric perspectives. Viruses and wars serve as reminders; in the mysterious world, darkness, coldness, conflicts, fear, and the profound uncertainty are the vast and normal constants for humanity.
From the "Hyakki Yagyō" in yokai paintings to gods and demons in Noh plays, from various vengeful spirits in movies to the dance of the future depicted by Mirai Moriyama in the opening ceremony of the Tokyo Olympics, Japanese art has continuously explored and contemplated the soul and terror. Taka's recent works have been exploring the intersection of horror and intimacy. In his words, the existence of ghosts is a romantic affair. The interwoven background in his discourse reveals the loneliness of humans and the absolute unity of the world known under the radiant light of scientific rationality. Taka's construction of horror demands facing it, facing everything unknown beyond experience. When the unknown invades our intimate spaces, direct sensory stimuli compel us to confront reality, to return to and engage in that conversation often avoided, recognizing the fluidity of human existence and the frequently occurring state of unrest.
Taka Kono, born in 1994 in Kobe, Japan, explores the intersection of horror and intimacy in his sculptures, installations, and performance pieces. Notably, Taka’s work features motifs of wet hair and drains, elements that encapsulate the unsettling yet familiar terrain of his artistic exploration.
Darkness in his exhibitions mirrors our inescapable human condition rather than instilling fear, while a sense of wetness reflects the fluid and often disconcerting nature of our human existence. Taka’s art compels viewers to confront their realities, provoking catharsis through acceptance. His works also engage with the theme of absence, not as a void, but as spaces resonating with past presence. This notion prompts viewers to interact with the echoes of what once existed.
Kono’s art orchestrates a dance of horror and intimacy, pushing viewers to examine their fears anddesires. It calls for the recognition of discomfort, the embrace of resilience, and participation in anoften avoided dialogue - all crucial in comprehending our shared human condition. Through thisexchange, Kono gives voice to the often silent aspects of our collective psyche.
Recent selected exhibitions include: EASTEAST (Science Museum, Tokyo, Japan, 2023), TerminalB (Smena Center of Contemporary Culture, Kazan, Russia, 2022), down4u (Ritsuki Fujisaki Gallery, Tokyo, Japan, 2022), GARDEN OF GODS (SXSW x ultrastudio, Houston, USA, 2022), onlyonly makes sense if there’s nothing else (darkZone, New Jersey, USA, 2021), dream knowledge,no, ledge, noh, no knowledge (mcg21xoxo, Matsudo, Japan, 2020).
拾萬 ｜ 北京
正在展出
仇世杰：黑色空中大丽花
2023年10月29日
展览现场视频
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林山个展“摇曳”将延期至2023年12月17日。
Lin Shan's solo exhibition "Swaying" will be extended to December 17th, 2023.
“摇曳” 展览现场
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拾萬 ｜ 石家庄
深入太行山
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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。
Hunsand Space was established in 2014 in the Caochangdi Art Zone of Beijing. In 2018, it relocated to the 798 Art District in Beijing. At the end of 2021, Hunsand Space opened a branch, Hunsand Center for Contemporary Art, in Shijiazhuang, and by the end of 2023, it had moved to Beizhangcheng Village in Jingxing, Shijiazhuang. In early 2023, a new branch was established in Fujiwan, Zhuantang, Xihu, Hangzhou. The Beijing headquarters of Hunsand Space is located within a sunken two-story building in the Bauhaus architectural complex within the 798 Art District. The Shijiazhuang branch delves deep into an old church within a historic village in the Taihang Mountains, while the Hangzhou space has been transformed from a farmhouse near the Longwu Tea Plantation. Hunsand Space remains vigilant against the standardization of exhibitions and aims to respond to our shared existential experiences, sparking the often overlooked aspects of contemporary culture through ongoing exhibitions and projects.