拾萬北京 | 群展在即 | 春困
拾萬空间（北京）非常荣幸宣布将于2024年3月2日-4月7日推出群展 “春困”。
Hunsand Space (Beijing) is delighted to announce the upcoming group exhibition 'Spring Sprang Sprung' from 2nd Mar to 7th Apr 2024.
策展人: 孟宪晖
艺术家：陈俐、江一帆、李萧禾、秦晋、李欣遥(犬子)、任莉莉、向京、于若晗、赵玉、张雪瑞、祝洵
展期：2024年3月2日 - 4月7日
开幕：2024年3月2日（周六下午四点）
春至、人困。这困，是困倦、是困境、也是困惑。
木在囗中，呈现着四壁包围的现状，只是生长的树木又怎会轻易被砖墙所困，而在科技不断介入社会的时代，无形之墙又时常以没有实体的信息的方式改变人们在现实世界中的存在。“困”成为一种常态，原指停滞不前，却又可引申为极尽，这种物极必反的延伸，连同英文标题“spring sprang sprung”在时态上的文字游戏，恰应和着群展“春困”所试图探讨的“束缚”与“挣脱”间的相互拉扯。
三月伊始，拾萬空间（北京）以邀请陈俐、江一帆、李萧禾、秦晋、李欣遥(犬子）、任莉莉、向京、于若晗、赵玉、张雪瑞、祝洵等11位艺术家，在3月2日至4月7日间，以“春困”为名，借丰富媒介展现那些天马行空的想象、恣意的思想延伸如何成为回应现状的出口。
对身体研究的浪潮此起彼伏，长久的塑造历史令身体在多重学科中命运浮沉，其中反映的是在特定的社会文化脉络中人们最为直觉的认知经验。朱丽娅·克里斯蒂娃（Julia Kristeva）在《主体·互文·精神分析》中提出女性具备不断循环、不断新生的绽放的时间观，在找寻客体（复数的“他人”）的过程中，思想与生命共生。因此在许多艺术家的创作中，“符号态”（semiotic）的诗性语言在重复的过程中成为可分享的存在，而对耳熟能详的经典文本进行再探讨也是这场展览中多件作品所共有的言说方式……
尽管“春困”集结了不同代际、不同环境下成长的女艺术家，但并不希望将性别作为一个过于突出的议题，毕竟，历史、文化、社会，各种各样的认知和社会关系给人们带来或显著或隐蔽的困境，随之而来的就是种种心理枷锁，束缚几乎无差别地普遍呈现在每一个人身上，而对这一情况的揭露、挣脱必然被艺术家用以反映在作品中。
逾越边界是这场展览更加试图强调的主题。如果说，曾经画框限定了内容，展厅限制了作品的范围，技术介入下的屏幕边框已形成了每个人观看世界的新视窗，扁平化语境下艺术的审美及认知也开始被重构。但事实上，每一次展览都无法被手机简单记录，单一光线下的画作、可从多重角度观看的雕塑、仅能截取一帧或片段的影像，也无法作为艺术家创作的代表。观看展览后，借助社交媒体的传播透露着人们难以抑制的表达欲，而这也不失为对“春困”的另一重挣脱。
Curator: Meng Xianhui
Artists: Chen Li, Yifan Jiang, Li Xiaohe, Qin Jin, Li Xinyao(Quan Zi), Li Li Ren, Xiang Jing, Yu Ruohan, Pocono Zhao Yu, Zhang Xuerui, Zhu Xun
Duration：2nd Mar - 7th Apr. 2024
Opening: 4pm, 2nd Mar. (Sat), 2024
Spring might have arrived, and people are lethargic. The Chinese characterkun (困) is a homonym, meaning lethargy, dilemma, and confusion.
The character, picturing the enclosure of wood, presents an engulfment, only that walls wouldn’t easily entrap living trees. In a time when technology permeates every aspect of society, invisible walls erected with information communication subtly transform human existence in the physical world. Being "trapped" becomes a type of normalcy, initially referring to a state of stagnation, and may also imply an extreme, one that has passed a critical threshold. The English title of this exhibition, "Spring Sprang Sprung,” playing with the temporalities of this verb, further attempts to underscore the push and pull between the central ideas of “confinement” and “struggle” of this exhibition.
In early March, Hundand Space (Beijing) invited eleven artists, including Chen Li, Yifan Jiang, Li Xiaohe, Qin Jin, Li Xinyao (Quan Zi), Li Li Ren, Xiang Jing, Yu Ruohan, Pocono Zhao Yu, Zhang Xuerui and Zhu Xun, to showcase their imaginative and unhinged art practices in diverse art media under the title of "Spring Sprang Sprung" from March 2 to April 7, that response to the status quo and current conditions.
With the ebbs and flows of research on the body, the long-shaped history has sunken its fate in many fields of study, which reflect the most perceptual epistemological experiences in which the individual has always lived uniquely in specific socio-cultural contexts. In her book Subject, Intertextuality and Psychoanalysis, Julia Kristeva suggests that women have a conflating view of time that constantly recycles and renews. In searching for the object (the plural "other"), thoughts and life coexist. Thus, in the creations of many artists, the lyrical language of the "semiotic" becomes an existence to be shared in the process of repetition，re-examining classic texts is a way of speaking shared by many works in this exhibition.
Although this exhibition brought female artists of different generations and cultural contexts under one roof, it does not wish to make gender an overly prominent topic. After all, history, culture, society, and various cognitive and social relationships emanate obvious and discrete dilemmas, casting psychological burdens and bondage that almost indiscriminately impact everyone. Fortunately, revelations of such conditions and circumstances are often exposed or even broken free from by the artists and transformed into their works of art.
Transcending borders is a theme that this exhibition tries to emphasise even more.If the frame of a picture was once the boundary of the image, and the gallery set the scope to the works of art, then the digital screen, with the intervention of technology, has built in a new frame to command that flattens the people’s aesthetic and perceptual experience of art. Indeed, every art exhibition cannot be fully recorded by a mobile phone; the paintings under a single spotlight, the sculptures viewed from multiple perspectives, and the moving images captured in a single frame neither would they fully represent the practice of any given artist. The dissemination of such works on social media that fulfill people's insatiable desire for expressions after viewing would become another way to break free from temporal shifts of "Spring Sprang Sprung."
杨洋：恶俗
2024年2月25日 - 2024年3月31日
相关链接：
拾萬 ｜ 石家庄
深入太行山
相关链接：
六年书
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.