拾萬北京｜展览现场｜张东辉： ”一个人“
拾萬空间（北京）于2024年7月13日带来了张东辉的个展：”一个人“。
Hunsand Space (Beijing) present a solo exhibition by Zhang Donghui titled ”All by Myself“ on July 13, 2024.
展览现场
展览现场
展览现场
展览现场
张东辉的艺术实践和作品面貌看似平淡无奇，却都与切身的生活经验有关，他不去发明和创造某些虚假的生存问题，而是通过白描的方式去记录一个真实的人在生活中的点滴。
Zhang Donghui's artistic practice and works may seem ordinary at first glance, but they are all closely related to his personal life experiences. He does not fabricate or create false issues about survival; instead, he documents the details of a real person's life through a plain and simple approach.
签名｜Sign
视频12’08”
尺寸可变｜Size variable
5+1AP
2023
视频链接：链接: https://pan.baidu.com/s/1_hNV4hjnqBi32p9OCLa1Tw
密 码：1992
我把一口一口的唾液吐在地上，像书写一样，吐出自己的名字。
I spit out my name onto the ground, dot by dot, as if writing it with saliva.
石家庄事书｜Book of Stories in Shijiazhuang
纸本 | Paperback
30×21cm
2022
以一本《刑事判决书》为材料，抹去了涉案人员的具体身份，以及证明其有罪和判决处罚的文字内 容。保留作案时间、作案地点、作案经过、作案手段和作案工具，让这本书转变为对这个人所经历之事的一个相对单纯的叙述，来作为《一个人》的脚本。
Using a "criminal judgment" as material, the specific identity of the person involved in the case was erased, as well as the text proving his guilt and sentencing. Retaining the time, place, process, means and tools of committing the crime, the book was transformed into a relatively simple narrative of what the person experienced, as a script for "A Man".
一个人｜A Man
松木、椴木、铁钉、矿物质颜料 | Pine, Basswood, Nails, Mineral Paint
200×140×30cm
独版｜Unique
2022
一个人｜A Man（局部｜detail）
我根据相关的材料记录，将一个人在石家庄生活的八年的时间内所犯的二十三条罪名中所涉及到的人和地方，通过走访、交谈、记忆和模拟想象的方式，重新经历这“一个人”所做的事，也重新认识这“一个人”。这是一次历时比较久的寻访过程，对这“一个人”所经历的事，用雕塑和绘画的语言方式，以双重视角进行重新叙述，并将种种发生在石家庄的事情浓缩于一柜之中。
According to relevant materials and records, I re-experienced what the "A Man" did and re-recognized the "A Man" by visits, conversations, memories, the imaginations of the people and places involved in the 23 crimes committed by a man during his eight years in Shijiazhuang. This is a long-lasting searching process, for this "A Man" experience, Zhang Donghui used the language of sculpture and painting to recount from a dual perspective, and condensed all kinds of things that happened in Shijiazhuang into one cabinet.
麒麟山｜Kirin Mountain
松木、亚克力、纸本水墨装裱卷轴、PVC 膜喷绘 | Pinewood, Acrylic, Mounted Scroll of Ink on Paper, PVC Film Print (or PVC Spray Print if referring to the process of spraying)
245×81×43cm
独版｜Unique
2024
麒麟山｜Kirin Mountain（局部｜detail）
2020年春的疫情期间，我在自己所居住的合生麒麟社小区2号楼的楼道里，依照爬楼逐层升高的身体感受，在对应的墙面上画一座山来模拟爬山的经验。同时我感觉楼道狭小昏暗的空间与《会峪河改道图》中的空间恰合，因此直接将此图作为《麒麟山》楼道壁画的粉本。《麒麟山导览图》用在“爬山”的过程中寻找并对照某些楼层中的景点，增加 “爬山”的乐趣。我一直认为这件作品的展示一定要在麒麟社小区的现场发生，直到2023年，麒麟社的物业公司空降了新的领导，以居住环境要干净整洁为由，下令粉刷掉了壁画，麒麟山景区消失了。这件事给我了我《麒麟山》可以在白盒子里展出的理由，因此我制作了麒麟山景区的模型。
During the pandemic in the spring of 2020, I was living in Building No. 2 of the Hesheng Qilin Community. Inspired by the physical sensation of climbing the stairs floor by floor, I painted a mountain on the corresponding walls to simulate the experience of hiking. Simultaneously, I found that the narrow and dimly lit space of the stairwell resonated with the spatial qualities depicted in the "Plan for the Diversion of the Huiyu River," and thus I directly used this map as the sketch for my mural, "Mount Qilin." The "Mount Qilin Guide Map" served as a way to find and compare certain scenic spots on specific floors during the 'climb,' adding to the fun of the 'hiking' experience. I always believed that the presentation of this work must take place on-site at the Qilin Community. However, in 2023, new management at the property company suddenly decided that the environment needed to be clean and tidy, and ordered the mural to be whitewashed, erasing the Mount Qilin scenic area. This event provided me with the rationale to exhibit "Mount Qilin" in a white cube setting, leading me to create a model of the Mount Qilin scenic area.
望麒麟｜Gazing at the Qilin
纸质喷绘 | Paper print
30×90cm
6+1AP
2022
从麒麟山（我的住所）北望，可以从城市森林的夹缝中看到一小段燕山山脉，其中最高的一座山峰引起了我的注意，我通过卫星地图查到这座山峰是云蒙山主峰，与麒麟山的直线距离是66.05公里。我来到云蒙山主峰峰顶，把刻有“云蒙山主峰”五个字的石碑表面凿平，又新刻上了“望麒麟”三个字，使其与“麒麟山”之间形成了一种空间上的呼应关系。
Looking north from Qilin Mountain, my residence, I can catch a glimpse of a segment of the Yan Mountains through the crevices of the urban forest. Among them, one peak in particular caught my attention. Through satellite maps, I discovered that this mountain is the main peak of Yunmeng Mountain, which is 66.05 kilometers as the crow flies from Qilin Mountain. Upon reaching the summit of the main peak of Yunmeng Mountain, I flattened the surface of the stone monument engraved with the words "Yunmeng Mountain Main Peak," and then carved anew the words "Wang Qilin," creating a spatial resonance between it and "Qilin Mountain."
跑坟｜Dash to the Tombs
纸质印刷、牛皮纸 | Paper printing, kraft paper
39×34×6cm
21版
2024
我从自己位于石家庄市元氏县南佐镇的老家祖坟出发，到新家北京的路上，去看途径的那些位于田间地头、村庄、市区里的坟墓，给每一块墓碑拍下它的“证件照”，然后按照身份证的尺寸将它们打印成卡片，根据它们所属的城市，整理、归类成套。
Starting from the ancestral graves in my hometown in Nanzuo Town, Yuanshi County, Shijiazhuang, on my way to my new home in Beijing, I visited tombs along the route, whether they were located at the edges of fields, in villages, or within urban areas. I took "identification photos" of each tombstone, then printed them onto cards in the size of an ID card. I organized and categorized these cards into sets based on the cities to which they belonged. In this project, each tombstone is treated as if it has an identity, akin to a person holding an identification card, which highlights the human aspect of each individual buried there. By collecting and categorizing these "ID card" prints, the artist creates a collection that serves as a memorial and a reflection on mortality and remembrance.
张东辉 | Zhang Donghui
我们｜ We
视频22’55”
尺寸可变｜Size variable
独版｜Unique
2024
视频链接：https://pan.baidu.com/s/1o2069h0Orthmbd1vKY2ZcA
密 码：1992
我从自己位于石家庄市元氏县南佐镇的老家祖坟出发，到新家北京的路上，去看途径的那些位于田间地头，或市区里的坟墓，记录下墓碑上逝者的姓名；我将一张灭蚊电网固定在汽车挡风玻璃上，夜间驾驶它高速行驶在石家庄与北京间的公路上，那些主动扑向作为光源的汽车大灯，与来不及躲闪而被撞到的蚊虫，在触碰到电网的一瞬间被电流电死，产生火花与爆破音；最后把逝者的名字，与蚊虫死去瞬间的景象结合，每死一只蚊虫，便滚动出现一名逝者姓名。
Starting from the ancestral graves in my hometown in Nanuo Town, Yuanshi County, Shijiazhuang City, I embarked on a journey to my new home in Beijing, documenting the names of the deceased inscribed on tombstones along the way, whether they were located at the edge of fields or within city areas. I affixed a mosquito electrocution grid to the windshield of my car, driving at high speeds on the roads between Shijiazhuang and Beijing at night. Mosquitoes attracted to the headlights as a light source and those unable to dodge in time would meet their end upon contact with the grid, instantly killed by the electric current, generating sparks and popping sounds. Finally, combining the images of mosquitoes dying with the names of the deceased, each death of a mosquito would trigger the display of a name of the departed.This piece could be interpreted as a symbolic representation of life and death, where the ephemeral nature of existence is juxtaposed against the permanence of memory through the names left behind. The act of driving and the electrocution of insects becomes a metaphorical journey through life, with each insect representing a fleeting life extinguished, paralleling the names of those who have passed away.
张东辉 | Zhang Donghui
表白｜Confessions of Love
视频 23’12”
尺寸可变｜Size variable
独版+AP
2024
视频链接：https://pan.baidu.com/s/157lS0EG-TM-GissCQqUBTA
密 码：1992
我在自己生活工作的北京家楼下，偷了一块水泥马路牙子，在春节前夕把它拴在摩托车后面骑行回老家一石家庄市元氏县南佐镇。途中不时的在水泥板上刻字，随着拖在车后的水泥板与路面间的摩擦，字迹渐渐漫漶不清，我会再在其上刻新的文字，然后将文字拓印下来,内容是自我在面对家族时的心里话。
除夕傍晚，到达南佐镇，字迹被完全磨没，我将水泥板立在了自家祖坟之上。
I stole a section of a concrete curbstone from outside my residence in Beijing, where I live and work. On the eve of the Spring Festival, I attached it to the back of my motorcycle and rode it back to my hometown in Nanuo Town, Yuanshi County, Shijiazhuang. Along the way, I would carve words onto the concrete slab, and as it dragged across the road surface, the inscriptions would gradually become blurred and indistinct. Whenever this happened, I would carve new words over the old, then make rubbings of the text. The content reflecting my innermost thoughts when facing my family. By the evening of New Year's Eve, I arrived in Nanuo Town, and the words had been completely worn away. I placed the concrete slab atop the family's ancestral graves.
张东辉 | Zhang Donghui
表白 - 拓片｜Confessions of Love -Rubbing
皮纸 | Bark Paper
75×30cm×10片
独版+AP
2024
张东辉 | Zhang Donghui
无题｜Untitled (展示版)
纸盒、丙烯 | Paper box, acrylic
尺寸可变 ｜Size variable
独版｜Unique
2024
“三年了，我已麻木了”是我从疫情初期开始，对于出行管控规则的抵触与不愿配合，到后来被温水煮青蛙式的规训后，心理发生的变化。很多人都有类似的情绪共鸣，但大家的表达通常只发生在同温层，而且常被遭到封堵。我觉得这种集体的情绪与声音应该被听到、被看到。于是我用了红色的广告字体，以游击的方式，将这句话中的每个字，分别喷到了散落在望京各处的八个核酸亭上。我在展厅里，通过在纸盒表面上色的方式模拟了这八个核酸亭，将它们放置在各个角落，就像散落在望京的那些核酸亭一样。
"It’s been three years, and I’ve become numb." This phrase encapsulates my evolution from initial resistance and reluctance to comply with the travel restrictions at the beginning of the pandemic, to the frog in boiling water effect of gradually accepting these regulations. Many people share this emotional resonance, but our expressions are often confined to echo chambers and frequently stifled. I believe that this collective emotion and voice deserves to be heard and seen. Inspired by this, I used bold red advertising typeface to stencil each character of this sentence onto eight scattered COVID testing booths around Wangjing in a guerrilla-style campaign. In the exhibition space, I replicated these booths by coloring paper boxes and positioning them in various corners, mirroring how the testing booths are dispersed throughout Wangjing.
关于艺术家｜ABOUT ARTIST
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。
Zhang Donghui born in Shijiazhuang, Hebei Province in 1992, he graduated from the Sculpture Department of the Central Academy of Fine Arts in 2017 and currently lives and works in Beijing.
相关链接：
拾萬杭州 | 展览现场 | 张东辉：为光延续一分钟 | 金亚楠：草地（100M）翟宇辉：荒原
丁世伟：幽灵腹语
2024年7月13日 - 2024年8月31日
相关链接：
张东辉：”一个人“
2024年7月13日 - 2024年8月31日
相关链接：
拾萬杭州 | 展览现场 | 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
六年书
相关链接： 拾萬空间 | 六年书发布
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.
北京画廊开放时间 Opening hours ： 周二-周日 TUE-SUN 10:30-18:30
石家庄画廊开放时间 Opening hours ： 周一-周日 MON-SUN 10:00-19:00
杭州画廊开放时间 Opening hours ： 周二-周日 TUE-SUN 10:30-18:00（冬季）11:00-19:00（春夏秋）
拾萬空间｜北京 拾萬当代艺术中心｜石家庄 拾萬空间｜杭州
微信 | WeChat: hunsandspace 微博｜Weibo: 拾萬空间 Instagram: hunsand_space
T：010-57623059 (北京） T：0311-66600320 （石家庄） T：0571-81950130（杭州） E：hunsand@hunsand.com W: www.hunsand.com
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.