拾萬北京 | 群展在即 | 石之海

Hunsand Space (Beijing) is delighted to announce the upcoming group exhibition 'Stone Ocean' from 18 Feb 2023 to 26 Mar 2023.

海底深处的火山热液口可能是地球生命的发源地，脊椎类动物的早期胚胎几乎都是类鱼形态，这些现实与猜想让梁姝妮回游到古远的深海记忆：诞生、成长、水位下降后露出的遗骸，将她引入到一次与本体源头的隔空对话中。对于描述未知，我们往往会以人为原型，然后结合所见所想生成一个新的幻象。解群除了借助人形，还将日常之物转换、代入到她的“橐龠宇宙”中，于是蘑菇门、花生塔、面膜肺、饭盒孕生的圣山……这些光怪陆离的盒子，成了一部暗夜中的镜花缘。经傲在万物中聆听喘息，她的探索则是围绕声音展开，以“纯然物”为主材料，在大小各异的装置中寻觅声音的节奏悦动，由此反观她的绘画，便更像从脑子里溜出来的精灵，随遇而安、随性发芽。

火山爆发时，岩浆在流动过程中，前面的冷却凝固，后面的持续推挤，冷与热的激烈碰撞中，形成了一种“翻花石海”。进而，瞬间的不稳定被临时安全化了，内在的微妙变化却在推动下一次的外壳蜕变。这变化不易察觉、也因人而异，就像我们在观察痛苦之身时，会发现女性从古至今的基因里，沉淀的痛苦感要远超于男性，同时也会让她们更有契机成为觉知者。解群将生活状态汇流成具有魔幻现实感的短诗与小画，她察觉有痛时，“滚诗”会尾随而至，一旦焦灼感走了，表达的意愿也跟着消失了。痛无法真切地感同身受，但可以试着不加分别地给予全然倾听。朱荧荧本次以“火”为借喻对象的创作中，针刺般挑拨起的是强烈的个体挣扎，火在瞬间的形状成为内与外的临界点，较之以往，这次绘画中的精神感受性更加深厚。

通常，人们首先被表象（形象、名、权、利）吸引，近身处之却往往事与愿违，虚象之下渗发出的很可能是腐烂之气与化学香精混杂的怪味。回应文明发展中的种种裂变，艺术创作者经常显现出四种不同的状态：创造彼岸、显露实相、试图改良、去繁回简。语言作为交流的工具，从出现起就带有它的局限性，但我们还是需要借助它来推进自我和世界的认知，接近生命的原貌。梁伟将积累的个体经验和外部概念进行不断地消融，慢慢推演出带有个人属性的绘画语言，意识窜流于持续碎片化的叠加过程中，趋向一个飘渺之境。沈瑞筠绘画中撕裂的图像重组后，依稀可辨别出杀戮和血腥，褪显出宗教或艺术纷华表象下的赤裸和复杂。而趋于完善的以城市化为核心的系统，容易加速催化自我欲求，“小我”虚大时，人祸便接踵而至。在“祛魅”的现代化进程中，魏颖将“返魅”引流到过度依赖现代系统的生存环境，驱散障眼迷雾，亲近自在的精神旷野。如果我们认同高于人类的“神灵”的存在，那其本应是对生命升起真正的敬畏之心，而并非只有所图。旦儿在近几年的创作中，便逐渐减弱主观意图的植入，淡化“戳印花”的社会、政治、宗教的复杂背景，在纸上生演出“一生二，二生三”的至简之道。她们像单个细胞的分化和分裂，共同衍生出一个多元的世界。

Hunsand Space (Beijing) will present a new exhibition " STONE OCEAN", which will open on February 18, 2023 and last until March 26, 2023. This group exhibition is honored to invite Dan'er, Jing Ao, Liang Shuni, Liang Wei, Shen Ruijun, Wei Ying, Xie Qun and Zhu Yingying to exhibit their works, all of which have an air of mystery while blending perseverance and tenderness. Through the creator's conjecture of the origin, transformation and demise of life, the internal and external response to the body of self-suffering, and the introspection of religion, politics, industrial technology and needs in the development of civilization... the exhibition attempts to clear up a wisp of the increasingly blurred sensibility of modern society.

The volcanic hydrothermal vent deep under the sea may be the birthplace of life on Earth, and the early embryos of vertebrates are almost all fish-like forms. These realities and speculations allow Liang Shuni to swim back to the ancient memory of the deep sea:birth, growth, and the remains exposed after the water level drops, introducing her to a space-to-space dialogue with the origin of the being.For describing the unknown, we often take a human prototype and then combine what we see and think to generate a new illusion.In addition to using human form, Xie Qun also transforms and substitutes everyday things into her "Tuo Yue Universe", so the mushroom door, peanut tower, mask lung, and the sacred mountain born of lunch boxes... These bizarre boxes have become a mirror in the dark night. Jing Ao listens to the breath in all things, and her exploration revolves around sound, using "pure objects" as the main material, looking for the rhythm of sound in installations of different sizes, thus looking at her paintings, they are more like elves slipping out of her head, sprouting as she sees fit.

When the volcano erupts,the magma in the flow process,the cooling and solidification in the front, the continuous pushing and pushing in the back, and the fierce collision of cold and heat, forming a "sea of turning stones". In turn, the momentary instability is temporarily securitized, and the subtle changes inside drive the next shell metamorphosis. This change is imperceptible and varies from person to person, just as when we look at the body of pain, we will find that women have been genetically predisposed to feel pain far more than men from ancient times to the present and it will also give them a better chance to become aware at the same time.Xie Qun converges the state of her life into short poems and small paintings with a sense of magical reality. When she perceives pain, the "rolling poem" will follow; and once the anxiety is gone, the willingness to express disappears. The pain cannot be truly felt, but one can try to listen to it fully without any distinction. In Zhu's current work, which uses "fire" as a metaphorical object, it pinprickly provokes a strong individual struggle, and the shape of fire in an instant becomes a critical point between inside and outside, and the spiritual sensibility in this painting is deeper than before.

Usually, people are first attracted by the appearance (image,fame, power and money), but the close proximity often backfires, and the strange smell of rotten smell mixed with chemical essence is likely to ooze under the virtual image. But when they get close to them, they often do not get what they want, and what emanates from beneath the false image is probably a strange smell of decay mixed with chemical fragrances.In response to the various fractures in the development of civilization, art creators often show four different states: creating the other side, revealing the reality, improving, and simplifying. Language, as a tool of communication, has its limitations since its emergence, but we still need to use it to advance the cognition of self and the world, and to approach the original appearance of life. Liang Wei constantly dissolves the accumulated personal experience and external concepts, slowly deduces the painting language with personal attributes, and her consciousness flows into the process of continuous fragmentation, tending to an ethereal realm. After the reorganization of the torn images in Shen Ruijun's paintings, the killing and bloodshed can be faintly distinguished,revealing the nakedness and complexity beneath the flamboyant surface of religion or art.The urbanization-centered system, which tends to be perfected, tends to catalyze the desire for ego, and when the "ego" becomes too big, human disasters will follow. In the process of modernization of "disenchantment", Wei Ying diverted "re-enchantment" to the living environment that is overly dependent on modern systems, and dispelled the blindfolded mist to the spiritual wilderness freely at will. If we agree with the existence of "gods" above human beings, it should be a true reverence for life, not just a desire.In recent years, Dan'er has gradually weakened the implantation of subjective intentions, weakened the complex social, political and religious background of "stamping", and performed the simplest way of 'One' generates 'two.' 'Two' generates 'three.' They are like the differentiation and division of individual cells, and together they derive a pluralistic world.

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