新粮仓空间首展「筒仓，算力，垂直之梦」

日期：2024-09-24 11:01:12 来源：可以画廊

展览 >新粮仓空间首展「筒仓，算力，垂直之梦」

筒仓，算力，垂直之梦

Silo Dreams

艺术家 Artists：

陈拍岸 Chen Pai'an

龚斌 Gong Bin

经傲 Jing Ao

李关帅 Li Guanshua

李喷泉 Li Penquan

李涛 Li Tao

李昕頔 Li Xindi

任莉莉 Li Li Ren

松郎 Song Long

宛超前 Wan Chaoqian

谢林佑 Xie Linyou

邢万里 Xing Wanli

策展人 Curator：

陈鋆尧 Chen Junyao

展期 | Exhibition Period

2024.10.01-2024.11.17

开幕 | Opening

2024.10.01 15:30-18:00

可以画廊，合肥市蜀山区新粮仓15号，周一至周日

15# Building, New Grain Warehouse, Shushan District, Hefei.

Open Monday to Sunday.

可以画廊欣然宣布将于10月01日在合肥新空间举办群展「筒仓，算力，垂直之梦」。这将是在合肥新空间——新粮仓KKP举办的第一个首展，展览将集中呈现陈拍岸、龚斌、经傲、李关帅、李喷泉、李涛、李昕頔、任莉莉、松郎、宛超前、谢林佑、邢万里12位艺术家的22件新作。展期将持续至11月17日。

KeYi Gallery is pleased to announce the upcoming group exhibition "Silo, Computing Power, Vertical Dream," opening on October 1 at the New Space in Hefei. This will be the inaugural exhibition at the new grain warehouse KKP in Hefei. The exhibition will showcase 22 new works by 12 artists: Chen Paian, Gong Bin, Jing Ao, Li Guanshuai, Li Penquan, Li Tao, Li Xindi, Ren Lili, Song Lang, Wan Chaoqian, Xie Linyou, and Xing Wanli. The exhibition will run until November 17th.

高耸起伏的简仓，以极强的空间意识和突破日常的建筑形式创造了全新的空间，在装载着粮食与货物的熙攘车流中，在铁路、桥梁和吊车构建起的城市里，在蓬勃生长的城市天际线下，一个巨大、垂直的直面混凝士建筑陡然矗立，与周遭的一切相映成趣。

The towering and undulating silos create a new space with a strong sense of spatial awareness, breaking free from everyday architectural forms. Amid the bustling traffic carrying grain and goods, within a city constructed of railways, bridges, and cranes, a massive, vertical concrete structure suddenly rises, contrasting and complementing everything around it under the flourishing city skyline.

作为画廊新粮仓空间的开幕首展，“筒仓，算力，垂直之梦”始于这一特殊展览空间的建立：兴建于世纪末的筒仓由存放储备粮转向关注当代文化的内容生产。

As the inaugural exhibition of the gallery's new grain warehouse space, "Silo, Computing Power, Vertical Dream" begins with the establishment of this unique exhibition space: the silos, built at the turn of the century, have transitioned from storing reserve grain to focusing on the production of contemporary cultural content.

空间的建筑改造与情景轮替是社会空间在应用功能上的转变，展览将其视作社会活动与经济发展转型的投射，具体展现新兴技术产业、算法逻辑和平台经济主导下后现代劳动力与生产关系的流转更迭，以社会关系与空间结构间的非线性联系勾勒并探讨当代城市面临的发展现状与挑战。

The architectural transformation of the space and the shifting contexts represent a change in the functional application of social space. The exhibition views this as a projection of the transformation of social activities and economic development, specifically showcasing the dynamics of postmodern labor and production relations under the dominance of emerging technology industries, algorithmic logic, and platform economies. It aims to outline and explore the nonlinear connections between social relations and spatial structures, addressing the current development status and challenges faced by contemporary cities.

展览集合了12位艺术家的绘画、影像、雕塑与特定场域装置作品，剖析并回应以社会生产结构剧烈变化和由此引发的时空流动性为基调的当代社会生产关系与组织形态，希望为显现于当下，并将在未来更为普遍的社会空间实践体验提供解读、思考与处理的视角。

The exhibition brings together paintings, videos, sculptures, and site-specific installations by 12 artists, analyzing and responding to the dramatic changes in social production structures and the resulting temporal and spatial fluidity that characterize contemporary social production relations and organizational forms. It aims to offer interpretations, reflections, and approaches for understanding the emerging social spatial practices that are present today and will become more prevalent in the future.

新粮仓的前身——安徽省机械化粮库——于1992年立项修建，作为粮食收购、储存、加工、商贸的集合体促进粮食储备与流通，回应了当时的社会情境与诉求。

The predecessor of the new grain warehouse, the Anhui Mechanical Grain Storage Facility, was initiated in 1992. It served as a hub for grain procurement, storage, processing, and trade, facilitating grain reserves and circulation in response to the social context and demands of that time.

如今，曾经的六个粮食筒仓作为工业遗产被再利用为艺术空间，新粮仓亦在城市更新中重筑为文化商业的新场域。粮仓空间功能的轮替所象征的微观社会生活场境的转译成为社会实践变化的表征，仍然残存着稻谷壳的混凝土墙壁筑就了记录时代变迁的纪念碑，空间本身的质性与意义也随之成为揭示空间的社会与生产变革的索引。

Today, the former six grain silos are repurposed as artistic spaces, while new silos are being rebuilt into cultural and commercial hubs as part of urban renewal. The transformation of the silos' functions symbolizes the translation of micro-social living environments, representing changes in social practices. The concrete walls, still bearing the remnants of rice husks, stand as a monument recording the shifts of an era. The qualities and meanings of the space itself become indices revealing the social and production transformations of the area.

©陈拍岸 Chen Pai'an

1609005210112 ‍

2024

矢量图、艺术微喷 / Vector painting 、Ultragiclee

160 × 90 cm

独版 / Unique edition

陈拍岸放弃了与抽象表现主义相关的学术内涵，转而着眼于广告的应用逻辑，将商品作为形式、符号和材料带到绘画的前沿。他以幽默和机智的方式在不同的媒体中工作，在符号和内容之间摇摆，以数码绘画与微喷还原现代场景光滑的工业产品质感，借科技传达新的风格化空间视觉体验。在自然和人工景观中找到崇高的感觉。

Chen Pai'an has shifted away from the academic connotations associated with Abstract Expressionism, focusing instead on the logic of advertising application, bringing commodities as form, symbol, and material to the forefront of painting. He works across various media with humor and wit, oscillating between symbols and content. Using digital painting and micro-spraying techniques, he reproduces the sleek industrial product textures of modern scenes, conveying new stylized spatial visual experiences through technology. In both natural and artificial landscapes, he seeks a sense of the sublime.

©经傲 Ao Jing

哼的咳嗽 / Humph ! A Cough

2023

邻居家自然死亡的树，铜，铝，鱼钩，珊瑚，陶瓷，皮，我妈种失败的葫芦

neighbor's tree that died naturally , copper , aluminium , fish hook , coral , ceramic , leather , rope , a gourd my mother planted unsuccessfully

230 × 140 × 120 cm（尺寸可变 / Size variable）

经傲探索各种质材在不同环境中成为雕塑、行为、影像的发生方式，在非二元对立的语境中，探索“物质”与“非物质 "、 “意识”与“无意识”间的暧昧关系。相较于当下以辩证思维为主导的艺术生产模式，经傲的创作更偏向于叙事性文学，通过不断地提出问题并在疑问中游走，将自身对生命所有的态度与抉择，均诚实地呈现于作品中。她的雕塑中材料物质性在不同环境中的偶然转化与发生，随机潜能与高度控制间存在了不同的复杂动态。

Ao Jing explores how various materials can manifest as sculptures, performances, and images in different environments, examining the ambiguous relationships between "material" and "immaterial," as well as "consciousness" and "unconsciousness," within a non-binary framework. Unlike the current art production models dominated by dialectical thinking, Jing Ao's work leans towards narrative literature. By continuously posing questions and navigating through uncertainties, she honestly presents her attitudes and choices regarding life in her work. In her sculptures, the materiality of the materials undergoes incidental transformation and occurrence in different environments, revealing complex dynamics between random potential and high control.

©李关帅 Li Guanshuai

脚步流淌遍布身心 / Footsteps flow through me

2024

布面油画 / Oil on canvas

200 × 300 cm

李关帅将人内心的神圣和人与神性中细微的情感视为一种未知与神秘。整个过程表现为从自信到纠结，再到发现自身认知的缝合，转到失望再到接受并参与博弈，这些环节无序地出现在他的生活态度和作品中。细微的情感附着于巨大的、形象化的人的意志；附着于具体文本中人性部分的想象延伸上，包括人对仪式感的具体化和信仰的形象化。他以人性与神性间的摇摆博弈刻画复杂、残缺、对抗的普遍境遇；但这些都起于他在信仰中个人的想象力与求知欲的私心。李关帅的绘画中具有当下人们对未知、神性、仪式的新的个人的认知与情感判断。这古与新的意志和私心在他生活和画中交替，注定是个难题。

Li Guanshuai views the sacredness within the human psyche and the subtle emotions between humanity and divinity as realms of the unknown and the mysterious. This process is characterized by a progression from confidence to confusion, followed by the realization and integration of one's own understanding, shifting to disappointment and eventually to acceptance and engagement in the struggle. These stages appear disorderly in both his life attitude and his work. Subtle emotions are attached to grand, personified will; they are extended through imaginative elements in specific texts related to humanity, including the concretization of ritual and the visualization of faith. Li Guanshuai portrays the complex, fragmented, and confrontational nature of universal conditions through the interplay between humanity and divinity. However, this stems from his personal imagination and curiosity within the realm of faith. His paintings reflect contemporary individuals' new personal cognition and emotional judgments regarding the unknown, the divine, and rituals. The interplay of ancient and modern wills and personal motives in his life and art creates an ongoing and profound challenge.

©任莉莉 Li Li Ren

蜕 / Landscape from within

2022

网格，绒线，硅胶，羊肝菌，蛇蜕，莲子

Canvas, yarn, silicone, Morchella, snake slough, lotus seed

400 × 200 cm

在任莉莉的实践里，她探索物体与空间不断变化的关系，经常通过生物学诠释和高度幻想，寻找形状、内容和环境的内部通道，从而逃离现实空间的物理框架。在建构这个世界的过程中，任莉莉寻找流通在人类世、海洋、生物学、变化体和母性之间的内容，强调人和非人之物的共性混淆或回避它们原本的内涵，瓦解传统人文主义的稳定性。即是对当代社会碎片化及不稳定性的超验阐释。

In Li Li Ren practice, she explores the ever-changing relationship between objects and space, often using biological interpretations and heightened fantasy to seek internal pathways of shape, content, and environment, thereby escaping the physical confines of real-world space. In constructing this world, Ren Lili seeks content that circulates among the Anthropocene, the ocean, biology, metamorphosis, and maternity, emphasizing the confusion or avoidance of the original meanings of both human and non-human entities, thus dismantling the stability of traditional humanism. This approach serves as a transcendental interpretation of the fragmentation and instability of contemporary society.

‍‍CH Inn. #04

2023

布面油画与丙烯 / Oil and Acrylic on canvas

180 × 170 cm

宛超前以家用电器定义的家居空问提供现代生活的画像，关注技术发展对空间与生活经验的重塑。通过对互联⽹、视觉⽂化和⽣活中碎⽚式图像的收集与再创作，以多样绘画⽅法开拓出⼀⽚荒诞与悖论兼容的图像地景。抽象与具象、随机与既定、创造与破坏、共情与冷漠、诙谐与严肃在宛超前的作品中发⽣对撞，以丰富的层次探讨当代社会令⼈乐此不疲⼜倦怠⽆⽐的控制机制与⽣存⾯貌。

Wan Chaoqian defines domestic spaces through household appliances, providing a portrait of modern life while focusing on how technological advancements reshape spatial and experiential dimensions. By collecting and reinterpreting fragmented images from the internet, visual culture, and daily life, he creates an absurd and paradoxical landscape through diverse painting techniques. In Wan Chaoqian's work, abstract versus figurative, random versus predetermined, creation versus destruction, empathy versus indifference, and humor versus seriousness collide, exploring with rich layers the contemporary society’s endlessly engaging yet exhausting mechanisms of control and modes of existence.

War of Tomorrow

2023

CG 动画视频、有声 / CG Animated video, Sound

时长 / Duration：3"53'

版数 / Edition : 1/3 + 2AP

谢林佑的作品集人工智能、多元文化背景下的移民潮、电子游戏和散文诗的超现实，以贝托尔特·布莱希特的 In the Dark Times 为灵感，用碎片化的方式搭建了一个反乌托邦的现实框架—— War of Tomorrow一词是对我们今天面临的无数冲突以及未来即将到来的问题的隐喻：一场跨越文化、性别、政治等多个层面的战争。通过融合各种象征性元素，影像展现了一个崩解的超现实世界，通过五个虚构的场景，反映当今我们所面临的不同问题。这些场景通过一个类似水上游乐设施的方式连接在一起，形成一个循环，唤起我们对所面对挑战循环往复的感受。

Xie Linyou’s work combines elements of artificial intelligence, the immigrant wave within multicultural backgrounds, video games, and surrealist prose. Drawing inspiration from Bertolt Brecht's In the Dark Times, he constructs a dystopian reality through a fragmented approach. The term War of Tomorrow serves as a metaphor for the countless conflicts we face today and the issues looming in the future—a war spanning multiple dimensions of culture, gender, and politics. By integrating various symbolic elements, his images depict a disintegrated surreal world through five fictional scenes that reflect the diverse problems of our time. These scenes are interconnected in a manner reminiscent of an aquatic amusement park, creating a cycle that evokes our feelings of the repetitive nature of the challenges we face.

影像中的3D角色站在一艘不停行驶的，装有一台电竞电脑的非法移民船上，代表着个体在虚拟框架和群体在现实框架下所遭受冲突的结合。船的运作方式类似水上乐园的漂流设施——虽不断前进，但最终总是回到起点，意味着一段没有实质进展的旅程。而作为字幕出现的散文诗以一种类似冥想的方式提供了一种精神性的视角来解读内容，引导观众对旧世界进行告别，而在这告别之后，某些新的事物正在等待着我们。未来不可知，而你，被邀请加入下一场战争。

In the imagery, a 3D character stands on an illegal immigrant boat, which is constantly moving and equipped with a gaming PC, representing the intersection of individual conflicts within virtual frameworks and collective conflicts within real frameworks. The boat operates like a water park's lazy river—continuously advancing but ultimately returning to the starting point, symbolizing a journey without substantial progress. The prose poem that appears as subtitles offers a meditative perspective for interpreting the content, guiding viewers in bidding farewell to the old world. After this farewell, new things are awaiting us. The future is unknown, and you are invited to join the next war.

乐园 VI / Paradise VI

2024

布面油画 / Oil on canvas

151 × 106 cm

刑万里的作品指向文学作品中的非线性叙事结构，并引用符号学中对能指的物质性和所指的心理表象之间的关系进行图像处理。他借由现实生活中的体验将这些文字重组转换成以“记忆”为母题的场景。其画面注重对文字的呼应与感性的体验，以碎片化元素重组电子时代图像、文字、记忆的虚拟现实。

Xing Wanli's work points to the non-linear narrative structures found in literary texts and utilizes semiotic theories to explore the relationship between the materiality of signifiers and the psychological representations of signifieds. Drawing from experiences in real life, he reconstructs and transforms these texts into scenes centered around the theme of "memory." His imagery focuses on the interplay between text and sensory experience, using fragmented elements to reassemble the virtual reality of images, texts, and memories in the electronic age.

社会经济结构与芳动关系越发复杂化、灵活化、分散化，后现代芳动力与社会生产关系向临时性、不稳定性变迁，但无论时代风云变幻抑或建筑功用更迭，粮仓这一特殊空问所带来的对劳动至上的推崇与尊重，终为当下讨论的伊始莫定着丰天且富于浪漫主义的象征。

As social and economic structures and labor relations become increasingly complex, flexible, and decentralized, postmodern labor dynamics and social production relationships are shifting towards temporariness and instability. However, whether in times of change or shifts in architectural functions, the unique space of the granary continues to symbolize a profound and romanticized reverence for labor. This enduring symbol serves as a rich and romantic starting point for contemporary discussions.

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