蒋竹韵：自助时光 | Jiang Zhuyun : Buffet Times【拾萬空间】预约报名-拾萬空间活动-活动行

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蒋竹韵：自助时光

展览时间：2021年8月7日 - 9月11日（周一公休）

开幕时间：2021年8月7日周六下午4点

“显而易见，我们并非生活在同一时光中”

——埃兹拉·庞德（Ezra Pound），《日界线》

一个庞然大物搁浅在未来的海边，人们叫它“时间”。在烈日及空气的作用下，时间迅速发生变化。研究者对时间的腔体内部进行扫描，发现它约略呈现对称的直线结构，隐隐约约带有种工业感，这又让人质疑其非生物性。不过，当前的扫描速度完全跟不上它的变化，其速度甚至超过了可见光的反射所需的时间，因此，扫描出来的断层影像模糊一片，最终也成为了“时间”变化的一部分内容，只能是一纸技术失灵的见证。

——蒋竹韵，“自助时光”

以一则极短篇开场的《自助时光》是艺术家蒋竹韵在拾萬空间的第五次个展。在过去的作品中，蒋竹韵大量运用如编程等现代技术制作艺术作品。在本次展览中，艺术家则尝试捕捉现代技术的童年时刻。蒋竹韵广泛使用各种装置材料和图像，他以十字绣制作巴西春神蝴蝶的图样，将电缆手工编织成一张网，改造汽电交通工具用的转向发声器，还有一系列街道设施，以及工厂流水线上的标准件。有些材料还容易理解，例如电缆，被视为某种现代化的技术。如果用批判性的思维，十字绣也是重要的技术，而蝴蝶的轻盈和洲际迁徙的能力，也引发人们的科幻想象——例如，雷·布拉德伯里（Ray Bradbury）早在1952年的科幻小说《雷声》中描绘一只蝴蝶的死引发了历史巨变。十多年后，气象学家爱德华·洛伦兹（Edward N.Lorenz）也确实沿用了小说家的科幻意象，来阐释气候学的前沿观点：蝴蝶效应。本次展览中，蒋竹韵尝试将 “气候”的变化隐藏在他日常的艺术制作之后，表达对时间和科技生活的观点与感触。现代的“时空”与日常的经验之间的断裂，开始清晰。

蒋竹韵（出生于1984年），艺术创作始终以问题机制为导向，涉猎媒体艺术的多个领域：装置、绘画、行为、观念、声音艺术、田野录音以及Audio Visual现场等。近期个人项目及个展包括：“自助时光”，拾萬空间，北京（2021）；“云下日志”，拾萬空间，北京（2019）；“如果，结尾在开始之前”，博而励画廊，北京（2018）；“系统生存”，西岸艺术与设计博览会，上海（2017）；“风中絮语”，拾萬空间，北京（2016）等。此外，他的作品曾在诸多重要群展中展出，其中包括：绵延：变动中的中国艺术，北京民生美术馆（2020）；紧急中的沉思，北京尤伦斯当代艺术中心（2020）；中国风景: 2019泰康收藏精品展（2019）; 8102-和现实有关，上海OCAT（2018）;“诚如所思：加速的未来 - 广州三年展”，OCAT 盒子美术馆分展场（2018）等。

Jiang Zhuyun : Buffet Times

During: 8.7 ー 9.11 2021 (Closed on Monday)

Opening: Saturday 4pm, Aug 7, 2021

"It is obvious that we do not live at the same time."

—— “Date Line” by Ezra Pound

A behemoth being strands off the future seashore, people call it "time." Under the action of the sizzling sun and the air, time transforms quickly. Scanning the interior of time's cavity, researchers found a roughly symmetrical and linear structure with a vaguely industrial sense, which again makes people question its abiotic nature. However, the current scanning speed cannot keep up with its changes, at a rate even faster than the time required for reflecting visible light. Therefore, the faulty scans are blurry that eventually become part of the content of "time’s" transformation, bearing witness to technical failures on paper.

——Jiang Zhuyun, "Buffet Time"

This short statement opens Hangzhou-based artist Jiang Zhuyun’s fifth exhibition, "Buffet Time," at Hunsand Space. In the past, Jiang Zhuyun’s practice adopts modern technology such as extensive computer programming to produce artworks. For this exhibition, the artist attempts to capture the childhood moments of modern technology. Applying a wide range of installation materials and images, Jiang adopts cross-stitch to create drawings of the Brazilian butterfly Morpho rhetenor, hand-woven cables into a net, modified steering speakers for motorized transportation, a series of street facilities, and standard parts from factory assembly lines. Some materials are easy to understand, such as cables, often perceived as part of modern technology. If one were to adopt critical thinking, cross-stitch should also be considered an essential technology, and the butterflies’ lightness and ability to migrate intercontinental have sparked sci-fi imagery. For example, Ray Bradbury's depiction of a butterfly whose death triggered a seismic change in history in his 1952 science fiction "The Sound of Thunder." A decade later, meteorologist Edward N. Lorenz followed the novelist's sci-fi imagination to illustrate a cutting-edge idea in climatology – the butterfly effect. In this exhibition, Jiang Zhuyun embeds “climate” change into his everyday art practice to convey his views and sense on time and technological life. The rupture between modern "space-time" and daily experience begins to elucidate.

Jiang Zhuyun (born in 1984) is a problem-oriented artist who covers many fields of media art, including installation, painting, performance, conceptual art, acoustic arts, phonography and audio visual. Recent solo exhibitions include Buffet Times (2021), Hunsand Space, Beijing; Sublog（2019），Hunsand Space，Beijing；IF THE END PRECEDES THE BEGINNING (2018), Boers-Li Gallery, Beijing; Survival in System Project (2017), West Bund, Shanghai; I Talk to the Wind (2016), Hunsand Space, Beijing, etc. In addition, his works have been exhibited in many important group exhibitions, including: “Transfor Mation: duration Chinese art in” （2020）, Beijing Mingsheng art museum;“Meditations in an Emergency” （2020）, UCCA Beijing； "China Land Scape" Selection from the TAIKANG Collection (2019), 798 A07, Beijing; 8102 On Reality (2018), OCAT, Shanghai；AS WE MAY THINK: Feedforward (2018), Boxes Art Museum, Guangzhou, etc.

拾萬空间于2014年成立于草场地艺术区211号院，并在2018年迁至798艺术区。拾萬空间对常规意义的方盒子展览保持警惕，意欲从当代艺术语言中的语法和语意结构出发并将之延展到更广泛的领域；希望通过持续的展览和项目，激发出当下文化中被忽视的部分，将当代艺术思想的价值生发到你我的身边。

Hunsand Space is founded in 2014, in No. 211 Caochangdi Art District, and is relocated to the 798 Art Zone in 2018. In keeping vigilance with the conventional ways of presenting art exhibitions in white cubes, Hunsand Space aims to take the semantics and syntax from the language of contemporary art as a point of departure and expand them into a broader field. Through its vigorous programs of exhibitions and projects, it hopes to stimulate the overlooked aspects in contemporary culture and brings the values of contemporary art into our lives.