三眼屏幕 宋兮

THREE-EYED SCREEN

異地狩獵 楊欣嘉

HUNTING OFF-SITE

展期 | Exhibition Period

2020.6.6-7.30

開幕 | Opening

2020.6.6 15:30-18:00

可以畫廊，合肥市經開區齊云路11號，周二至周日

No. 11, Qiyun Road Economic Development Zone, Hefei

可以畫廊將于2020年6月6日榮幸推出新空間重新開放后的首次展覽：“宋兮–三眼屏幕”、“楊欣嘉–異地狩獵”雙個展。本次展覽是宋兮、楊欣嘉在可以畫廊的第一次個展。將完整呈現兩位藝術家近5年來的四十余件重要作品。

有限自由 Limited freedom / 宋兮

112ｘ133cm

2019

“宋兮個展：三眼屏幕”將在畫廊1號廳展出，帶來藝術家宋兮包括裝置、影像、繪畫在內的完整創作脈絡和呈現，在近10年的創作中，宋兮注重身體與觀念的傳達和對人在社會中建立的標準化規則與概念提出質疑，并通過作品將事件傳達至不同語境。

風景，紀念碑與金奇里里 Scenery, Monument and Jinqilili / 宋兮

不銹鐵 ? 鋼絲

300X280X350cm

2018

三眼屏幕

不同維度的世界，形成不同存在的規則。在自身與外界相互感應中，理解生命。三眼是一個觀察外界的探頭，又是自身世界的窗口。視覺化形態，讓肉身維持生命。不可視形態，探索生命軌跡的可能。法則形態，理解世界本原的規則。

屏幕是可視化的客觀主體。作為公共媒介窗口，把意識主體對信息的傳播控制在自身。屏幕作為私人媒介窗口，是選擇獲得信息的通道與世界端口聯絡的眼。同時，身體作為行動的主體，在公共與私人之間不斷轉換。

在轉換的臨界點與各方端口，生命體態的小世界，沒有開始，沒有結束。

宋兮

水果的流放 Fruit exile / 楊欣嘉

裝置、攝影記錄

80×120cm

2019

10版+1AP

“楊欣嘉個展：異地狩獵”將在畫廊2號廳展出，展覽梳理了藝術家近年來的不同實踐線索：藝術項目、圖像、繪畫等方式多路徑交叉前行，豐富的創作肌理滲透著藝術家近期的探索和思考：如何在現實世界中通過對關系的重新裝配去生成出新的感知邏輯。

請相信天氣預報 Please believe the weather forecast / 楊欣嘉

紙本水彩

110x150cm

異地狩獵

稻田里長出農夫和水蛇，草原上匍匐著牛羊還有開發商。獅子漫步在郊區，后駐足于爛尾樓頂端。高速路上狂奔著灰兔和野豬，狼來到了居民小區，老虎誤闖微信朋友圈。漁人夜以繼日的追捕金錢鮸，股民集體潛入海底，鯨魚頻繁躍出海面，海鷗從監控攝像頭底下掠過，WiFi蕩起粼粼波光。男工沉溺于快手廠妹流連于抖音，流水線上的人們來不及對著機器抒情。勞動者被奪走屬于自己的詞，野獸在社交媒體上被點贊者獵殺。所有疲于奔命的人，所有四處流竄的獸，共同生存在同一座城，并不共享同一片森林。

總有一天，獵人會闖入另一片陌生的叢林，而獵物們將闖入另一座陌生的城市。

楊欣嘉

Ke yi Gallery will be honored to launch the first exhibition after the reopening of the new space on June 6, 2020: "Song Xi, Yang Xinjia Double Solo Exhibition: Three Eyes Screen, Off-site Hunting." This exhibition is the first solo exhibition by Song Xi and Yang Xinjia in the Ke yi Gallery. More than 40 important works of the two artists in the past 5 years will be fully presented.

Three-eyed screen

Different dimensions of the world form different rules of existence. Understand each other in self and the outside world, understand life. The Three Eyes is a probe for observing the outside world and a window for your own world. The visual form allows the flesh to sustain life. Invisible form, explore the possibility of life trajectory. The form of law, understand the rules of the world.

The screen is the objective subject of visualization. As a public media window, it controls the dissemination of information by the subject of consciousness in itself. As a private media window, the screen is the eye to choose the channel to obtain information and communicate with the world port. At the same time, the body, as the main body of action, constantly changes between public and private.

At the critical point of transition and the ports of all parties, the small world of life form has no beginning and no end.

Song Xi

Hunting off-site 

Farmers and water snakes grow in the rice fields, cattle and sheep crawl on the grasslands, and developers. The lion roamed the suburbs and then stopped at the top of the rotten building. On the highway, gray rabbits and wild boars ran wildly. The wolf came to the residential area, and the tiger accidentally entered the WeChat circle of friends. The fishermen hunted down the money owl day and night. The stockholders collectively infiltrated the bottom of the sea, whales frequently jumped out of the sea, seagulls passed under the surveillance camera, and WiFi sparkled. The male worker is addicted to Kuaishou, and Changmei lingers on the TikTok. Workers on the assembly line have no time to express their emotions to the machine. The laborers were robbed of their own words, and the beast was hunted by the likes on social media. All the tired people, all the beasts wander around, live together in the same city and do not share the same forest.

One day, the hunter will break into another strange jungle, and the prey will break into another strange city.

Yang Xinjia

關于藝術家

宋兮，1983年出生齊齊哈爾梅里斯達斡爾族區，現生活工作于上海。注重身體和觀念的傳達，在身體和意識去標準化過程中，產生政治化結構上探索生命形態的邊界。

宋兮近期參與的主要展覽有：個展：法外之地，五五畫廊，上海，中國，2018。項目：培訓信仰，器·Haus空間，重慶，中國，2019。光之身體項目，798金屬庫，北京，中國,2015。群展：海面之下是火山，博而勵實驗室，北京，中國，2019。尷尬，香格納M50畫廊，上海，中國，2018。混合的公共性與私密性，第三屆北京國際攝影雙年展，2018。第三屆今日文獻展:另一種選擇，今日美術館，北京，中國，2016。民間的力量，北京民生現代美術館，北京，中國，2015。明天當代雕塑獎，四川美術學院，2015。

Song Xi was born in Qiqihar Merris Daur District in 1983 and currently lives and works in Shanghai. Pay attention to the communication of body and concept, and in the process of standardization of body and consciousness, the boundary of life form is explored on the politicized structure.

The main exhibitions that Song Xi has recently participated in are: Solo Exhibition: A Land Without Law, May 5th Gallery, Shanghai, China, 2018. Project: Training Faith, Qi · Haus Space, Chongqing, China, 2019. Light Body Project, 798 Metal Depot, Beijing, China, 2015. Group exhibition: Under the sea is a volcano, Bollyer Lab, Beijing, China, 2019. Awkward, ShanghART M50 Gallery, Shanghai, China, 2018. Mixed publicity and privacy, the 3rd Beijing International Photography Biennial, 2018. The 3rd Literature Today Exhibition: Another option, Today Art Museum, Beijing, China, 2016. The Power of the People, Beijing Minsheng Modern Art Museum, Beijing, China, 2015. Tomorrow Contemporary Sculpture Award, Sichuan Academy of Fine Arts, 2015.

楊欣嘉，1983年生于廣東，目前生活工作于北京/廣東。近期的創作源自對隱藏在事物背后的關系進行挖掘，勘察構成事物關系的層次與褶皺，提取出形式進行視覺轉化與關系重組。

楊欣嘉近期參與的主要展覽有“勞動的詞”，要空間，上海 (2019)；“工廠、機器與詩人的話”，798，北京 (2019)；“刷屏-勞作”，南京藝術學院美術館，南京 (2018）；“接近美好的世界” ，凱尚畫廊， 紐約 (2017)；“Second Nature”,K11 Art Foundation,香港 (2017)；“路不拾遺”，光州市立美術館駐地項目，光州（2016）；“民間的力量”，北京民生現代美術館，北京，中國（2015）；“移動地域”，Firstdraft Gallery,  悉尼（2015）。

Yang Xinjia, born in Guangdong in 1983, currently lives and works in Beijing / Guangdong. Recent creations have originated from digging the relationships hidden behind things, surveying the layers and folds that make up the relationship of things, extracting forms for visual transformation and relationship reorganization.

The main exhibitions that Yang Xinjia has recently participated in are "The Word of Labor", Space Needs, Shanghai (2019); "The Words of Factory, Machine, and Poet", 798, Beijing (2019); "Painting Screen-Work", Nanjing Art Institute Art Museum , Nanjing (2018); "Close to a Beautiful World", Kaishang Gallery, New York (2017); "Second Nature", K11 Art Foundation, Hong Kong (2017); "The Road Is Nowhere To Be Taken Off", Gwangju City Museum of Art Resident Project, Gwangju (2016) ); "The Power of the People", Beijing Minsheng Modern Art Museum, Beijing, China (2015); "Mobile Territory", Firstdraft Gallery, Sydney (2015).

關于可以畫廊

可以畫廊 KeYi Gallery 是一間成立于2019年的當代新星空間，旨在為藝術家打造一個開放性的具有學術實驗性的平臺，致力推廣多元獨特的展覽項目和藝術家作品，挖掘和培育年輕藝術家。可以畫廊前身以私人收藏為主，20年間不斷收藏那些具有一定學術價值的當代作品，并始終關注藝術當下及未來的發展趨勢。

KeYi Gallery is a contemporary star space established in 2019. It aims to create an open and experimental platform for artists, dedicated to promoting diverse and unique exhibition projects and artist works, and digging and nurturing young artists. The predecessor of the gallery is mainly private collections. During the past 20 years, it has kept collecting contemporary works with certain academic value, and always pays attention to the current and future development trends of art.