Hunsand Space is founded at No. 211 Caochangdi Art District in 2014 and relocated to 798 Art District in 2018. Remaining vigilant about the conventional ways of presenting art exhibitions in the white cube, Hunsand Space aims to take the semantics and syntax from the language of contemporary art as a point of departure and to extend them into broader fields. Through its vigorous exhibitions and projects, Hunsand Space hopes to activate the overlooked aspects in contemporary culture and to bring the value of contemporary art into our lives.
No. 2 798 Street, 798 Art Zone, Chaoyang District, Beijing
Gao Suodu: Empty Hands
Hunsand Space is proud to present the solo exhibition of Gao Suodu : Empty Hands. This is an exhibition about "questioning", and a record of the artist's repeated search for himself over the years, like a "sleepwalk".
The exhibition focuses on what Gao Suodu saw, thought and painted during his time in Baotou. Gao Suodu was born in Baotou, Inner Mongolia, then entered the Tianjin Academy of Fine Arts and lived in Beijing for eight years after graduation. In the face of the increasing cost of living and creation, and the increasing question of "where should I stand", Gao Suodu finally chose to return to Baotou to live and create.
As an artist of the 80's generation, Gao Suodu lived completely in the relative confines of his hometown until he went to college. After entering the university, the multiple channels of the cognitive world are opened, and the different cultural and visual elements of the East and the West, the past and the present, create a multi-layered time and space of reality and the spiritual world. So, just like most people's emotions about "home" began to shift, Baotou became a "hometown" in Gao Suodu, which can never be returned. How to make peace with this chaotic sense of time and space, which brings with it a tremendous sense of psychological weightlessness and tearing apart, is a problem that Gao Suodu has been solving for nearly four years of his life in Baotou.
These four years were also an intensive period for the creation of Gao Suodu. The tremendous assimilative power of his hometown's culture prompted him to pick up a camera and capture those real but naked scenes - both as a record and a reminder of himself. He also digests the relationship between the West and the East, Beijing and Baotou like an old cow regurgitating. But the dislocation between reality and psychology can never be erased, making his lens like "sleepwalking", echoing through the streets of Baotou in the "real dreamland".
In this exhibition, Gao Suodu is not looking for accuracy and spirituality in artistic expression, but rather for a sense of "sleepwalking" cultural tearing. Like the photographs in the exhibition, they are based on the second reality of Baotou's real life, a "reality" that repeatedly reminds the artist of its actual existence, but seems less "real". Thus, seemingly out of necessity, Corso moves from recording to presenting and, in so doing, realizes his highly universal emotional quest.