不栋（Non-Place）迎来了2026年的首个展览——《一月十七日》，这也是空间举办的第二次展览，艺术家持续探索着“日常与现实”的实践。在日常被制度、效率和叙事逻辑占据的今天，一天似乎不过是一个平淡无奇的单位。然而，每一个看似普通的日子，都在不断摩擦、碰撞、生成可能。
《一月十七日》是一场以“日常作为现实单位”的展览，这里的“一天”并非纪念、象征或叙事化的时间节点，而是一个被真实度过、不断生成、充满摩擦与未完成状态的现实切片，在相互龃龉与错位中显现裂缝。
本次参展的十几位艺术家用各自的方式介入现实，作品彼此独立，又相互支撑，以下为参展艺术家作品呈现：
Non-Place presents its first exhibition of 2026, January 17, which is also the space’s second exhibition overall. The participating artists continue to explore practices centered on the relationship between the everyday and reality. In a time when daily life is occupied by systems, efficiency, and narrative logics, a day can seem like nothing more than an unremarkable unit of time. Yet every seemingly ordinary day is constantly rubbing against reality — colliding with it, and generating new possibilities.
January 17 takes the everyday as a unit of reality. Here, “one day” is neither a commemorative moment nor a symbolic or narrativized point in time, but a slice of reality that is actually lived through—continuously generated, marked by friction and incompleteness, and through mutual dissonance and misalignment, allowing fractures to emerge.
In this exhibition, the artists intervene in reality in their own ways. The works remain independent while also supporting one another, and are presented below.
黄杰《太XX糟糕了》
皮革颜料喷绘、皮具配件、布料、气眼 240 x 160 cm 2023
Huang Jie Too XX Awful
Sprayed leather pigments, leather accessories, fabric, grommets 240 x 160 cm 2023
黄娟《有点软，有点滑》 纸本综合 30 x 40cm 2021
Huang Juan A little soft, a little slippery
Mixed media on paper 30 x 40cm 2021
金旼熙《李·吴·金洗衣店 — 完美田螺姑娘》
油画布数码打印、电线、混合材料 尺寸可变 2024 - 2025
《李·吴·金洗衣店》是一件记录了李三莲（1940年生）、吴仁淑（1968年生）、金旼熙（1998年生）三代人反复进行的洗衣劳动的档案性作品。在家庭关系不断变化的过程中，作为女儿、妻子、儿媳、婆婆、祖母、孙女的劳动执行者们，在各自的条件之中学习并传承洗衣的方法。洗衣作为被女性化的家务劳动，通过重复的执行形成了一套体系，并在家庭内部构建起秩序，同时也作为权威与权力发挥作用。作品的最后部分《完美田螺姑娘》在这一档案之上叠加了一个关于技术发展背景下劳动被全面替代的未来想象。自动化服务学习并管理执行者长期积累的记忆、感受与照料方式，提出一种不再需要特定执行主体的家庭状态。作品由此提出疑问：被技术替代的，是否不仅是劳动本身，也包括人类的执行、关系与感知方式。
Kim Minhee Lee·Oh·Kim Laundry - The Perfect Snail Bride
Digital print on canvas, electrical wires, mixed media Size variable 2024 - 2025
Lee·Oh·Kim Laundry is an archival project that records the laundry labor repeatedly performed across three generations: Lee Sam-yeon (b. 1940), Oh In-sook (b. 1968), and Kim Min-hee (b. 1998). As family relations shift, the performers—positioned as daughter, wife, daughter-in-law, mother-in-law, grandmother, and granddaughter—have learned, practiced, and transmitted methods of laundry labor under their respective conditions. Laundry, as a feminized form of domestic labor, has formed both a system and an internal household order through repetition, while simultaneously operating as a mode of authority and power.
The final section of the work, The Perfect Snail Bride, layers this archive with a speculative future in which labor is fully replaced through technological advancement. The automated service learns from the memories, sensibilities, and practices of care accumulated by the performer, proposing a condition in which no specific laboring subject is required. The work ultimately asks whether the replacement of labor also entails the replacement of human forms of practice, care, and relationality.
李一凡《无题》数字打印 拼贴装置 148 x 120 cm 2022
Li Yifan Untitled
Digital print, collage installation 148 x 120 cm 2022
刘芳《家雀》 影像 12分06秒 2026
本片讲述了一个青年人对外部世界的意义和乡土世界的无聊都不断怀疑，心怀迷茫的故事。
Liu Fang House Sparrow Video Installation 12’06’’, Size variable 2026
This film tells the story of a young person who grows increasingly doubtful of both the meaning of the outside world and the tedium of the rural world, living in a state of ongoing confusion and uncertainty.
马力蛟《消音的抚触》
布面簇绒 125 x 115 cm 2026
Ma Lijiao The Muted Touch
Tufting on canvas 125 × 115 cm 2026
英语习语“Sweep under the rug”（扫进地毯下）意指掩盖丑闻、隐藏真相或回避问题。艺术家选取了一个被主流叙事试图迅速“翻篇”或“抹除”的历史瞬间，却用极其耗时、重复扎刺的Tufting工艺将其重新显影。地毯原本的功能是覆盖地面、吸纳灰尘与噪音，而在这里，地毯本身成为了“噪音”的载体。那只手原本是权力的交接或无奈的告别，被转化为毛绒的触感后，产生了一种荒谬的舒适感。这种“柔软”是对残酷现实的讽刺性包裹——我们将尖锐的政治创伤编织成了客厅里可以被轻视、被踩踏、甚至被抚摸的装饰品。这不仅仅是关于那个瞬间，更是关于我们如何被规训去“舒适地”与那些无法言说的历史共存。
The English idiom “sweep under the rug” refers to covering up scandals, concealing the truth, or avoiding problems. The artist selects a historical moment that dominant narratives attempt to quickly “turn the page on” or erase, and re-renders it through the extremely time-consuming, repetitive puncturing process of tufting, bringing it back into visibility. A carpet’s conventional function is to cover the ground and absorb dust and noise; here, the carpet itself becomes a carrier of “noise.” The hand—once a gesture of the transfer of power or a helpless farewell—takes on a plush tactility that produces an absurd sense of comfort. This “softness” functions as an ironic wrapping of brutal reality: sharp political trauma is woven into a decorative object for the living room, one that can be disregarded, stepped on, or even caressed. The work is not only about that moment, but about how we are disciplined to coexist “comfortably” with histories that resist articulation.
孙奥《银色生命的抵抗》
影像装置 尺寸可变 2022
Sun Ao The Resistance of Silver Life
Video Installation Size variable 2022
重庆陈家桥镇周边的农民在城市用地的夹缝中开垦出一片荒地来耕种求生，但是在面对现代化城市发展的情况时，一直处在不知耕地何时将变成工地的担忧中。农民们用尽力气去生存，却最终摆脱不了现实的宿命。
Sun Ao The Resistance of Silver Life
Video Installation Size variable 2022
Farmers living near Chenjiaqiao Town in Chongqing reclaimed a barren piece of land within areas designated for urban use and cultivated it in order to survive. As the city continued to modernize, they lived with constant uncertainty about when the land would be taken over for construction. Despite their persistent efforts to sustain their livelihoods, they were ultimately unable to escape the realities that shaped their fate.
王俊《无题（废话）》
毛粘、丙烯、泥土、钢管、木板、塑料片 400 x 400 x 277cm 2017 - 2025
Wang Jun Untitled（Nonsense） Wool yarn, acrylic, soil, steel pipes, wooden boards, plastic sheets 400 x 400 x 277cm 2017 - 2025
作品源自对艺术家影响至深的一组贵州先锋诗人黄翔创作于1960年代的诗歌。
The work originates from a group of poems written in the 1960s by the Guizhou avant-garde poet Huang Xiang, whose writing has had a profound influence on the artist.
王撩《不想活了》
故事片 58分 2021
Wang Liao No Longer Wanting to Live
Feature Film 58’ 2021
本片试图讲述一位接近中年的青年人在他不想活了之后的一段时间中发生的故事，并试图通过在全片中无规律地插入多段带节奏的朗诵说明此人何以至此。
主角在不想活了之后还得继续活一段时间，一段肉体、情绪与自我之间不断纠缠震荡的时间。
即使是人类，也不是“不想活了”马上就能“不活了”的。
This film attempts to tell the story of a near-middle-aged man during a period after he has lost the will to live, and seeks to illustrate, through the irregular insertion of multiple rhythmically recited passages throughout, how he came to this point.
After losing the will to live, the protagonist still has to go on living for a while—a period of continuous entanglement and oscillation between body, emotion, and self.
Even for a human, “losing the will to live” does not instantly mean one can simply stop living.
王心笛《悲伤的乳房》
布面丙烯、水墨 尺寸可变 2026
Wang Xindi Sad Breasts Acrylic and ink on canvas Size variable 2026
我比你更易察觉悲伤
如果有一天我坏掉了
请你不要悲伤
Wang Xindi Sad Breasts Acrylic and ink on canvas Size variable 2026
I sense sadness more easily than you do.If one day I break down,Please do not be sad.
谢冰鑫《Y-1》《Y-2》《Y-3》
布面丙烯 45 x 35cm 2023
Xie Bingxin Y-1, Y-2, Y-3
Acrylic on canvas 45 x 35cm 2023
夏雪《自我增殖》
布面丙烯 192 x 140 cm 2026
Xia Xue Self-Propagation
Acrylic on canvas 192 x 140 cm 2026
在权力社会中，即便微小的上位，也会将个体塑造成与其所处结构相似的形状。
In a power-based social structure, even the slightest rise in status shapes individuals into forms resembling the structures they inhabit.
徐琳瑜《反向同步》
纸本综合 8 x 10cm 2024
Xu Linyu Reverse Synchronization
Painting on paper 8 x 10cm 2024
在医院的癌症病房里，夫妻中照护者和被照护者在病情面前即是送对方最后一程的陪伴者，又是多年的惯性摩擦羁绊的绞杀者，里面折射出遗留多年的家庭内部危机，面对确定的死亡和有限的时间，该如何告别？
In a hospital cancer ward, within a married couple, the caregiver and the one being cared for are, in the face of illness, both the companion seeing the other through their final journey and the strangling force of long-accumulated habitual frictions and bonds. What is reflected here are unresolved crises embedded within the family over many years. When confronted with certain death and limited time, how does one say goodbye?
杨迪《牺牲》
牛皮、丙烯喷漆、矿物颜料 100 x 198 cm 2024
Yang Di Sacrificare
Cowhide, acrylic spray paint, mineral pigments 100 x 198 cm 2024
艺术家和他的教授探讨东亚的家庭关系时举例说：他的父母为他“牺牲”了很多。而他的教授觉得此时不能用德语中的opfern（牺牲），opfern是描绘例如耶稣为了人而被钉在十字架上或者人为了革命的理想献身之类的用词。艺术家从讨论中获得了关于不同语言之间的微妙差异。
While discussing East Asian family relationships, the artist and his professor reflected on how his parents had “sacrificed” a great deal for him. The professor noted that the German word opfern should not be used in this context, as opferntypically describes acts such as Jesus being crucified for humanity, or an individual giving their life for revolutionary ideals. From this exchange, the artist gained insight into the subtle differences in meaning and implication across languages.
张黎《无题》
综合材料 尺寸可变 2012 - 2026
Zhang Li Untitled
Mixed media Size variable 2012 - 2026
开幕现场
展期：2026.01.17-02.28
地址：重庆市巴南区李家沱江南水乡A区江南水乡幼儿园（导航至江南水乡A区6栋）
艺术家： 黄杰 黄娟 金旼熙 李一凡 刘芳 马力蛟 孙奥 王俊 王撩 王心笛 谢冰鑫 夏雪 徐琳瑜 杨迪 张黎 周龙春
项目策展：夏雪
不栋空间展览正在进行中，欢迎朋友们来现场观看！
Exhibition Preview | January 17
Opening: January 17, 2026, 15:30Exhibition Period: January 17 – February 28, 2026Location: Jiangnan Waterfront Kindergarten, Area A, Jiangnan Waterfront, Lijiatuo, Banan District, Chongqing (Navigate to Building 6, Area A, Jiangnan Waterfront)
Artists:Huang Jie, Huang Juan, Jin Minxi, Li Yifan, Liu Fang, Ma Lijiao, Sun Ao, Wang Jun, Wang Liao, Wang Xindi, Xie Bingxin, Xia Xue, Xu Linyu, Yang Di, Zhang Li, Zhou LongchunProject Curator: Xia Xue
The exhibition is ongoing at Non-Place. Visitors are warmly welcome.
关于不栋（Non-Place）空间
“不栋”是一栋无法被定义的楼，也是一种不断生成的空间实践。它既不是传统意义上的展览机构，也不是单纯的创作空间，而是一种位于“制度”与“居所”之间的非典型结构。在功能性建筑逻辑日益统一的城市语境中，“不栋”回应了Marc Augé 所提出的 non-place（非场所）概念——在那些被设计为通行、消费与短暂停留的空间逻辑之外，我们试图开辟出一个真实共处、缓慢生成、无法被归类的精神容器。
About Non-PlaceNon-Placeis a building that defies definition—an evolving spatial practice rather than a fixed institution. It is neither a conventional exhibition venue nor a purely creative workspace, but a non-typical structure situated somewhere between “institution” and “dwelling.”
In a city increasingly shaped by the homogenizing logic of functional architecture,Non-Placeresponds to Marc Augé’s concept of the non-place—Outside the spatial logic designed for transit, consumption, and brief stops, we seek to open up a vessel for the spirit—one where genuine co-presence, slow emergence, and unclassifiable possibilities can take root.
