进入之间
We Enter, and the Space Enters Us
展览日期：2026.03.07 - 2026.05.09
Date : 2026.03.07 - 2026.05.09
展览以“空间”为叙事原点，汇聚了马里斯·施泰格尔（Marius Steiger）、冯晨与谭英杰三位艺术家的创作。
现场交织着绘画、装置、声音与影像，共同探讨当代空间如何在身体经验、城市结构与技术介入的合力下被不断拆解与重构。在这里，“空间”不再是沉默的中性容器，而是一股塑造个体、调节感知、生产关系的活跃力量；与此同时，人的行动、记忆与主体性也在其中经历着持续的震荡与挑战。
马里斯·施泰格尔，《书架（平庸、颓废与戏谑）》，2025年
油彩、丙烯、亚麻布，155 × 115 × 4.5 厘米。
Marius Steiger, Case (Banality, Decadence and Easyfun), 2025
oil, acrylic on linen, 155 × 115 × 4.5 cm.
施泰格尔以五块木板封堵前台，率先刺破了“白盒子”式的空间僵局。画廊的“办公室”氛围随之被转化，仿佛一座乡村木屋或农舍。这不仅是物理环境的改变，更象征着一次姿态鲜明的转向：从精致的精英主义美学，回归劳动与手工艺的温度。通过打破制度规范所形成的空间秩序，艺术家悄然展开“图像生成”与“绘画制作”之间的对话。从正面看去，建筑形态被卡通化的笔触重新解构；而绕至背后，观众直面的是画框背脊的木架与支撑结构，一种关于“观看”的真相被缓缓揭示。 展览空间本身也渐次化为一处沉浸式的“居所”。“书架（Case）”形态的绘画搭建出充满生活气息的环境。人像、兰花、文件夹、香烟与海报等文化符号交替浮现，如同一份记录日常行为、劳动痕迹与记忆残片的视觉档案。在此，空间不再是稳固的架构，而是在文化经验与行为重复中不断“生成”的一种动态状态。
冯晨，《BBX-2》，2020年⿊⽩银盐相纸，130 × 90 厘米。
Feng Chen, BBX-2, 2020gelatin silver print, 130 × 90 cm.
在冯晨构建的互动装置中，关注点转向了声音、身体与技术之间的微妙联动。他将钢琴弹奏的键盘声接入一组看似寻常的竖杆，使声音摆脱了“预设播放”的命运，转而成为随观众行为实时生成的流变过程。 随着观众的靠近、停留或移动，音乐的节奏与层次随之起伏，光影与音节在互动中被重新编排。观众不再是旁观的聆听者，而是在无意间成为了作品的协奏者——每一次距离的微调都重塑了声音的结构，仿佛一场没有固定乐谱的交响曲，由每一位入场者共同谱就。空间在此化身为一个开放且敏感的感知系统，揭示了技术如何深度重组人与环境的契约。
冯晨，《Untitled》，2015年
单视频录像 有声 高清，1920×1080，6’07”。
Feng Chen, Untitled, 2015single-channel video, sound, HD, 1920×1080, 6'07".
谭英杰的近期作品以空间装置为内核，向影像、行为与文本多维延伸。他将个人经验嵌入不同的空间情境，在强调身体触觉的同时，构建出层次丰富的叙事。 他以批判性的视角拆解并重塑城市意象，直面都市化进程中个体被异化、主体性被削弱的残酷现实。当技术的加速度扰乱了生命节奏，城市被压缩成符号与屏幕的堆叠：空间历史在信息的洪流中坍塌，个体经验被简化为数据与路径。谭英杰试图在这一断裂处，重新唤醒身体对空间的感知，让个体在冷峻的城市结构中，重新辨认出自己的坐标与温度。
三条创作路径虽各自独立，却在展厅中交织回响，共同勾勒出“空间”作为生存境遇的多重面相：它既是被重构的建筑肌理与日常景观，也是由技术、身体与直觉共振而生的动态场所。在高度城市化与技术化的浪潮中，空间更像是一处不断博弈的场所，见证着个体对自身位置的艰难探寻。
谭英杰，《砂岩 (Sandstone)》，2026年
1mm铝板, UV打印，120 × 90 × 3 厘米。
Tan Yingjie, Sandstone，20261mm aluminum sheet, UV print, 120 × 90 × 3 cm.
This exhibition takes "Space" as its narrative point of origin, converging the distinct practices of Marius Steiger, Feng Chen, and Tan Yingjie.
Through an interplay of painting, installation, sound, and moving image, the exhibition explores how contemporary space is perpetually dismantled and reconstructed by the combined forces of bodily experience, urban architecture, and technological mediation. Here, "space" is no longer a silent, neutral container; it is an active force that shapes the individual, regulates perception, and produces social relations. Simultaneously, human agency, memory, and subjectivity undergo a continuous state of oscillation and challenge within this field.
Steiger begins by disrupting the sterile "white cube" of the gallery. By installing wooden planks over the glass entrance, he transforms the exhibition hall into a metaphorical space reminiscent of a rural cabin or farmhouse. This intervention creates an immediate tension: it obscures the interior and forcibly inverts the logic of the gaze. From the exterior, the viewer confronts the structural backing of the artworks; upon entering, the architecture itself is deconstructed through a "cartoonized" painterly language.
In another series, Steiger utilizes “Case” paintings to construct an environment steeped in the atmosphere of daily life. Cultural symbols—faces, orchids, ring binders, and posters—emerge as a visual archive of routine and memory. In this context, space is not a fixed framework but a dynamic state of "becoming," generated through cultural experience and repetitive action.
In Feng Chen’s interactive installations, the focus shifts to the subtle linkage between sound, the body, and technology. He channels the percussive mechanics of a piano into a series of vertical rods, liberating sound from "preset playback" and transforming it into a fluid process generated in real-time. As visitors move through the space, the rhythm and texture of the music fluctuate accordingly. The viewer is no longer a passive observer but an unwitting collaborator; every adjustment in physical distance reshapes the acoustic structure. Space here manifests as a sensitive perceptual system, revealing how technology profoundly reorganizes the "contract" between the human body and its environment.
Tan Yingjie’s recent work centers on spatial installation while extending multi-dimensionally into video, performance, and text. He embeds personal experience into diverse spatial contexts, constructions rich narratives that emphasize bodily tactility. With a critical eye, Tan dismantles and reshapes urban imagery, confronting the reality of individual alienation within the process of rapid urbanization. As technological acceleration disrupts the natural rhythms of life, the city is compressed into a stack of symbols and screens—spatial history collapses into a torrent of information. Tan seeks to reawaken the body’s perception at this point of rupture, allowing the individual to rediscover their own coordinates and "warmth" within the cold structures of the modern metropolis.
While these three creative paths remain independent, they resonate within the gallery to outline the multifaceted nature of space as a condition of existence. It is simultaneously a reconstructed architectural texture, a daily landscape, and a dynamic field born from the resonance of technology and intuition. Amidst the waves of high urbanization, space acts as a site of constant negotiation—a witness to the individual's arduous search for their place in the world.
*展览仅限内部邀约和预约参观。如有参观需求，烦请通过小程序预约。预约信息请留观展人数，观展人姓名及电话。小程序二维码如下：
* The exhibition is by invitation and appointment only. In case of visiting requirements, please make an appointment via the mini program. Please leave the number of visitors, names, and phone numbers for the reservation. The QR code of the mini program is as follows:
ZIAN Gallery于2022年在纽约设立私人展厅并活跃地开展活动。2024年三月底，画廊正式在其杭州空间开幕。2026年3月，画廊将正式启用于杭州天目里的新空间。ZIAN是一家专注于现当代艺术的全球性画廊，旨在世界范围内发掘、梳理和展示国内外新锐和职涯中期的艺术家。
Founded in Hangzhou, China in 2024, ZIAN Gallery has swiftly expanded its presence. In March 2026, the gallery will open a second location in Hangzhou in Tianmuli. Working with a wide range of distinguished contemporary artists, ZIAN is dedicated to discovering, exploring and promoting art that has an inclination toward dynamic, vigorous and energetic gesture, and to fostering the career of emerging and mid-career artists in global context. ZIAN focuses on the spontaneous and intuitive nature of life in art that demonstrates the emotions and psyches of individual life experience through the expression of form, media and subject. Since its inception, the gallery has been exploring and nurturing singular and innovative works of art across genres and media in the context of contemporary states of being.
SIMPLE ONE 是一个非营利性艺术空间，创办于2023年。SIMPLE ONE 旨在通过展览、出版及交流等相关项目，与艺术家、策展人和文化机构展开深入合作，致力于建立一个激发创新观点和多重理解，促进艺术交流与对话的互动社群。
Founded in 2023, SIMPLE ONE is a non-profit art space committed to promoting artistic exchange and dialogue. In close collaboration with artists, curators, and cultural organizations, SIMPLE ONE develops exhibitions, publications, and cultural exchange programs to foster an interactive community that inspires innovation and diverse understanding.
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开放时间｜Opening Hours
11 a.m. - 6 p.m. 周二至周日，周一闭馆
Tuesday - Sunday, closed on Monday
地址｜Address
北京市朝阳区工人体育场北路甲2号盈科中心景苑C座B1层
B1, Block C, Jing Yuan, Pacific Century Place,
No. 2 Workers' Stadium North Road, Chaoyang District, Beijing
联络问询｜Contact
simpleoneartspace@gmail.com
