平衡术
An Balancing Act
开放时间：周二至周日 10:30-18:30Opening hours: Tuesday-Sunday 10:30-18:30
单禹瀚于Tong Gallery+Projects的第二次个展《平衡术》将于 2026 年 4 月 11 日开幕并持续至2024年 5 月 10 日，特邀贺潇担任本次展览的特邀评论。本次展览将囊括单禹瀚近期完成的十余件绘画作品。Shan Yuhan's second solo exhibition "An Balancing Act" at Tong Gallery+Projects will open on April 11th, 2026 and will run through May 10th, 2026, with specially invited guest critic Fiona He contributing the exhibition text. The exhibition will showcase more than 10 works from the artist’s recent painting practice.
沉与浮 Sink and Rise ,布面油画 Oil on canvas, 130 x 130 cm, 2025
平衡术
文/贺潇
1961年，汉娜·阿伦特（Hannah Arendt）在《艾希曼在耶路撒冷：一份关于平庸的恶的报告》（Eichmann in Jerusalem: A Report of the Banality of Evil）中提出“平庸的恶”这一概念：当个体放弃独立思考，将自身异化为体制的齿轮，便可成为恶的施行者。她揭示出现代社会中，权力不再总是以压迫的具身形式出现，反而会嵌入官僚系统与日常规训之中。人被卷入其中，成为齿轮、旁观者，甚至沉默的共谋者，却往往不自知。
艺术史对这类匿名权力结构早有敏锐的回应。戈雅（Francisco Goya）在《1808年5月3日夜枪杀起义者》（The Third of May,1808）中，将行刑的法军士兵画成一排无脸的背影，平举的枪管却更引人注目。暴力被呈现为机械的、匿名的屠杀。马奈（Édouard Manet）在《处决马克西米利安》（The Execution of Emperor Maximilian，1867-1869）里对此类议题进行了进一步追问，军服和右侧人物清晰的面容直接指向权力的幕后者。这些绘画都在反复质询：暴力的执行者是谁？真正的责任者又在何处？
到了单禹瀚这里，权力问题变得更加复杂。展览标题“平衡术”指向个体在相互冲突的选择中不断调试自身位置的过程。艺术家认为，“平衡术”不关乎“如何控制”，而关乎“如何承受”。人们在时代洪流前被裹挟，在无法彻底着陆也无法完全脱身的处境中，一再调整自己与世界的关联。因此，他从宏观场景的叙事中脱离出来，不再为观众安排清晰的判断入口。在十余幅画作中，艺术家让人物停留在失重、拉扯、坠落、沉浮等各种尚未完成的姿态里，引导观众以“内观”的视角去审视那些更难被直接命名的阶段性感受：权力的渗透、意识的摇摆、角色的流动、无力判断时的混沌，以及身处其中却无法立即抽身的自我认识。由此，观看本身也就进入了一种摇摆、辨认与重新定位的过程，而平衡所凸显的正是人们在持续失衡中不放弃寻找支点的能力。
An Balancing Act
Text by Fiona He
In 1961, Hannah Arendt put forward the concept of the “banality of evil” in Eichmann in Jerusalem: A Report on the Banality of Evil. She argued that when individuals renounce independent thinking and reduce themselves to cogs in a system, they can become agents of evil. Arendt revealed that in modern society, power no longer always manifests itself in embodied forms of oppression; instead, it becomes embedded within bureaucratic systems and everyday discipline. People are drawn into it, becoming cogs, bystanders, or even silent accomplices—often without self-awareness.
Art history has long offered incisive responses to such anonymous structures of power. In The Third of May 1808, Francisco Goya depicts the French executioners as a row of faceless figures with their backs turned, while their outstretched rifles draw greater attention. Violence is presented as mechanical, anonymous slaughter. In The Execution of Emperor Maximilian (1867–1869), Édouard Manet pursued this theme further: the military uniforms and the distinct facial features of the figures on the right point directly to those behind power. These paintings repeatedly pose the question: Who are the perpetrators of violence? Where does true responsibility lie?
For Shan Yuhan, the question of power grows more complex. The exhibition title The Art of Balance refers to the process by which individuals constantly adjust their positions amid conflicting choices. The artist believes that “the art of balance” is not about how to control, but how to endure. Swept along by the tide of the times, people find themselves in a state where they can neither fully land nor completely disengage, repeatedly recalibrating their relationship with the world. Accordingly, he steps away from grand narrative scenes and no longer provides the viewer with clear entry points for judgment. In more than a dozen paintings, the artist suspends his figures in unresolved states—weightlessness, tension, falling, floating—and invites the viewer to adopt an introspective perspective, examining ephemeral feelings that resist direct naming: the infiltration of power, the wavering of consciousness, the fluidity of roles, the confusion of being unable to judge, and the self-awareness of being trapped without immediate escape. In turn, the act of viewing itself becomes a process of oscillation, recognition, and reorientation. What balance ultimately highlights is humanity’s capacity to keep searching for a fulcrum, even amid persistent imbalance.
单禹瀚
1998 出生于黑龙江大庆
2020 毕业于中央美术学院油画系第三工作室，获学士学位
2023 毕业于中央美术学院油画系第三工作室，获硕士学位
个展
2026 平衡术， Tong Gallery+Projects，北京
2024 踌躇者， Tong Gallery+Projects，北京
2021 疫情日记，中央美术学院，北京
群展
2026 “3-2-1, HERE WE GO”，蛇口画廊，深圳
2026 “忙碌的仪式开始了”，可以画廊，北京
2026 “人群是一个幻觉，它并不存在，我是在与你们个别交谈”，Tong Gallery+Projects，北京
2025 “后浪拼图-2025”，玉兰堂，北京
2025 “帧之絮语——绘画中的时空与心象”，M美术馆，苏州
2025 “NOV. 10, 2001”，totalab + ZiWU 誌屋，上海
2025 “匆匆之后”，仚东堂，北京
2025 “造物·石美术馆三周年”，石美术馆，郑州
2025 “Current”，Tong Gallery+Projects，北京
2025 “龙佩尔斯迪尔钦”，SIMPLE ONE × Tong Gallery+Projects，北京
2025 “捕云者”，贝浩登，上海
2024 “雪融期的最后一天”，颜貌 VISAGE，北京
2023 “如果你能看见”，当代唐人艺术空间，北京
2023 “是否抵达”，Tong Gallery+Projects，北京
2023 “画内 : 观念之外”，赛麟空间，上海
2023 “远征阿尔戈”，仚东堂，郑州
2022 “卢隐集”，仚东堂，郑州
SHAN YUHAN
1998 Born in Daqing, Heilongjiang
2020 BA in Oil Painting, Central Academy of Fine Arts, Beijing
2020 MA in Oil Painting, Central Academy of Fine Arts, Beijing
Solo Exhibition
2026 The Balance, Tong Gallery+Projects, Beijing
2024 Mass Man and the Nameless, Tong Gallery+Projects, Beijing
2020 Epidemic Diary, Central Academy of Fine Arts, Beijing
Group Exhibition
2026 "3-2-1, HERE WE GO",Shekou Gallery, Shenzhen
2026 The Busy Ritual Begins, Keyi Gallery, Beijing
2026 I am talking to each of you, Tong Gallery+Projects, Beijing
2025 Rear Wave, Line Gallery, Beijing
2025 Whispers of FramesTime, Space,and the Imagery Within, M Art Museum, Suzhou
2025 NOV. 10, 2001, totalab + ZiWU, Shanghai
2025 Posthastism, Santo Hall, Beijing
2025 Creation·Stone Art Gallery Third Anniversary, Stone Art Gallery, Zhengzhou
2025 Current, Tong Gallery+Projects, Beijing
2025 RUMPELSTILZCHEN, SIMPLE ONE × Tong Gallery+Projects, Beijing
2024 The Cloud Catcher, PERROTIN, Shanghai
2024Spring, VISAGE, Beijing
2023 If You Can See, Tang Contemporary Art, Beijing
2023 Whether to Arrive, Tong Gallery+Projects, Beijing
2023 The Essence of Painting – Beyond the Concept, Sailing Space, Shanghai
2023 Argonauts, Santo Hall, Zhengzhou
2022 Summit of Hermits, Santo Hall, Zhengzhou
