On the afternoon of December 6, 2020, Liang Chen's solo project 1976/2020 opened in DRC No.12.
Liang Chen continues his method of working with spatial hypnosis in an attempt to speak to the subconscious in the time and space of the building at DRC No.12. The documentation of the building helps Liang to establish a set of spatial and temporal coordinates, which are presented in two separate slices, compressed in the exhibition hall.
Time slicing: DRC No. 12 was completed in April 1976. Liang Chen selected several residential buildings built during the same period in Beijing: the renovation of the Beijing Hotel, 1974; the new village residence of Xujiawu brigade, 1976; and the high-rise wallboard residence in the southern part of Tiantan Dongli, 1977, and juxtaposed the floor plans of each house with the corresponding powder of construction materials in a 1:1 nest on the floor of the living room. The bedrooms are made of iron, cement, wood, and glass shavings, representing the four scales of the "bed" as the central furniture of living in different times.
Space slicing: Liang Chen will attempt to visit the neighbors of the resident on the 15th floors with this type of apartment in Building 12 and borrow an "important" item from their rooms, such as sofas, curtains, lamps, chairs, books, toys, business cards, photos, office supplies and equipment, even live signals, used masks, and household garbage. They will be exhibited on the 8th floor and returned after the exhibition, thus constituting a different use of space within the same spatial pattern of the entire building. It involves both differences in individual behavior and contrasts in residential culture in a globalized world. When this "important" object is missing from each room, the part of space is also involved in the exhibition.
These high-rise buildings built around 1976 are not only the materialization and extension of collective will in that era, but also the starting point of the emergence of individual will. This individual narrative can be seen from the fragments of objects borrowed by Liang Chen, which will reach a new historical inflection point in 2020.
2020年12月6日下午，梁琛个展《1976/2020》在外交公寓12号空间开幕。
梁琛继续使用其空间催眠的工作方法，试图与外交公寓12号这栋建筑在时间与空间上的潜意识进行对话。这栋建筑的文献工作帮助梁琛建立了一组时空坐标，分别呈现两组切片，压缩在展厅当中。
时间切片：外交公寓12号楼于1976年4月建成，梁琛选取了北京同时期建成的几栋居住建筑：北京饭店改造，1974；许家务大队新村住宅，1976；天坛东里南区高层壁板住宅，1977，将其每户的平面图用相应的的建筑材料粉末，在客厅地面1：1嵌套并置。卧室分别用铁屑、水泥、木屑、玻璃屑呈现了“床”作为居住的核心家具在不同时代的四种尺度。
空间切片：梁琛将试图拜访12号楼这一户型上下楼的其他15层住户邻居，打开房门，并从他们的房间中借一件“重要”物品，如沙发、窗帘、台灯、座椅、书籍、玩具、名片，照片，甚至用过的口罩、生活的垃圾等，集中展示在8层的展览空间，展览结束后归还，从而构成了整栋楼在相同的空间格局下不同的空间使用。既涉及到个人行为的差别，也有全球化格局下居住文化上的对比。当每户空间缺少了这件“重要”物品时，这一空间也参与到了展览当中。
这些建于1976年左右的高层标准单元化建筑是那个时代集体意志的物化与延伸，也更是个体意志萌发的起点，这种个体叙事可以从梁琛所借的物品碎片中窥见，在2020达到一个历史的新拐点。
WORKS
OPENING SCENE
