A Thousand Plateaus Art Space is pleased to present artist Wang Jun's solo exhibition Off the Beaten Track from Jun 7 to Aug 10, 2025. We look forward to your visit!

千高原艺术空间欣然宣布即将在2025年6月7日至8月10日呈现艺术家王俊个展“林中”。期待您的光临！

Wang Jun, Off the Beaten Track (improvisation) No.4, Acrylic on canvas, 330 × 186 cm × 3, 2025
王俊，林中（即兴）No.4，布面丙烯，330 × 186 cm × 3，2025
© Artist and A Thousand Plateaus Art Space
Wang Jun's work in recent years has emphasized a conscious theory of practice, Sketching, as a method of production (creation), and the woods as a place to “dwell”. In the spring of 2018, Wang Jun stepped into his destined woods for the first time, and picking up a paintbrush in the woods wouldn't happen until a few months later in the fall. Earlier in 2017, the artist had just completed a major phase of his work, Three Days, Three Nights-1#, and some new propositions became clear in his subsequent practice: Embodiment, Traces, and Specific Sites.

王俊近年来的工作强调着一种自觉的实践论——作为生产（创作）方法的“写生”、作为“栖居”之所的小树林。按时间来算，2018年春，王俊第一次步入其命定的小树林，而在林中拿起画笔则要到几月后的秋季。在更早的2017年，艺术家刚完成其阶段性重要作品《三天 三夜-1#》，一些逐渐清晰的新命题亦展现在其随之的艺术实践里：具身性、痕迹、特定场域。

Wang Jun, Off the Beaten Track (portrait) No.2, Acrylic on canvas, 120 × 110 cm, 2024
王俊，林中（肖像）No.2，帆布丙烯，120 × 110 cm，2024
© Artist and A Thousand Plateaus Art Space
No matter how you look at it, talking about Off the Beaten Track has to start with Three Days, Three Nights - specifically the third iteration of the project that takes place in late 2019 in the Dong village of Huanggang in Liping County, Southeast Guizhou. It was in the project practice of using the public space of the ethnic minority villages as a specific field that the artist re-recognized the potential of “Sketching & Place“.“Sketching” is an encounter that requires the return of the body to a specific site, a kind of physical projection on the site. The potential that this influence inspires is all-encompassing. Local history, field, personal memory and emotion, art ontology, walking and mobility, and multi-dimensional writing are beginning to be actively emphasized and invited by artists.

无论怎么看，谈论《林中》都得自《三天三夜》——特别是2019年底发生在黔东南黎平县侗 寨黄岗村的项目第三回开始，也是在那场以少数民族村落的公共空间为特定场域的项目实践中，让艺术家重新认识到“写生&场所place”的潜力——“写生”是一种遭遇，需要身体重返具体的现场 ，是一种临场的身体投放。这种影响激发出的潜能是全方位的，地方历史、田野、个人记忆及情感、艺术本体、行走流动及多维写作等，开始被艺术家主动重视、主动邀请。

Text / Ni Kun
文 / 倪昆