C5CNM是一个地处北京798艺术区的实验性艺术空间（2018年秋天完成设计，2019年春天施工，2019年4月对公众开放）。长宽4.75 × 5.25米，挑高 3.5米，它小而独特的空间比例适合艺术家将展览整体视作一件作品去构想。C5CNM的空间本身是艺术家金宁宁的作品，他的空间构想性质类似游戏场抑或舞台，同时具备强烈的个人属性与真诚的开放性。更迭的活动与空间相加形成意料之外的全新感受，从而视觉体验被给予声学的特征。
空间从2019年春天开放以来，已呈现多个当代艺术展览和实验音乐演出的项目，并以 “画廊airbnb” 的方式与非营利机构及艺术家个体合作。我们希望对开放性的追求不止步于视觉艺术领域。C5CNM是一个可以7天24小时向公众开放的空间，来访者通过扫码发送请求索取当天的电子锁密码，获得随时进入展厅与作品相处权限。
C5CNM is an experimental space located in 798 Art District in Beijing. It measures 4.75 by 5.25 meters and 3.5 meters in ceiling height. Its modest though beautiful proportions invite artists to conceive an exhibition as one singular art work. C5CNM is an art work in itself, in violation of the modernist orthodoxy of the white box. The spatial design by artist Jin Ningning is an interactive invitation like a gaming environment, in which artists find themselves realizing their ideas inside another’s framework, necessarily improvising in compliance or resistance to given conditions. The present interdisciplinary scope of art allows overlapping identities and combining opposites. That this freedom is genuine and can become the foundational principle of a new type of exhibition. C5CNM embraces this plasticity and offers a compelling proposal to raise the stakes. The gallery space is itself a multifaceted and transformational artwork that mixes with the different occurrences that take place within, giving visual experience also an “acoustic” complexity.
Since its opening in Spring 2019 C5CNM has transitioned between exhibition space, live performance venue, and “air b-n-b gallery” for non-profits, and it is open to many more interpretations (functions). We hope this quest for unlimited freedom will attract creative individuals or collaboratives from beyond the field of visual art to produce works. We can not anticipate the forms this may take, but only look forward.
C5CNM is free and open to the public 24/7. Visitors may enter the space by acquiring the electronic lock combination any time of the day or night and are welcome to spend time alone with the work.
