丹麦策展人兼艺术顾问

Elisabeth Johs

在纽约

SoHo

的阁楼里，创造了一处既是居所、也是画廊的空间。作为

JO-HS

的第二个据点，它延续了她在墨西哥城发起的文化实验，却以更为亲密、缓慢的节奏展开。这里既是

Johs

的家，也是艺术与生活交织的场域，一种柔和的过渡，让人们在信任与对话中重新感受艺术。

Danish curator and art advisor

Elisabeth Johs

has created a space inside her SoHo loft in New York that is both home and gallery. As the second outpost of

JO-HS

, it extends the cultural experiment she initiated in Mexico City, but unfolds with a more intimate and slower rhythm. This loft is at once her private residence and a stage where art and life intersect, a gentle in-between where trust and dialogue shape how art is experienced.

屋主是来自丹麦

的策展人及艺术顾问

Elisabeth Johs，曾在伦敦和纽约生活，目前居住在墨西哥城。2021 年，她在墨西哥城创立了JO-HS，这是一个艺术驻留和项目空间，专注于发掘展示新兴艺术家

印际：这个空间被同时定义为“画廊”与“家”。您是如何平衡“公共”与“私密”的界限的？

YINJISPACE: The space is described as both a gallery and a home. How do you navigate the line between public and private?

Elisabeth Johs

：对我来说，两者不分彼此。邀请他人进入我的家是一种信任的行为，而我认为艺术正是在这种氛围里才能生长。当一件作品被放置在书本或台灯旁时，它进入了一种更脆弱的语境，人们会注意到不同的细节，也会更放松。我会通过谨慎选择那些愿意向外开放的部分来划定界限，但我发现这种亲密感并不会削弱意义，反而赋予它更多。

Elisabeth Johs: For me, the two aren’t separate. Inviting people into my home is an act of trust — and I think art thrives in that atmosphere. When a work is seen next to a book or a lamp, it enters a more vulnerable register. People notice different details, they relax. I navigate the line by being selective with what I open up, but I find that the intimacy adds meaning rather than diminishing it.

次设计，

Johs

与来

自丹麦的家具与灯具品牌

Gubi

Louis Poulsen

合作，共同营造亲密而温馨的氛围，他们的极简风格与艺术展示形成了完美的互补

跨文化与双城性

Between Cities

JO-HS

的起点在墨西哥城，一座让艺术自然渗入日常的城市。在这里，

Johs

感受到社

区的包容与实验精神。而纽约，则赋予了另一种能量：速度、锋利，以及与全球对话的广度。正是这两座城市之间的互补，塑造了

JO-HS

的性格，也促使她在纽约开辟出新的空间。“

我成长过程中不断在不同文化间迁徙，所以归属于某一个地方从未对我来说是真实的，

Johs和我们分享，

墨西哥和纽约，它们共同塑造了

JO-HS

的游牧与流动，也让我学会把缓慢与急速、亲密与尺度视为同等重要的价值。

The origins of

JO-HS

lie in Mexico City, a place where art naturally permeates daily life. There, Johs encountered a spirit of community and experimentation. New York, by contrast, brought a different kind of energy: speed, sharpness, and the breadth of a global dialogue. It is the complementarity between these two cities that has shaped the character of JO-HS and led her to establish a new space in New York.“I grew up moving between cultures, so belonging to just one place has never felt true to me,” Johs shared with us. “Mexico and New York together have shaped JO-HS’s nomadic and fluid nature, and have taught me to see slowness and speed, intimacy and scale, as equally essential values.”

空间正推出墨西哥艺术家 Rodrigo Echeverría的最新展览

“Ontological Sighthound

”，该展览

于2025年3月开幕；墙上作品：

Rodrigo Echeverria Struggle,2023

家即画廊

Space and Intention

SoHo

的阁楼既是

Johs

的家，也是

JO-HS

的纽约据点。她希望这里像一口气的呼出，是对城市喧嚣的回应。她以自然的光线与以及安静的氛围为起点，让作品能自由呼吸，让墙面成为停顿。相比传统的画廊，这里更接近于一所家：节奏亲密、缓慢而人性化。“

我想让这个空间像一声叹息

——

为城市过度刺激的节奏提供一种解药，

她说，

我设想的不是一个炫耀的画廊，而是接近家的节奏：亲密、缓慢、有人性。

Her SoHo loft is both residence and the New York outpost of JO-HS. Johs envisioned it as an exhale — a counterpoint to the city’s overstimulation. Light and quiet were her starting points, creating room for the works to breathe and for walls to invite pause. Rather than a showy gallery, the rhythm she sought was closer to a home: intimate, slow, and human.“I wanted the space to feel like an exhale — an antidote to the overstimulation of the city,” she says. “Rather than a showy gallery, I envisioned a rhythm closer to a home: intimate, slow, and human.”

空间里有许多来自

Johs

的器物收藏，都是旅行的痕迹

生活

与策

Living and Curating

在这间阁楼里，公共与私密的界限几乎被抹平。对

Johs

来说，把访客邀请进家中是一种信任，而这种氛围恰恰能让艺术生长。她将家具、书籍、灯具，甚至空白，都视为

同伴

，而非单纯的陈设。空间也因此成为一个不断变化的实验场：物件被移动、替换，甚至被留白。对她而言，负空间同样重要。

负空间让其他一切变得有意义。它承载着沉默、期待与休憩。缺席并不是匮乏，而是一种在场。

Within the loft, the boundary between public and private almost dissolves. For Johs, inviting visitors into her home is an act of trust, and it is precisely this atmosphere that allows art to thrive. When a work is seen next to a book or a lamp, it enters a more vulnerable and intimate register.“When art is seen beside everyday objects, people notice different details, they relax. The intimacy adds meaning rather than diminishing it,” she explains.She regards furniture, books, lighting — even emptiness — as companions rather than mere arrangements. The loft thus becomes an ongoing experiment, with objects moved, removed, and allowed to breathe. For her, negative space is just as vital. “Negative space is what allows everything else to matter. It holds silence, anticipation, rest. Absence isn’t lack, but a form of presence in itself.”

Johs

说，来参观的人们常建议她把墙上挂得更满，但她不会那么做。

因为空间对她来说非常重要

——

那些偶尔的空墙让她得以呼吸

作品：Alicia Ayanegui, Tarde en casa de Bety,2024

作品：

Rodrigo Echeverria: Phantom Limb Sketching for a child, 2024

作品：

Orange hairdresser drama after Piero della Francesca, 2023

未来

Looking Forward

作为

JO-HS

的创始人，

Johs

希望继续强化它在纽约与墨西哥城之间的桥梁角色，并扩展至跨学科的项目。“

我梦想的项目是创造一个场域特定的展览，将艺术、建筑与设计融合在一个非常规的空间里

——

比如一处历史遗迹，或者一片偏远的自然景观，

她说，

那将是一个既讲述有力故事，又能通过共同经验把人们连接在一起的项目。

As the founder of JO-HS, Johs aims to continue strengthening its role as a cultural bridge between New York and Mexico City while expanding into interdisciplinary projects. “My dream project is to create a site-specific exhibition that merges art, architecture, and design in an unconventional space — such as a historical landmark or a remote natural setting,” she says. “It would be a project that tells a powerful story while connecting people through shared experiences.”