「巴蜀畫派·展覽」HUANG MIN 黃敏｜JOURNEYS BACK TO EUROPE｜慕尼黑WhiteBOX藝術空間 即將展出 HUANG MIN 黃敏 JOURNEYS BACK TO EUROPE WhiteBOX Werksviertel-Mitte 2022年9月4日-9月11日 堯山當代藝術基金會（BMCA）為中國藝術家黃敏推出大型作品展“Journeys back to Europe”（返回歐洲的旅程）。該展覽將于9月4日（星期日）在慕尼黑WhiteBOX藝術空間開幕。 無論是在Werk3大樓擴建之前的舊館還是現(xiàn)在的新館，WhiteBOX始終關注著當代藝術在遙遠東方的最新動態(tài)。2010年，WhiteBOX舊館曾舉辦“all about Peking”（關于北京的一切），隨后在2012年舉辦“all about Shanghai”（關于上海的一切）時，WhiteBOX之后的總監(jiān)邁克爾·伍斯特（Michael Wüst）先生與曾在北京生活多年的策展人亞歷山大·格林姆（Alexandra Grimmer）結(jié)識。 從這個角度看，“Journeys back to Europe” （返回歐洲的旅程）正如中國藝術家延續(xù)家鄉(xiāng)的習俗一樣，以一種特殊的方式繼承了自2010年以來的傳統(tǒng)。對于流逝的過去還存有溫情，這一點從某種程度上深深的吸引著歐洲人。 在20世紀，西方的藝術家將打破傳統(tǒng)作為美學的重要構成，而中國藝術家則選擇了一條更為悠緩，帶有歸納性的道路。同時，也帶來這樣一個問題——表象背后的世界是怎樣的？令人感到興奮的是，黃敏的巨幅作品將人帶入到一個與當下世界產(chǎn)生距離感的另外一個世界中。在這種狀態(tài)里，事物的本質(zhì)似乎還沒有被程式化的術語所凍結(jié)，“龐大”還沒有退化為一種對“崇高”的表達。 以回應開闊的展廳空間，本次展覽的重點為堯山當代藝術基金會（BMCA）收藏的8幅黃敏的巨型畫作以及她在景德鎮(zhèn)創(chuàng)作的瓷器作品。 黃敏的作品展示了多樣的圖像載體——從她的畫布便可看出。她尤其喜歡使用多維形式，在不同的媒介上進行創(chuàng)作，包括紙張、木箱等。在瓷器上的創(chuàng)作亦是如此。她以瓷器作為基礎，將特有的繪畫筆觸加在釉面上。無論是通過怎樣的技術或者色彩，她的繪畫語言都具有鮮明的可識別性。 On Sunday, September 4, the exhibition 'Journeys back to Europe' opens in whiteBOX Munich with large-scale works by the Chinese painter Huang Min. The exhibition is organised by BMCA Art Collection. Even in the old whiteBOX, before the extension of the Werk3 building, where the new whiteBOX is located today, the organisers endeavoured to show new developments in Far Eastern art. In 2010, the old whiteBOX showed 'all about Peking' and in 2012 Michael Wüst, then director of the whiteBOX, and curator Alexandra Grimmer, who had already been living in Beijing for a long time, got to know each other at 'all about Shanghai'. Seen in this light, with 'Journeys back to Europe' the tradition of a passion for contemporary Chinese artists who have been reflecting the tradition of their mother country is being continued in a very special way. While Western art in the 20th century elevated the habit of breaking with tradition to an aesthetic constituent, Chinese artists took a slow, inductive path, into the question: what is the world behind its appearance. It is exciting to be taken away by Huang Min's colossal paintings into a cosmopolitan distance from the world, in which the essence of things does not yet seem frozen in programmatic terms and the colossal has not yet degenerated into an expression of veneration. As a response to the spacious exhibition place in Munich, the focus of this exhibition will lie on 8 large format paintings by Huang Min from the holdings of BMCA Collection, to be shown in combination with important porcelain objects which the artist realised in Jingdezhen. Huang Min’s oeuvre shows a wide variety of image carriers: from canvas, where she especially loves to use over dimensional formats, over different kinds of paper or wooden boxes. The surface of porcelain also represents a common base, to add her characteristic painted brush strokes in the glazing. Regardless of technique or colours, her painted language is immediately recognisable.  《風景.風景的》, 布面油彩, 1200cm x 200cm, 2009 ABOUT ARTIST 關于藝術家  黃敏，1975年生于四川 ，1998 年四川美術學院油畫系本科畢業(yè)，獲學士學位 。2006年，中央美術學院油畫系三畫室研究生畢業(yè)，獲碩士學位。現(xiàn)生活在北京。 2015年，在德國的中國8當代藝術大展中，被德國媒體評價為：“中國最令人驚喜的女性藝術家?！辈哒谷硕抨卦圃鴮懙溃骸包S敏的繪畫中，既有對中國整體的思考，也有對某一具體地區(qū)的具體觀察。她的作品關注中國普通人的生存處境和欲望，題材會階段性的變化，但越來越自覺的從當代公民權利的角度發(fā)現(xiàn)問題，用樸拙有力的具像手法表達。作品強烈有力量。形式語言和材料豐富多變?！?/span> Huang Min, born in Sichuan, China, in 1975. She graduated in 1998 from the Oil Painting department of Sichuan Academy of Fine Arts with a Bachelor's degree. She graduated in 2006 from the Oil Painting department of the Central Academy of Fine Arts with a Master's degree. Currently, she works and lives in Beijing. In 2015, she was praised as 'the most surprising Chinese female artist' by German media during the China8 Exhibition in Germany. “In Huang Min's paintings, there are both reflections on China as a whole and observations on a specific region. Her works focus on the living conditions and desires of ordinary Chinese people, and the subject matter will change in stages. However, she is more and more conscious of finding problems from the perspective of contemporary civil rights and expressing them with simple and powerful figurative methods. Her work is strong and powerful. Her language of form and materials are rich and varied. ”（by Duxiyun)  《黑橋-卡拉ok》, 布面油彩, 420cm x 250cm, 2014 INTERVIEW 藝術家訪談 黃敏接受了歐洲藝術雜志Les Nouveaux Riches的專訪。 Huang Minwas interviewed by Les Nouveaux Riches art magazine. Q：請問您藝術生涯曾受到過誰的影響？ What are your biggest artistic influences? A：我從小四五歲時就和我爺爺黃琨學習中國畫，他是1907年出生，1932年西南藝專畢業(yè)；經(jīng)歷了抗日戰(zhàn)爭、軍閥混戰(zhàn)、回老家創(chuàng)辦女子學校，經(jīng)歷文革，平反、經(jīng)歷改革開放，直到1998年去世。他經(jīng)歷不凡、見證了上一個世紀的整個過程和風雨。 爺爺是我走上藝術之路的啟蒙老師，他記憶非凡 創(chuàng)造了大量的水墨作品。通過他我也從小學習介子園，開始了解到中國傳統(tǒng)很多大師的作品。尤其宋代的山水畫，我認為這是中國繪畫的高峰，例如：董源、李成、范寬、郭熙、他們的作品讓我受益匪淺。還有元代的倪贊、明代的徐謂等，都是我喜歡的藝術家。之后讀大學和研究生時期到今天，又接觸到西方很多大師和他們的作品，其中有凡高、馬蒂斯、倫勃朗、培根，柯勒惠支，巴塞利茲、安塞姆·基弗、羅斯科以及當代活躍的行為藝術家阿布拉莫維奇、謝德慶等等，他們的藝術和故事也一直深深地影響我。 My grandfather was my initiating teacher on the path to art, he had an exceptional memory and created a large number of ink works. During my growning up, I learnt about Jieziyuan (Manual of the Mustard Seed Garden) and many other Chinese masters' works through my grandfather. In particular, the landscape paintings of the Song Dynasty, which I consider to be the peak of Chinese painting, such as Dong Yuan, Li Cheng, Fan Kuan, and Guo Xi. Their works benefited me immensely. Ni Zan from the Yuan Dynasty and Xu Dui from the Ming Dynasty are also artists I like. Later on, during my university and postgraduate study until the present time, I was able to learn a lot about many western masters and their works, including Van Gogh, Matisse, Rembrandt, Bacon, K?the Kollwitz, Baselitz, Anselm Kiefer, Rothko, and the active contemporary performance artists Abramovic and Xie Deqing. Their artworks and stories have also influenced me deeply.  《桃源仙境圖》, 布面油彩, 360cm x 215cm, 2008  《坐看云起圖》, 紙本設色, 35 x 56cm, 2006 Q: 您是如何選擇創(chuàng)作題材的？ What topics do you deal with? A: 我覺得作為藝術家唯一的武器就是作品，因為現(xiàn)實生活對我的影響太大了，我就做了一種回應或者是反抗。因為今天的藝術再也不僅僅是純粹的審美，而是深植于個人與社會，政治，文化的關系中，成為生命與生存的一種本能需要，關于我們?nèi)绾未嬖?，如何感覺和思考。 I think my artworks are my only tool for a response or a rebellion to life because the reality of life has had such an impact on me. Today's art is no longer just purely aesthetic but is deeply rooted in the relationship between the individual and society, politics and culture, becoming an instinctive need for life and survival, about how we exist, how we sense and think.  《山水.風景》, 布面油彩, 1600 x 218cm, 2009 Q: 您的創(chuàng)作想要表達什么？ What does your work aim to say? A: 我想通過自己的作品把中國這幾十年的巨大變化以個人化的方式去記錄、去反思、去揭示。另外一方面，置身于一個比較過去來說仍然全球化、信息化的今天，誠實面對自我，面對在這個特定歷史時期生發(fā)、感受到的困惑、矛盾、沖突。在開放中去摸索和建立更多獨特性和可能性的藝術表達。 Through my works, I would like to personally record, reflect on, and reveal the tremendous changes that have taken place in China over the past decades. On the other hand, in the present times, which are still globalised and informationised compared to the past, I want to honestly face myself and face the confusions, contradictions and conflicts that arise in this specific historical period. In the midst of openness, we will explore and build more artistic expressions of uniqueness and possibilities.  《黑橋垃圾場》, 布面油彩, 300 x 600cm, 2014  《黑橋垃圾場》(局部), 布面油彩, 300 x 600cm, 2014 Q: 您喜歡在什么樣的時間進行創(chuàng)作？您的作品是如何就社會議題進行評論的？ What is your favourite time of day to create? How does your work comment on social issues? A: 我喜歡周一到周五正常工作日能去工作室，因為周末必須要陪孩子。我希望有個人的空間和穩(wěn)定時間。 閱讀也特別重要，藝術理論、社會學、哲學、神學等方面的書籍有助于獨立思考、判斷能力。我的工作和社會是緊密相關的 ，屢屢發(fā)生的很多問題讓我通過學習努力去探究人性、以及背后的深層文化、政治、原因，進而從精神的維度去推進我的藝術形式、語言的表達。 I prefer to go to the studio on weekdays, from Monday to Friday, as I need to keep my children company at weekends. This also helps me to have personal space and a more regular life. Reading is also particularly important, books on art theory, sociology, philosophy, and theology help with independent and critical thinking. My work is closely connected to society. Many social issues that occurred repeatedly have led me to explore human nature and the deep cultural, political reasons behind them. So in my study, I can further my artistic form and language on a spiritual level.  《風景.風景的》, 布面油彩, 1600cm x 218cm, 2010 Q:在2022年9月慕尼黑白盒子藝術中心的展覽會展出您的哪些作品？ In September 2022, you have an exhibition in Munich at the whiteBOX. What will you show there? A: 這次的個展是以色列列堯山藝術基金在2015年左右來北京工作室收藏的近十年的作品，比較豐富完整。很多代表性的大作品，還有很多紙本、瓷板材料的小尺寸作品（很多以前都沒有展覽過），希望這次能夠集中呈現(xiàn)。 This solo exhibition is a relatively rich and complete collection of my works that BMCA has collected for around 10 years since they visited me in Beijing in 2015. Many of the large representative works, as well as many small-sized works on paper and porcelain materials (many of which have not been exhibited before), will hopefully be exhibited together this time.  《圍觀》, 釉下青花, 30 x 20cm, 2005 《無題之一》, 釉下青花, 30 x 70cm, 2011 《無題之二》, 釉下青花, 30 x 70cm, 2011 Q: 如果您可以選擇和另外一個藝術家進行合作，您會如何選擇？ If you could pick one artist for a collaboration, who would you choose and why? A: 我一直希望能夠和爺爺?shù)淖髌芬黄鹫钩?，包括他文革下放農(nóng)村時期為當?shù)剞r(nóng)民畫的許多箱柜。因為我們的作品雖然材料、形式、表現(xiàn)內(nèi)容完全不一樣，但里面有一個內(nèi)在的緊密關聯(lián)，作品都涉及歷史、現(xiàn)實、人的處境等等問題，放在一起應該特別有意思。 I have always hoped to exhibit my grandfather's works together, including many of the boxes he painted for the local peasants during his devolution to the countryside during the Cultural Revolution. Although our works are completely different in terms of material, form, and expressive content, there is an intrinsic and close connection between them, and the works both deal with issues of history, reality, the human condition, and so on, which should be particularly interesting when combined together. Q: 可以給我們透露一下目前在進行創(chuàng)作的項目嗎？ Can you tell me a little bit about the project you’re currently working on? A: 我目前做的作品仍然是之前的延續(xù)和深入，和當下的社會、歷史、文化、政治仍然是緊密相關的，著重反應了我們每個人的狀態(tài)和集體無意識。 The current works I am creating are still a further continuation of the previous works and are closely related to the present society, history, culture, and politics, focussing on the status of us all and the collective non-conscious. 海報設計：王我 以上圖文均有版權，請勿擅自使用，謝謝。 翻譯及編輯：陳丹陽 校對：亞歷山大·格林姆 堯山當代藝術基金會 BMCA 堯山當代藝術基金會（Blue Mountain Contemporary Art，簡稱：BMCA）是一個總部設立在維也納的中國當代藝術收藏機構。自2013年收藏家奧弗爾·盧因（Ofer Levin）先生和其他慈善家投資建立該機構以來，BMCA將自身定義為中國當代藝術現(xiàn)場的一部分，始終關注中國當代藝術發(fā)展動態(tài)。奧弗爾·盧因（Ofer Levin）先生和他的團隊與藝術家們保持緊密聯(lián)系，專注于與社會時代背景相關、具有批判性的作品。相對于追隨潮流而言，BMCA旨在發(fā)現(xiàn)和捕捉具有長期影響力的獨特藝術品。 自總部由北京遷至維也納，BMCA致力于通過國際項目將其藝術收藏凸顯出來。中國當代藝術在世界藝術領域保持活躍與 '捕捉中國當下 '同等重要，這也是BMCA自成立以來始終堅持的信念。 過去的9年中，BMCA作為項目平臺曾在中國、以色列和奧地利等地多次舉辦藝術展。這些項目為其收藏奠定了堅實的基礎。 Blue Mountain Contemporary Art (BMCA) is a collection of contemporary Chinese art based in Vienna. Since its foundation through the philanthropist and art supporter Ofer Levin in 2013, the BMCA defines itself as part of China’s dynamic art scene. Ofer Levin and his team maintain close contact with its artists and focus on works that critically engage with their time and surroundings. The aim is not to witness passing trends but to acquire and cultivate unique works with a long-term impact. Since the BMCA Collection moved its headquarters from Beijing to Vienna, the focus has been on making its works visible in international projects. The continuous presence of current Chinese contemporary art in an international context is as important as “Capturing the Moment in China”, which has been BMCA’s credo since the beginning. Numerous exhibition projects at various venues in China, Israel and Austria preceded over the past nine years and form the basis of the BMCA Collection, which also sees itself as a project platform. 出品/四川省巴蜀畫派促進會 四川巴蜀畫派美育中心 責任編輯/彭彪 編審/王剛 |
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