即将展出

HUANG MIN 黄敏

JOURNEYS BACK TO EUROPE

2022年9月4日-9月11日

尧山当代艺术基金会（BMCA）为中国艺术家黄敏推出大型作品展“Journeys back to Europe”（返回欧洲的旅程）。该展览将于9月4日（星期日）在慕尼黑WhiteBOX艺术空间开幕。

无论是在Werk3大楼扩建之前的旧馆还是现在的新馆，WhiteBOX始终关注着当代艺术在遥远东方的最新动态。2010年，WhiteBOX旧馆曾举办“all about Peking”（关于北京的一切），随后在2012年举办“all about Shanghai”（关于上海的一切）时，WhiteBOX之后的总监迈克尔·伍斯特（Michael Wüst）先生与曾在北京生活多年的策展人亚历山大·格林姆（Alexandra Grimmer）结识。

从这个角度看，“Journeys back to Europe” （返回欧洲的旅程）正如中国艺术家延续家乡的习俗一样，以一种特殊的方式继承了自2010年以来的传统。对于流逝的过去还存有温情，这一点从某种程度上深深的吸引着欧洲人。

在20世纪，西方的艺术家将打破传统作为美学的重要构成，而中国艺术家则选择了一条更为悠缓，带有归纳性的道路。同时，也带来这样一个问题——表象背后的世界是怎样的？令人感到兴奋的是，黄敏的巨幅作品将人带入到一个与当下世界产生距离感的另外一个世界中。在这种状态里，事物的本质似乎还没有被程式化的术语所冻结，“庞大”还没有退化为一种对“崇高”的表达。

以回应开阔的展厅空间，本次展览的重点为尧山当代艺术基金会（BMCA）收藏的8幅黄敏的巨型画作以及她在景德镇创作的瓷器作品。

黄敏的作品展示了多样的图像载体——从她的画布便可看出。她尤其喜欢使用多维形式，在不同的媒介上进行创作，包括纸张、木箱等。在瓷器上的创作亦是如此。她以瓷器作为基础，将特有的绘画笔触加在釉面上。无论是通过怎样的技术或者色彩，她的绘画语言都具有鲜明的可识别性。

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.

《风景.风景的》, 布面油彩, 1200cm x 200cm, 2009

ABOUT ARTIST

关于艺术家

黄敏，1975年生于四川 ，1998年四川美术学院油画系本科毕业，获学士学位 。2006年中央美术学院油画系三画室研究生毕业，获硕士学位。现生活在北京。

2015年，在德国的中国8当代艺术大展中，被德国媒体评价为：“中国最令人惊喜的女性艺术家。”策展人杜曦云曾写道：“黄敏的绘画中，既有对中国整体的思考，也有对某一具体地区的具体观察。她的作品关注中国普通人的生存处境和欲望，题材会阶段性的变化，但越来越自觉的从当代公民权利的角度发现问题，用朴拙有力的具像手法表达。作品强烈有力量。形式语言和材料丰富多变。”

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)

《黑桥-卡拉ok》, 布面油彩, 420cm x 250cm, 2014

INTERVIEW

艺术家访谈

黄敏接受了欧洲艺术杂志Les Nouveaux Riches的专访。

Huang Minwas interviewed by Les Nouveaux Riches art magazine.

Q：请问您艺术生涯曾受到过谁的影响？

What are your biggest artistic influences?

A：我从小四五岁时就和我爷爷黄琨学习中国画，他是1907年出生，1932年西南艺专毕业；经历了抗日战争、军阀混战、回老家创办女子学校，经历文革，平反、经历改革开放，直到1998年去世。他经历不凡、见证了上一个世纪的整个过程和风雨。

爷爷是我走上艺术之路的启蒙老师，他技艺非凡，创造了大量的水墨作品。通过他我也从小学习介子园，开始了解到中国传统很多大师的作品。尤其宋代的山水画，我认为这是中国绘画的高峰，例如：董源、李成、范宽、郭熙、他们的作品让我受益匪浅。还有元代的倪赞、明代的徐谓等，都是我喜欢的艺术家。之后读大学和研究生时期到今天，又接触到西方很多大师和他们的作品，其中有凡高、马蒂斯、伦勃朗、培根、柯勒惠支、巴塞利兹、安塞姆·基弗、罗斯科以及当代活跃的行为艺术家阿布拉莫维奇、谢德庆等等，他们的艺术和故事也一直深深地影响我。

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, Käthe Kollwitz, Baselitz, Anselm Kiefer, Rothko, and the active contemporary performance artists Abramovic and Xie Deqing. Their artworks and stories have also influenced me deeply.

《桃源仙境图》, 布面油彩, 360cm x 215cm, 2008

《坐看云起图》, 纸本设色, 35 x 56cm, 2006

Q: 您是如何选择创作题材的？

What topics do you deal with?

A: 我觉得作为艺术家唯一的武器就是作品，因为现实生活对我的影响太大了，我就做了一种回应或者是反抗。因为今天的艺术再也不仅仅是纯粹的审美，而是深植于个人与社会、政治、文化的关系中，成为生命与生存的一种本能需要，关于我们如何存在，如何感觉和思考。

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.风景》, 布面油彩, 1600 x 218cm, 2009

Q: 您的创作想要表达什么？

What does your work aim to say?

A: 我想通过自己的作品把中国这几十年的巨大变化以个人化的方式去记录、去反思、去揭示。另外一方面，置身于一个比较过去来说仍然全球化、信息化的今天，诚实面对自我，面对在这个特定历史时期生发、感受到的困惑、矛盾、冲突。在开放中去摸索和建立更多独特性和可能性的艺术表达。

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.

《黑桥垃圾场》, 布面油彩, 300 x 600cm, 2014

《黑桥垃圾场》(局部), 布面油彩, 300 x 600cm, 2014

Q: 您喜欢在什么样的时间进行创作？您的作品是如何就社会议题进行评论的？

What is your favourite time of day to create? How does your work comment on social issues?

A: 我喜欢周一到周五正常工作日能去工作室，因为周末必须要陪孩子。我希望有个人的空间和稳定时间。

阅读也特别重要，艺术理论、社会学、哲学、神学等方面的书籍有助于独立思考、判断能力。我的工作和社会是紧密相关的 ，屡屡发生的很多问题让我通过学习努力去探究人性、以及背后的深层文化、政治、原因，进而从精神的维度去推进我的艺术形式、语言的表达。

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.

《风景.风景的》, 布面油彩, 1600cm x 218cm, 2010

Q:在2022年9月慕尼黑白盒子艺术中心的展览会展出您的哪些作品？

In September 2022, you have an exhibition in Munich at the whiteBOX. What will you show there?

A: 这次的个展是以色列列尧山艺术基金在2015年左右来北京工作室收藏的近十年的作品，比较丰富完整。很多代表性的大作品，还有很多纸本、瓷板材料的小尺寸作品（很多以前都没有展览过），希望这次能够集中呈现。

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.

《围观》, 釉下青花, 30 x 20cm, 2005

《无题之一》, 釉下青花, 30 x 70cm, 2011

《无题之二》, 釉下青花, 30 x 70cm, 2011

Q: 如果您可以选择和另外一个艺术家进行合作，您会如何选择？

If you could pick one artist for a collaboration, who would you choose and why?

A: 我一直希望能够和爷爷的作品一起展出，包括他文革下放农村时期为当地农民画的许多箱柜。因为我们的作品虽然材料、形式、表现内容完全不一样，但里面有一个内在的紧密关联，作品都涉及历史、现实、人的处境等等问题，放在一起应该特别有意思。

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: 可以给我们透露一下目前在进行创作的项目吗？

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续和深入，和当下的社会、历史、文化、政治仍然是紧密相关的，着重反应了我们每个人的状态和集体无意识。

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.

尧山当代艺术基金会 BMCA

尧山当代艺术基金会（Blue Mountain Contemporary Art，简称：BMCA）是一个总部设立在维也纳的中国当代艺术收藏机构。自2013年收藏家奥弗尔·卢因（Ofer Levin）先生和其他慈善家投资建立该机构以来，BMCA将自身定义为中国当代艺术现场的一部分，始终关注中国当代艺术发展动态。奥弗尔·卢因（Ofer Levin）先生和他的团队与艺术家们保持紧密联系，专注于与社会时代背景相关、具有批判性的作品。相对于追随潮流而言，BMCA旨在发现和捕捉具有长期影响力的独特艺术品。

自总部由北京迁至维也纳，BMCA致力于通过国际项目将其艺术收藏凸显出来。中国当代艺术在世界艺术领域保持活跃与 "捕捉中国当下 "同等重要，这也是BMCA自成立以来始终坚持的信念。

过去的9年中，BMCA作为项目平台曾在中国、以色列和奥地利等地多次举办艺术展。这些项目为其收藏奠定了坚实的基础。

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.

中华美网编辑/彭彪  编审/王刚