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≡ 马凌画廊｜2018伦敦弗里兹艺术博览会展位H9

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黄炳寓言（一）Wong Ping 黄炳 Wong Ping

黄炳寓言（一）Wong Ping's Fables 1, 2018

单频道动画作品

Single channel video animation

13' 00"

?图像由画廊和艺术家提供

Image courtesy of the gallery and the artist

2018 伦敦弗里兹艺术博览会

Frieze London 2018

展位 Booth H9

黄炳 Wong Ping

开幕预览 Opening preview: 18.10.03 - 10.04

展期 Date: 18.10.05 - 10.07

(Scroll down for English version)

录像静帧 Video still,≡ 马凌画廊｜2018伦敦弗里兹艺术博览会展位H9,伦敦,弗里兹,博览会,展位,马凌,黄炳,寓言,动画,香港,Museum

录像静帧 Video still

黄炳寓言（一）

Wong Ping's Fables 1

?图像由画廊和艺术家提供

Image courtesy of the gallery and the artist

马凌画廊（香港，上海）荣幸地宣布将携手香港知名新秀艺术家黄炳（生于1984）首次亮相伦敦弗里兹艺术博览会（Frieze London）聚焦（Focus）单元。黄炳的作品《寓言》是由三部分组成的超现实动画，在沉浸式展厅里放映，展示了黄炳的创作基石——粗糙的质感与明艳的色彩结合升华成幽默的话语，批判地探讨性压抑、个体的多愁善感和政治局限。

闪烁的波普画面、声画叙事、延伸入艺术家美妙动画世界的三维装置——黄炳的创作元素利用位于诙谐、震撼边界的视觉语言，表现了他对社会从童年到成年的观察。正如古根汉美术馆中国艺术联合策展人翁笑雨所形容，在最近的群展“单手拍掌（One Hand Clapping）”中，“他尖锐地从微观层面回应了所处的环境，也与社会和政治现实形成对话”[1]。

展览现场 Installation view,≡ 马凌画廊｜2018伦敦弗里兹艺术博览会展位H9,伦敦,弗里兹,博览会,展位,马凌,黄炳,寓言,动画,香港,Museum

展览现场 Installation view

单手拍掌 One Hand Clapping

2018

所罗门·R·古根海姆博物馆，纽约

Solomon R. Guggenheim Museum, New York

?图像由所罗门·R·古根海姆博物馆提供

Image courtesy of Solomon R. Guggenheim Museum

拍摄 Photograph: David Heald

这一点在《寓言》中尤为明显。《寓言》由三组迥异的连续动画组成，每一组都如标题所暗示，呈现了一个简洁有力的虚构故事，由虚构人物传达“道德”教育。在新当代艺术博物馆第四届三年展上，《寓言》作为“破坏之歌”的一部分首次展出，被评论为“少数扎根数字化，同时兼具必然和偶然性政治意义的作品”[2]。跳跃在佛教尼姑象、社交媒体上瘾的鸡督查和怕虫子的树的故事之间，《寓言》触及了外貌、爱、数码互动、自恋和恐惧等一系列话题。

展览现场 Installation view,≡ 马凌画廊｜2018伦敦弗里兹艺术博览会展位H9,伦敦,弗里兹,博览会,展位,马凌,黄炳,寓言,动画,香港,Museum

展览现场 Installation view

2018 三年展“破坏之歌”

2018 Triennial: “Songs for Sabotage”

新美术馆，纽约

New Museum, New York

?图像由新美术馆提供

Image courtesy of New Museum

拍摄 Photograph: Maris Hutchinson / EPW Studio

除了叙事者和事件五彩斑斓且毫无逻辑地叠加，影片也指向了当代生活日常的艰辛。然而作品的呈现却遭遇了“一种深深的社交尴尬”[3]，互动方式立即唤起了一探究竟的好奇心和不适感。在弗里兹艺术博览会上，展位中央的投影仪点亮了沉浸式的空间，观众被引入一场邂逅，一系列挂在两侧墙壁上的动画立体装置让这场邂逅更加真实。

《寓言》是以生动的形式对社会行为愤世嫉俗、尖锐讽刺的洞察。通过奇幻的表象，作品持续地展现自由奔放的粗犷质地，强烈地升华根植于日常生活艰辛的宣泄。

[1]翁笑雨，引用自《光怪陆离的动画，捕捉香港的年轻文化》，Barbara Pollack，2018年5月18日版《纽约时报》

[2]《新当代艺术博物馆三年展看似不拘一格，却走安全路线》Holland Cotter，2018年2月22日版《纽约时报》

[3]《光怪陆离的动画，捕捉香港的年轻文化》，Barbara Pollack，2018年5月18日版《纽约时报》

录像静帧 Video still,≡ 马凌画廊｜2018伦敦弗里兹艺术博览会展位H9,伦敦,弗里兹,博览会,展位,马凌,黄炳,寓言,动画,香港,Museum

录像静帧 Video still

黄炳寓言（一）

Wong Ping's Fables 1

?图像由画廊和艺术家提供

Image courtesy of the gallery and the artist

Edouard Malingue Gallery (Hong Kong, Shanghai) is thrilled to announce its inaugural participation in Frieze London as part of the Focus section featuring celebrated emerging Hong Kong artist Wong Ping (b. 1984). Presenting ‘Fables’, a single surreal animation film in three parts exhibited within an immersive setting, the booth reflects the cornerstones of Wong Ping’s practice that combines the crass and the colourful to mount a critically humorous discourse around repressed sexuality, personal sentiments and political limitations.

Flashing, pop-like imagery; visual and auditory narrations; installations that extend into three dimensions the artist’s fantastical animation world – these are elements of Wong Ping’s practice that express his observations of society, from childhood to adulthood, using a visual language that sits on the border of shocking and amusing. As described by Xiaoyu Weng, associate curator for Chinese art at the Guggenheim in light of Wong Ping’s recent group show ‘One Hand Clapping’ at the New York institution: “He acutely responds to his surroundings on a micro level but also speaks to the social and political reality” [1].

单手拍掌 One Hand Clapping,≡ 马凌画廊｜2018伦敦弗里兹艺术博览会展位H9,伦敦,弗里兹,博览会,展位,马凌,黄炳,寓言,动画,香港,Museum 展览现场 Installation view

单手拍掌 One Hand Clapping

2018

所罗门·R·古根海姆博物馆，纽约

Solomon R. Guggenheim Museum, New York

?图像由所罗门·R·古根海姆博物馆提供

Image courtesy of Solomon R. Guggenheim Museum

拍摄 Photograph: David Heald

‘Fables’, in particular, comprises three back-to-back distinct animations, each of which presents, as the title suggests, a succinct fictional story with imaginary characters that communicates a ‘moral’ lesson. Unveiled for the first time at the 2018 New Museum Triennial as part of ‘Songs for Sabotage’, ‘Fables’ was cited as “one of the few pieces with obvious digital roots and with politics that feel as much existential as circumstantial” [2]. Jumping between the tales of a Buddhist nun elephant, social-media-addicted chicken and insect-phobic tree, ‘Fables’ touch upon issues of appearance, love, digital interaction, narcissism and fear.

2018 三年展“破坏之歌”,≡ 马凌画廊｜2018伦敦弗里兹艺术博览会展位H9,伦敦,弗里兹,博览会,展位,马凌,黄炳,寓言,动画,香港,Museum 展览现场 Installation view

2018 三年展“破坏之歌”

2018 Triennial: “Songs for Sabotage”

新美术馆，纽约

New Museum, New York

?图像由新美术馆提供

Image courtesy of New Museum

拍摄 Photograph: Maris Hutchinson / EPW Studio

Despite the vibrant and illogical superposition of narrators and events, the films address toils that affect each of our contemporary daily lives. The delivery is met, however, by “a profound sense of social awkwardness” [3], an interaction that at once arouses intrigue and discomfort. Presented at Frieze as the central projection lighting up a dark immersive space, visitors are lured into an encounter, one that is met and further activated by a sequence of three-dimensional vignettes from the animation hung on either flanking wall.

Ultimately, ‘Fables’ is a vivid, cynical and cuttingly wry source of insight into societal behaviour. Through the fantastical foil, the works cumulatively provide a liberating rawness and urge a cathartic twist on the trials rooted in daily life.

[1] Xiaoyu Weng as quoted in “Hong Kong’s Youth Culture, Captured in Disturbing Animations” by Barbara Pollack, The New York Times, May 18 2018

[2] “New Museum Triennial Looks Great, but Plays It Safe” by Holland Cotter, The New York Times, February 22 2018

[3] “Hong Kong’s Youth Culture, Captured in Disturbing Animations” by Barbara Pollack, The New York Times, May 18 2018

Installation view, ‘One Hand Clapping’, Solomon R. Guggenheim Museum, New York. Image

关于艺术家 About artist

黄炳 Wong Ping,≡ 马凌画廊｜2018伦敦弗里兹艺术博览会展位H9,伦敦,弗里兹,博览会,展位,马凌,黄炳,寓言,动画,香港,Museum

黄炳 Wong Ping

?图像由画廊和艺术家提供

Image courtesy of the gallery and the artist

黄炳是最令人看重的香港新晋艺术家之一。他曾受邀于M+，NOWNESS以及Prada订做动画作品，还曾获得了Perspective的“40岁以下40”奖项的荣耀。近期的展览包括在古根汉美术馆的“单手拍掌”与在纽约新当代艺术博物馆的“破坏之歌”。此外，黄炳曾在中国当代艺术中心（CFCCA）进行艺术家驻村计划，并在曼彻斯特，香港，伊斯坦布尔，柏林，和巴黎等地举办过国际展览。他的动画作品已在许多国际艺术节展出，从比利时，英国到墨西哥，澳大利亚，并受到LEAP，ArtAsiaPacific和其他重要艺刊的关注。黄炳的作品被M+（香港），卡蒂斯特艺术基金（巴黎），所罗门古根汉美术馆（纽约），复星艺术中心（上海）等机构永久收藏。

Wong Ping is one of Hong Kong’s most exciting emerging artists. His animations have been commissioned by M+, NOWNESS as well as Prada and he was awarded one of Perspective’s ’40 under 40’. His recent shows include, ‘One Hand Clapping’ at the Solomon R. Guggenheim Museum and ‘Songs for Sabotage’ at New Museum, New York. Moreover, Wong held a residency at the Chinese Centre for Contemporary Art (CFCCA) and has held exhibitions internationally in Manchester, Hong Kong, Istanbul, Berlin and Paris, amongst other locations. His animation films have been presented at numerous festivals internationally, from Belgium and the UK to Mexico and Australia, and have been reviewed in LEAP, ArtAsiaPacific and other publications. Wong’s work is held in several permanent collections including M+, Hong Kong, KADIST, Solomon R. Guggenheim Museum, New York, Fosun Art Foundation, Shanghai, amongst others.

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