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黄丹个展《观其生》

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简介

黄丹个展《观其生》将于2020年9月19日(周六)在三远当代艺术中心开幕。延续2019年个展《生》中对自然与生命悲剧的观照,本次展览艺术家将万物粗粝的力量感加浓提纯,并从材料的语言中探索多重感觉与情绪的可能性,以更浓烈的实验性,在视觉上捕捉不同话语元素在形式、线条、色彩中的平衡,呈现自然和自由的“观看”律动,编织出更为丰沛的生命现象图。


 观其生 


黄丹不吝为观者展现出绘画的过程。底稿的线与蔓延开的水渍使远看来构图严谨的画面在近看时展现出更多不受画家控制的层次。重叠的一系列痕迹提示着绘画的身体性和画家在这张纸中凝结的无数时间。黄丹随身带着的绘画簿中,也有铅笔勾勒的许多形象的尝试,当翻动这些薄页时,诸多形象合而为“一”。画面被放置于感知的过程之中时,具备了被言说和聆听的含义。当凝视黄丹的马一段时间,再看黄丹的山时,也会感到一种重叠的印象。此时画面如同被多重丝线织就的流动的布料,成为了流动着语言信息的现象文本。破解它的机制在于感官——身体的行动辅助我们提取多重的感知,观看是一种学习;观看自然亦即向自然学习。

 

自然对于黄丹来说意味着生命力。在黄丹早期的绘画中,曾表现过南方城市漫延的大水,砖石色的水面似乎暗示着不可撼动的自然力。画家想要从自己的所见中提取出一个永恒的自然力量。在黄丹近年的作品中,马、猴、潭、石等自然物借由矿物颜料的不透明性呈现出了一种厚重的实体感。大面积的墨色、朱砂攻击着视觉。看向画外远方的马溶解成模糊的山的印记;具有丝织物质感的独立岩石与几何体川涧似乎成为了天空的一部分。如果长时间地观看,绘画文本所传达的不再是具象的意义而是感官知觉,是艺术家窥向自然的独特视角与心境的外化过程。

 

在黄丹新作中,画家从材料的语言中提取出了感觉与情绪的更多可能性。坚硬的石块被三绿色揉散开,半透明的朱砂边缘气泡般轻盈,给观者甜美的味觉补偿;浸润墨的纸类似丝绒的感觉、纸张留白部分的清洁感以及金箔的冷峻金属感被并置,交替唤起多种心理感受。


相对于黄丹更为人所熟知的用“以纸为墨”的手法绘制的通透巨幅松的形象,新作中孔雀蓝、朱砂绘制的盘踞交错的纹路明确地揭示了纸上运动的身体,及身体运动所具备的动态痕迹,使艺术家双向表达的绘画语言具备了智性层面的表演性意味。画面中那些重复的、弯曲的笔触,以及由这些笔触辐散开来的色彩内容相互叠加,吸引观者在错综的痕迹中寻找这片纸上前后发生了什么。画家运笔的痕迹作为身体认知,将自身融入到了意义的传达。图像此时开始接近人的身体,引导观者进行出乎意料的物质互动。静止的二维画面中,记录和发散出一种动态、模糊的情绪。画面此时此刻与观者构建起一系列互动和效能——浅淡的朱砂在孔雀蓝的色块中崩裂开,如同石块生痕,又如同波纹入海。由此黄丹过去的绘画中更为微妙和难以察觉的现象痕迹也显露在了观者眼前。


 文/姜山 黄丹蕾,译/潘韵菁



N3 Contemporary Art is pleased to present Beholding, a solo exhibition by Huang Dan opening on 19th September 2020. Echoing the artist’s 2019 show, Raw, which presented an observation of and empathy for powerless yet vital individual beings, Beholding further explores the very vigor of impotent lives. In her recent work, Huang Dan continues to experiment with the language of ink wash and develops multiple textures and emotions on paper. She discards any representation of objects—the horses, the rocks and the pine trees—and renders them into a language that balances shapes, lines and colors. Huang Dan’s paintings thus construct a natural and liberated rhythm which the viewer can sense regardless of their perspective. It is through this rhythm that the artist presents her experience of the vitality of life.
 
Beholding
 
Huang Dan never conceals the painting process in her work. If you look closely, you will find faint sketches and diverging water stains around a seemingly well-composited subject. The traces record the artist’s body movements on the paper and the time she spent on the painting. In the sketchbook that Huang Dan carries around with her, there are plenty of similar drawings. When you turn the pages, they seem to form together one singular image: the image of horses often overlapping with that of mountains. Viewing Huang Dan’s paintings is like solving a series of puzzles—all of which lead to the same answer. The key to that answer lies in transcending our senses. Bodily actions will help us to see, to feel and to sense and thus to behold.

To Huang Dan, nature means the raw, the wild and the vital. In her earlier paintings, she explicitly captures their resistible power of nature. The floods in southern China in the color vermilion was one of her frequent subjects. In later years, however, the opacity of mineral colors give the subjects in her painting (the horses, the monkeys, the lakes, the rocks and the mountains) a sense of volume and heaviness. Vast acres of ink and cinnabar create an aggressive visual effect. Huang Dan’s paintings repel any representational meanings and become a portal whereby the artist beholds nature.

In her recent work, Huang Dan continues her experiments with the language of ink wash and develops multiple textures and projects more emotions on paper. In Passage, for an example, the solidity of the greenish rock is in great harmony with the fluffiness ofits cinnabar edge; in Disorder, the velvet-like texture of the ink black horse contrasts smoothly with the cleanliness of the white paper and the metalicness of the gold leaves.

For the first time, Huang Dan introduces entangled lines of peacock blue and cinnabar into her paintings. The lines capture the artist’s moving body and reveal traces of her actions. It seems that the artist’s painting process becomes a performance briefly recorded on paper. When viewing the traces, you can visualize and mimic the artist’s action in your mind— you can experience something unfamiliar and enter a dimension where the senses can be transcended.

by Jiang Shan, Huang Danlei 
Translated by Tobey Pan


About the Artist
关于艺术家

黄丹个展《观其生》 展览 中国 北京市三遠当代艺术 三远当代艺术中心  黄丹  崇真艺客
黄丹
Huang Dan

黄丹,1979年生于中国广西。2001年取得中央美术学院学士学位,2004年取得中央美术学院硕士学位,现工作、生活于北京。

黄丹以水墨作为媒介,却超越了水墨的文化范式。“不破不立”的勇气与力量一直贯穿于黄丹的艺术实践中,她抽掉脚下传统的基石,只留下表达的必需品。在本能的驱使下,她从未停止对精神性的追求。黄丹反复实验着不同的话语元素,试图回避并跨过具象。她用想象力的巨大能量对抗日常惯性,用最静默的方式呈现最深沉暴动的生命情绪。黄丹擅于使用大尺幅宣纸,在避免过分细致描绘的同时,以概括性的轮廓、饱和的传统矿物色彩让自然万物属灵的瞬间得以显现。她以抽象为标杆,果敢抛弃描摹物象,弃绝了客观具象在绘画中的主导位置;借助至简材料与手法达到观念上抽象的表达。黄丹将作品的现代性诉诸于极简形式。她通过体察自然万物,不断创造新的画境,把心中悖谬可怖的悲剧印记转化为对“生”的礼赞。

2006年,黄丹的首次个展于首尔呈现并出版个人画集《黄丹》。此后,黄丹于北京、上海、香港等多地举办个展,并参加了北京炎黄艺术馆、今日美术馆、北京民生现代美术馆、江苏省美术馆、上海美术馆、香港海事博物馆、中国文化中心(东京),毕尔巴鄂古根海姆美术馆等机构举办的群展,如“七十年代水墨新锐展”“中国新水墨展——视觉中国亚洲行”“新水活墨”“世界剧场”等。

Huang Dan was born in Guangxi, China, in 1979. She later moved to Beijing to study at the Central Academy of Fine Arts(CAFA) and earned a BFA from the School of Chinese Painting in 2001. In 2004, she was awarded an MFA from the same institution. She now lives and works in Beijing.

Huang Dan is a painter who is best known for her contemporary use of ink wash. She refuses to be framed by the cultural paradigm of traditional Chinese painting and her art rebels against historical and cultural contexts. The painter believes that one cannot establish the new without deconstructing the old. She projects her imagination onto paper to break from any certain settled conclusions implied by the so-called language of Chinese painting.
 
The contemporaneity of Huang Dan’s art is manifested in two aspects: the abstract form as well as the sense of spirituality in her paintings. The former is not only achieved by discarding any representation of objects—the horses, the rocks and the pine trees– but also by avoiding fine lines and concentrating on abstracted form and mass saturated in vibrant natural mineral colors.
 
“Spirituality” is one of Huang Dan’s ongoing pursues. Huang Dan is alert to her surroundings and she can easily empathize with the delicacy and powerlessness of individual lives. The painteris thus often overwhelmed by her intense emotions and feelings. However, she transfers those emotions onto the paper in a way that conveys a sense of tranquility. It is by depicting the tragic with the tranquil that Huang Dan celebrates the vitality of feeble lives.

Marking her official debut into the art world, her first solo exhibition was held in South Korea in 2006; her first catalogue, Huang Dan, was also published in the same year. Since then, Huang has exhibited in many major cities in Asia, including Tokyo, Beijing, Shanghai, Hong Kong, and Taipei. Her works were included in group shows of Chinese painting in art museums and institutions in Asia and Europe, including Today Art Museum, Beijing; Beijing Min Sheng Contemporary Art Museum, Beijing; Shanghai Art Museum, Shanghai; Jie Mo Art Center, Nanjing; Hong Kong Maritime Museum, Hong Kong; CHINA Cultural Centre,Tokyo, Japan; Museo Guggenheim Bilbao, Spain.

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