黄海欣｜台湾出版物《没有未来》和 《现在过去式》

胶囊上海荣幸地推出黄海欣的出版物《没有未来》。台湾艺术家黄海欣现居纽约，擅长速写描绘人物与时事动态。《没有未来》收录近两年的素描画作，描绘纽约MET大都会美术馆众生相，观察敏锐入微，用笔收放自如，为每个平凡人物注入非凡的生命力，交织成世界大观园的图景。

Capsule Shanghai is pleased to present the publication of There Is No Future - a collection of recent drawings by Taiwanese artist Hai-Hsin Huang, now based in New York. The book vividly depicts the crowds of curious visitors of the Metropolitan Museum in New York. With Huang's sharpened observation and accurate expression, every stroke of pen breathes life into the personages, giving the MET its true sense of the metropole.

There Is No Future is published by nos: books (Taipei, Taiwan, 2016)

36 pages, 25 cm × 33.5 cm 
Offset printing; silk-screen book cloth cover
Perfect binding
Limited 800 copies

(please click on 'Read More' at the bottom to book a copy｜欢迎点击下文‘阅读原文’订购)

www.nosbooks.com

本书与《现在过去式》同步出版，两书一大一小，忠实呈现艺术家眼中的场景片刻及人物神情。

There Is No Future is jointly published with Now Is The Past, also by Hai-Hsin Huang. The two books, big and small, loyally capture Huang's macro- and micro-scopic views of the world.

nos: books, Now is the Past (Taipei, Taiwan, 2016)

《没有未来》记录了黄海欣近期个展「美术馆展」的创作灵感与过程，该展览由456画廊与美华艺术协会在纽约联合推出。「美术馆展」尝试探索当代美术馆一些 让人扫兴的情境：吵杂的人群、漫长的 队伍、冒失的学童、俗气的商品，每张 长凳都坐满了昏昏欲睡、高谈阔论的观众。黄海欣笔下的人物既幽默又尴尬 - 睡眼 惺忪、呵欠连连也好，沉溺於社群网站也罢，每一张面容都是值得仔细玩味的人间 一态。无论是大都会美术馆的希腊罗马雕像，或是纽约当代美术馆的毕卡索画作， 每一件名作都巧妙映衬出观众的独特群体性。

There is No Future shows the development and inspiration behind Hai-Hsin Huang's recent solo exhibition held by Gallery 456 and the Chinese American Arts Council in New York City, "A Museum Show." The exhibition explored the unfortunate qualities of a popular museum that often dampen one's experience: tweeting crowds, endless queues, rowdy schoolchildren, unapologetic gift shops, benches of the bloated bored and erudite. Her humorous and bewildered characters - each face as singular and studied as a portrait - gazing with half lids, yawning or Instagramming. The Greco-Roman sculptures, Grecian vases and Picassos are pulled from the MET and MoMA, each piece possessing as much personality as their admirers.

Upper East Side #2 上东城 #2, 2014, pencil and colored pencil on paper 纸上铅笔及彩铅, 28 x 35 cm

她所描绘的情境让我们想起瓦勒里 (Paul Valéry) 在「美术馆难题」中一段评论：

我并不特别喜欢美术馆。它们大多值得赞扬，却无一令人愉快。喜悦与分类原则、文物保存、公共设施少有关联。我起步走向那些美好的事物，一时忘却自己手中枴杖，猛然看见一张禁止吸菸的公告，公权力和拘束感让热情与想像戛然而止。我走进雕塑展间，只感觉到一股冰冷的错置感…

Her mobbing of museum objects remind us of Paul Valéry's marvelous little essay of a similar tone, The Problem of Museums:

I am not overfond of museums. Many of them are admirable, none are delightful. Delight has little to do with the principles of classification, conservation, and public utility, clear and reasonable though these may be. At the first step that I take toward things of beauty, a hand relieves me of my stick, and a notice forbids me to smoke. Chilled at once by this act of authority and by the sense of constraint, I make my way into a room of sculpture where a cold confusion reigns... I am lost in a turmoil of frozen beings.

The MET # 3 大都会 # 3, 2015, oil on canvas 布面油画, 101.6 x 76.2 cm

我们可以在黄海欣的大型素描「The? Me?t #1 & #2」看见这样冰冷的错置感，人面狮 身像、罗丹雕像、三美图毫无生气地陈列在游客及导览间。

Such turmoil is well related in Huang's large-scale drawings, such as The Met (#1 and #2), where a number of sphinx, Rodins and the Three Graces exist listlessly alongside tourists in the Great Hall; of marble or Manhattan Tours, each subject is exquisitely depicted.

THE MET #2 大都会#2, 2016, pencil on paper 纸上铅笔, 152.4 x 228.6 cm

这些精心绘制的素描俏 皮地呈现纽约性格，同时也质疑制度性囤积和文物掠夺，和这些乱象背後的菁英阶 级体制。「GALA」中的贵妇们，浓妆浮抹，衣饰浮夸、手里酒杯摇摇欲坠，双眼痴迷地望 着展品。在这个艺术商品化的时代，正如同瓦勒里所警告：我们变得肤浅。

These drawings present a playful sampling of New York personalities, but also question the institutional hoarding - and occasional stealing - of objects, as well as the upper class system that supports it. Indeed, many of her characters, as in Gala, sport teetering wine glasses, formidable jewelry and heavy makeup. They stare, mesmerized or possibly drunk, at objects with hilarious intent. Just as Valéry warned, in the midst of such artistic glut, "we grow superficial."

GALA 盛宴, 2014, oil on canvas 布面油画, 162.6 x 127 cm

美术史也是黄海欣试图探索、再诠释的主题之一。大型油画作品「Th?e China Wing」 中，一群学童正在拍摄青铜花瓶，人人目瞪口呆，惊喜若狂，像是着魔般。每一个 孩子都像是中国艺术家岳敏君画中的大笑人。这是中国古典艺术与当代艺术最尖锐 的交集点：两者都被消费者的目光夷平，被一块平板玻璃 (iPad 或是美术馆藏柜) 隔离、肢解。

Art history imbues the rendering of Huang's subjects beyond the museum object as well. In the large oil painting, The China Wing, a gaggle of half mad schoolchildren photograph a display of ancient vases with atypical enthusiasm. Wild eyed with mouths gaping, each child caricatures the "laughing man" - the leitmotif of Yue Minjun (who is perhaps China's most recognized contemporary painter). This is a poignant intersection of ancient Chinese and contemporary art: both are leveled under the consumer gaze, separated and dissected by panes of glass (iPadded or museum-grade).

CHINA WING 中国之翼, 2016, oil on canvas 布面油画, 152.4 x 254 cm

「美术馆展」中，每一个困惑的Y世代、每一个着魔的学童、每一个烂醉的收藏家都深刻道出了瓦勒里的美术馆难题：一双耳朵无法同时聆听十个交响乐团。 我们的智慧型手机也无法详细记载每一笔热门馆藏。我们在黄海欣作品中看见她忠实地观察、描绘出复杂多元的人性，中产阶级的无所适从，让人莞尔，也让人伤感。

Throughout "The Museum Show," each bemused millennial, deranged schoolboy and punch drunk patron speaks to the heart of Valéry's problem with museums: "The ear could not tolerate the sound of ten orchestras at once," no more than our smart phones can document every blockbuster acquisition. Nonetheless, the honest individuality granted to each of Huang's subjects celebrates the diversity of humanity, and its embarrassment of riches, with as much humor as melancholy.

现正展出 | CURRENT EXHIBITION

《忘物志》

2016年10月15日 — 11月27日

When We Become Us

15th, October - 27th, November, 2016

胶囊上海 | Capsule Shanghai

E: info@capsuleshanghai.com 

P: +86 021 64170700 

www.capsuleshanghai.com

长按二维码关注我们

Please press the QR Code to follow us