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Heidi Voet 海蒂·欧芙特 Yanyan Huang 黄彦彦 | 参加上升·新所群展《持续新生》

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Heidi Voet 海蒂·欧芙特

Yanyan Huang 黄彦彦

持续新生 Continuous Regeneration

@上升·新所 COLUMBIA CIRCLE

展期/Duration：2019.11.24-2020.2.16

地点/Venue：上生·新所乡村俱乐部（上海市长宁区延安西路1262号）Shangsheng Xinsuo Country Club (1262Yananxi Road, Changning District, Shanghai)

开放时间/Daily Schedule：11:00-18:00（周二至周四，周一闭馆），10:00-21:00（周五至周日）

11:00-18:00(Tue.-Thurs., closed on Monday),10:00-21:00 (Fri.-Sun.)

策展人/Curator：李叶萌 Yemeng Li

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BANK非常荣幸宣布艺术家黄彦彦和海蒂·芙欧特参与了《持续新生》环保可持续跨界艺术展持续至2020年2月16日。本展览汇聚来自全球16个国家的40多位艺术家、设计师与创意人，以绘画、装置、影像、跨界设计等不同形式的艺术语言，针对艺术与环境的可持续发展、物质生活、新能源和未来生态等话题进行一次诗意的呈现，共同探讨人类与自然共存关系的现状与寻求突破。

“持续新生”代表了两种动态势能的正向叠加。“持续”是一种无间隔、无限延续的状态，连接历史、现在和未来，“新生”则是“引而发”的突变，从零到一，从一又到无穷尽。在未来的轴线上发现不可知的潜能和机遇，好比生命体的自我调整、企业的系统更新。并非一个传统意义上的艺术展，“持续新生”是一个跨领域的平台：艺术持续抛出问题，设计持续解决问题，把聚焦于“可持续”主题的六十余件作品聚合在一起，囊括了从理念到现实的丰富表达。

BANK is proud to announce that artists Yanyan Huang and Heidi Voet are participating in "Continuous Regeneration", an art exhibition across industries with the theme on sustainable environment on view till February 16, 2020. The exhibition brings together more than 40 artists, designers and creatives from 16 countries, using paintings, installations, videos, multidisciplinary design and other forms of artistic language to address the sustainable development of art and the environment, material life, as well as topics such as energy and futureecology. Presenting these in a poetic form, the exhibition opens a discussionon the status quo of human-nature coexistence and seeks breakthroughs.

海蒂·芙欧特 Heidi Voet

展览现场 @上升·新所《持续新生》

Installation view@'Continuous Regeneration', Columbia Circle

海蒂·芙欧特作品 Heidi Voet Works, 2015

塑料袋，木，金属线 Plastic bags, wood, paint, metal wire

- 向右滑动👀更多作品 - Swipe right to see more works

“塑料袋作为一种容器，装载的内容可以千变万化。” 海蒂·芙欧特的装置作品由塑料袋编制而成，看似部落面具。塑料袋如同皮肤般包裹其中的物品，将它们转移到不同地点；面具则赋予佩戴者新的身份，让他们得以展示超越社会成见的行为。传统部落面具经常被用于标志状态更替的仪式，如成人礼和葬礼，同欧洲不光彩的殖民历史也有着无法避免的联系。

芙欧特反复在作品中使用塑料袋进行演绎，这种对创作材料独特的选择在她之前的作品中也是一以贯之的。芙欧特通过玩耍般的创作赋予日常被人们忽视的物品以价值和意义，比如廉价电子手表组成的地毯和中国杂志内页折成的花朵。

“The plastic bag is a vessel for an ever-changing content”. Heidi Voet's participating works look like tribal masks, made from weaved plastic bags. While the bag acts as a skin around the contents inside and transport items from one place to the next, masks also disguise the wearer’s identity, enabling them to exhibit behaviors outside social conventions. Tribal masks are traditionally used in rites of passage from one state to the another- boyhood to man, life to death- and inevitably refer to Europe’s infamous colonial legacy.

Voet repeatedly positions the plastic bag as a shifting actor in her work. The whimsical quality of the plastic bags is seen throughout Heidi Voet’s earlier work. Voet imbues common, overlooked objects value and meaning - such as cheap digital watches transformed into acarpet, or Chinese magazines folded into floral arrangements- through the simple act of making and playing.

展览现场@海蒂·芙欧特《五百年》

Installation view@Heidi Voet'500 years'

🔗Review - Opening of 500 Years-Heidi Voet / 500年-海蒂·芙欧特开幕现场回顾

关于艺术家 / About the artist

海蒂·芙欧特1972年出生于布鲁塞尔，现生活和工作于台北和布鲁塞尔两地。她的创作以寻常物件与日常生活的重新编译结合，作品常有著无常与变化的寓意存在，不断地在精神上将历史性与平凡的个体相融合，围绕著关于时间、民族、历史、人类的思考与想像。此外芙欧特特别喜爱以歌词作为严肃作品的命名，她认为这反映著我们所处的世界拥有理性与非理性的双重面向。她的作品曾在布鲁塞尔Wiels当代艺术中心、根特S.M.A.K.美术馆、上海双年展，杭州三年展、维尔纽斯当代艺术中心等多地展出。

Born in Brussels in 1972, Heidi Voet currently lives and works in Taipei and Brussels. Her multidisciplinary practice offers a critical approach on cultural conventionsand belief systems, and the ubiquitous experience of time. Her works are infused with humour that plays between material properties of everyday objectsand the connotations they carry.

Her work has been exhibited in Wiels Contemporary Art Center, Brussels, S.M.A.K., Ghent,The Shanghai Biennale, The Hangzhou Triennial, The Contemporary Art Center Vilnius, among numerous other venues.

黄彦彦 Yanyan Huang

展览现场 @上升·新所《持续新生》

Installation view@'Continuous Regeneration', Columbia Circle

黄彦彦 Yanyan Huang, 云诗歌 8 Cloud Poetry VIII，2018

布面墨水，水彩，丙烯

Ink, gouache and acrylic on canvas

152 x 183 x 5 cm

黄彦彦 Yanyan Huang,云墨 I Cloud Ink I，2018

墙纸 Wallpaper,尺寸可变 Dimension variable, 版本 II EDITION 2

黄彦彦的绘画实践，以生动、旋转的图案和独特的浪漫色彩为特征，体现了一种复杂的无忧无虑的个人表达方式。受到抒情抽象的传统影响，以及西方的 Hans Hartung 和东方的赵无极，彦彦的手势和动作汇集在她的画布上，将画家的选择带回到当代的探索中; 她自发的笔触，有时看起来像涂鸦或书法，是与时间平行的标记，不断构建一个丰富的，甚至是不朽的真实个体。

黄彦彦的画作非常大，但却饱含亲密感。没有与隐喻传说相关的压倒性叙述。相反，它们代表了一种更纯粹的绘画现象。它们类似于集体人类视觉体验的历史和模式，潜意识地等待延伸，深化和发展，艺术家的每一笔画和颜色组合都是这种演变的关键。即使作品体现了历史，黄彦彦也有一种现代而永恒的方式来消除内容与形式之间的永恒分裂，结果是一个没有统一中心的统一对象。有时，一组形式出现在我们眼前，我们只能允许难以捕捉的形式出现和消失。这位年轻艺术家对巴洛克音乐，现代舞蹈和歌剧的理解融合，这些艺术形式的表演性质和表现力都在她的绘画中得以体现。事实上，绘画的存在允许其他艺术形式的可能性，反之亦然。（文字/富源）

BANK 展览现场@弗里兹纽约艺博会，2019

BANK booth at Frieze New York, 2019

黄彦彦 Yanyan Huang，云墨 I Cloud Ink I

墙纸 Wallpaper,尺寸可变 Dimension variable,版本 II,EDITION II

🔗BANK 参加 Frieze New York Art Fair 2019

Huang Yanyan’s painting practice, characterized by vital, spinning patterns and uniquely romantic colors, reflects a complex carefree mode of personal expression. Deeply influenced by the tradition of Lyrical Abstraction, and the work of Hans Hartung in the West and Zao Wou-ki in the East, Huang’s gestures and movements come together on her canvases, bringing painter’s options back into contemporary explorations; her spontaneous brush strokes, which at times look like scribbles or calligraphy, are marks that run parallel with time, constantly constructing a rich, and even immortal, personal reality.

Huang’s paintings are very large but not without intimacy. There are no overwhelming narratives related to metaphorical legends; instead, they represent a purer painting phenomenon. They resemble the histories and patterns of collective human visual experience, which subconsciously wait to be extended, deepened, and developed, and the artist’s every brush stroke and color combination is a juncture in this evolution. Even as the works embody history, Huang has a contemporary yet timeless way of removing the eternal division between content and form, and the result is a unifying object without a unified center. Sometimes, a group of forms appear before our eyes, and we can only permit the forms, which are difficult to capture, to appear and disappear. This young artist’s familiarity and integration of Baroque music, modern dance and opera, and the performative and expressive qualities of these art forms are reinforced in her painting. In fact, the existence of painting allows for the possibility of other artistic forms, and vice versa.（Text/Fuca Yuan)

关于艺术家 / About the artist

黄彦彦(生于1988四川)，工作居住于北京、纽约、和加州。她的作品汲取多种文化和地点的影响，绘制出了一系列复杂的地理、身份和情感。她的近期个展包括 “黄彦彦” (BANK 画廊，上海，2018），“舞会” (Jelato Love 画廊,西班牙，2018), “游戏的终结”（鸿坤美术馆，北京，2018）,“化烟云” (Salt Projects 画廊，北京，2016)。她的作品被华美银行收藏，也被张恩利、Nominic Ng、Susan、Michael Hort、应青蓝、黄勖夫及其他私人收藏家收藏。

Yanyan Huang (b. 1988, Sichuan, China; lives and works between New York, Los Angeles, and Beijing) Deriving influence from a range of classical and ancient cultures, her work maps out an elaborate mythology of geographies, identities, and interdependent relationships.

Recent shows include "黃彥彥/YANYAN HUANG" at Bank (Shanghai), “El Baile” at Jelato Love (Palma de Mallorca, Spain), “Final del Juego”at Hongkun Museum of Fine Arts (Beijing), Cloud Tempo at Salt Projects (Beijing). Huang’s artworks are in the East West Bank and in the private collections of Zhang Enli, Dominic Ng, Susan and Michael Hort, Kylie Ying, and Michael Xufu Huang and many others. She has been nominated for Forbes 30 under 30.

- 正在展出/ Current Show-