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艺术粮仓 | 黄佳 Huang Jia

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艺术粮仓 | 黄佳 Huang Jia 黄佳艺术粮仓 Jia 小时候父亲绘画大学作品世界崇真艺客

黄佳辩证了黄佳

黄佳很小时候受父亲影响开始学习绘画。从1985年大学毕业开始，在这10年间黄佳用作品构建自我的世界，很大的原因是因为在现实生活和爱情生活中郁郁寡欢。她研究弗朗西斯·培根、保罗·德尔沃、弗洛伊德等大师作品，在创作中去寻找内心焦虑的根源，逐渐打开了那个遮蔽的自己。

Works on acrylic paper 100x80cm. 2018

在这一阶段她关注的只是自我，呈现了一种完全属于个人内心表达的感受和领域。从最早的《台球桌》到她的《女人与皮鞋》《女人与烟灰缸》系列，然后《等待发型》以及《抽烟的女子》系列似乎只专心致志地刻画一个年轻光头女人，在一个静态固化的不断生成的封闭空间里，忧郁的眼神看着观画者，将画面多余的杂物清除、除净，为女人轮廓清一块思想空间。她几乎捕获了世相尽有的乖张表情与姿态，以她（他）们的荒诞与戏谑反讽与模拟，释放与耗散甚或消费内心无法驾驭的压抑与平静。此时自我变成了非我，或者说是诞生了一个更为广阔世界的自我。

从2004年开始，黄佳试图改变自己，她开始关注于身边细小的事物，一个小小图钉、回形针、挂着的小毛刷、冰箱上浮着的小水滴、那些排列有序的凹凸点，虚虚幻幻的小玩偶，究竟是幻觉还是真实？之后的《疑点系列》,黄佳采用最简单的凹凸点进行有序的排列组合，使观众在面对作品时首先就产生一种对于画面的怀疑心理，进而引申对周围的客观世界产生更多的疑问。黄佳的清醒来源于对个人艺术实践剥洋葱式的反思，她在深刻地思考存在与时间的关系，重新评估它们的价值。艺术不是于现在中死去就是在过去重生，黄佳毕竟是黄佳，她要越过她，越过那个有可能平庸化了的青春热忱，焦虑转译的浮躁喧嚣走向的空洞。她开始关注支撑这个世界存在的卑微之物和它们的细节，回到了日常器物材料之上寻找人的反光，寻找人的现实、寻找那个我在。

艺术粮仓 | 黄佳 Huang Jia 黄佳艺术粮仓 Jia 小时候父亲绘画大学作品世界崇真艺客

Works on acrylic paper 40x40cm. 2021

艺术粮仓 | 黄佳 Huang Jia 黄佳艺术粮仓 Jia 小时候父亲绘画大学作品世界崇真艺客

Works on acrylic paper 40x40cm. 2021

艺术粮仓 | 黄佳 Huang Jia 黄佳艺术粮仓 Jia 小时候父亲绘画大学作品世界崇真艺客

Works on acrylic paper 80x80cm. 2021

黄佳在这一过渡中，以逐渐虚化的物象否定现实的真实，削减着具象过于现实的表象。从形而下到形而上，黄佳的转身验证了时间作为一种可视可觉可触的肌理维度，在纯粹图像里凸起凹回的存在。这是黄佳反复使用色彩生成的平面图像否定平面的维度，这是时间的厚度存在的深度，这是色彩被赋予了一种哲学意义的具体呈现，而不仅仅是几何学附加的余在。这一系列的作品将黄佳推到了另一个极端甚至极致，与那些身体的肉体具象表达形成了两极的反差与对立，却又你中有我我中有你地统一在她一个人身上。黄佳辩证了黄佳，完成或正在完成她的跃升。

黄佳在创作中不断往前推进，如她所说：“随着时间的推移，我开始有意地将心理意识的问题屏蔽掉，从繁琐的生活抽离出来，每天重复的在同一块色域上不断涂抹中找到自我拯救的力量。因此将造型语言精炼化、纯粹化，减少到最小的基本的线和面，将困惑运用笔触的韵律不断重复在触摸画布的细枝末节中，在不知不觉中隐现出细微之间的色润变化，将作品本身的形式注入了富有特色的暗示性意义，也是我对情感状态和在感受到时间痕迹和色与色之间和空间层次的体验。观者在看的过程中分不清绘画与现实的瞬间感觉，这种亦真亦幻的变化带有神秘色彩，人们用看及想象延续创造，成为作品的一部分。事实上，形式本身并不太重要，它会成为整个作品的语法。我希望在单色，极简，几何，冷静的外表下，作品仍能传递和渗透出温暖，人性和柔和。”

艺术粮仓 | 黄佳 Huang Jia 黄佳艺术粮仓 Jia 小时候父亲绘画大学作品世界崇真艺客

Works on acrylic paper 150x150cm. 2018

艺术粮仓 | 黄佳 Huang Jia 黄佳艺术粮仓 Jia 小时候父亲绘画大学作品世界崇真艺客

Works on acrylic paper 150x150cm. 2018

艺术粮仓 | 黄佳 Huang Jia 黄佳艺术粮仓 Jia 小时候父亲绘画大学作品世界崇真艺客

Works on acrylic paper 150x150cm. 2018

Huang Jia argued Huang Jia

Huang Jia was influenced by his father when he was very young and started to learn painting. Starting from her graduation from university in 1985, during this 10-year period Huang Jia used her works to build her world of self, largely because she was depressed in her real life and love life. She studied the works of masters such as Francis Bacon, Paul Delvaux and Freud, and went in search of the root of her inner anxiety in her creations, gradually opening up that obscured self.

At this stage she focuses only on the self, presenting a feeling and a field that belongs entirely to her personal inner expression. From the earliest "Billiard Table" to her "Woman and Leather Shoes" and "Woman and Ashtray" series, then "Waiting for Haircut" and "Woman Smoking" series seem to concentrate only on portraying a young bald woman in a static solidified constantly generated closed space with melancholy eyes looking at the viewer, removing and purging the excess clutter from the picture and clearing a space of thought for the woman's outline. She almost captures all the perverse expressions and gestures of the world, ironizing and simulating with her (or his) absurdity and playfulness, releasing and dissipating or even consuming the unmanageable repression and peace inside. At this point, the self becomes the non-self, or rather, the self of a broader world is born.

From 2004 onwards, Huang Jia tried to change herself, she began to focus on the small things around her, a small peg, paperclip, a small brush hanging, a small drop of water floating on the refrigerator, those orderly bumpy dots, the illusory small doll, is it an illusion or real? In the subsequent "Doubt Series", Huang Jia uses the simplest bumpy dots in an orderly arrangement to make the viewers doubt the images first, which leads to more questions about the objective world around them. Huang Jia's sobriety comes from the onion-peeling reflection on her personal art practice, she is deeply thinking about the relationship between existence and time, and reassessing their value. Art either dies in the present or is reborn in the past. Huang Jia, after all, is Huang Jia, and she wants to go beyond her, past the youthful enthusiasm that may have been banalized, and past the impetuous and noisy hollowness that anxiety translates into. She starts to pay attention to the humble things that support the existence of this world and their details, and returns to the reflection of human beings above the material of daily objects, to the reality of human beings, to the I am.

艺术粮仓 | 黄佳 Huang Jia 黄佳艺术粮仓 Jia 小时候父亲绘画大学作品世界崇真艺客

Works on acrylic paper 80x60cm. 2021

艺术粮仓 | 黄佳 Huang Jia 黄佳艺术粮仓 Jia 小时候父亲绘画大学作品世界崇真艺客

Works on acrylic paper 80x60cm. 2021

In this transition, Huang Jia denies the reality of reality with gradually deflated objects, cutting down the appearance of figurative over-reality. From the metaphysical to the metaphysical, Huang Jia's turn verifies the existence of time as a visible, perceptible and palpable dimension of texture, which is raised and recessed in pure images. This is the dimension of the denial of flatness in the flat images generated by Huang Jia's repeated use of color, this is the depth of the existence of the thickness of time, this is the concrete presentation of color given a philosophical meaning, not just a geometrically attached residue. This series of works pushes Huang Jia to the other extreme or even the extreme, forming a bipolar contrast and opposition with those physical figurative expressions of the body, yet you and I are united in her alone. Huang Jia justifies Huang Jia, completing or in the process of completing her leap.

Huang Jia keeps pushing forward in her creation, as she says: "Over time, I began to intentionally block out the problems of my psychological consciousness, to withdraw from the tedium of life, and to find the power of self-help in the daily repetition of constant painting on the same color field. Thus refining and purifying the language of shape, reducing it to the smallest basic lines and surfaces, repeating the rhythm of confused use of brush strokes over and over again in the minutiae of touching the canvas, unconsciously concealing the changes in color and rhythm between the subtleties, infusing the form of the work itself with a characteristic suggestive meaning, as well as my experience of emotional states and in feeling the traces of time and the layers between color and color and space. The viewer cannot distinguish the instantaneous feeling of painting and reality in the process of looking, and this change of reality and illusion has a mysterious color, which people continue to create by looking and imagining, and becomes part of the work. In fact, the form itself is not so important, it becomes the grammar of the whole work. I hope that under the monochromatic, minimalist, geometric and calm appearance, the work can still convey and permeate warmth, humanity and softness."

黄佳简历

黄佳生于湖南长沙，现工作和生活在深圳和柏林。1985年湖南师范大学油画系毕业开始艺术创作至今，参加92 年广州双年展获得提名奖，作品被各大艺术机构美术馆和画廊及藏家收藏。《亚洲周刊》《新视觉》《江苏画刊》《当代艺术》《国家美术》《中国90年代艺术史》等专题报道，2015年成立du/lab 空间和担任制造文化艺术空间艺术总监和策划多个当代艺术展览，偏锋新艺术空间和艺廊国际代理和多过画廊合作艺术家。

个展

疑点北京站台中国画廊

错位空间深圳木雅文化画廊

亲爱的Long 长沙月湖时画廊

《20180707》黄佳个展艺琅国际北京画廊

黄佳个展《空洞地型》德国柏林CoGallieries

部分群展

2022

恢复的真相. 北京艺术粮仓

“罂粟与回忆” 候鸟空间、柏林

POINTSOFRESISTANCEIV-Skillsfor Peace Zionskirchplatz 柏林

《富山国际当代艺术展览》日本富山美术馆

2021

Berlin Art Fair. 柏林

艺术北京. 北京农展馆

DNA Shenzhen. 深圳会展中心

2021艺术深圳. 深圳会展中心

《时间的诗 Poem of Time》深圳宏艺术空间

抽象进行时. 深圳海涵艺术空间

“存在” 国际女性艺术邀请展- 威海半岛美术馆

《未来当代艺术收藏展》深圳王艺术空间

《身份的维度》国际女性艺术邀请展湘潭步步高艺术空间

虽有非实/绘画中的空间与空间中的绘画北京未知艺术空间

抽样片段·汇美艺术馆开馆邀请展. 郑州汇美艺术馆

中国抽象艺术（泰州）大展泰州

空间再造-深圳第二届抽象艺术展. 深圳

“入湘”-湘籍艺术名家邀请展. 长沙丽可画廊

大有之年公益展览北京大有艺术

“时光的韵脚·序章”展览简报. 上海w&S Art Space

Biography of Huang Jia

Huang Jia was born in Changsha, Hunan Province, and now lives and works in Shenzhen and Berlin. 1985, he graduated from the oil painting department of Hunan Normal University and started to create art since then. He has been featured in Asia Weekly, New Vision, Jiangsu Painting Journal, Contemporary Art, National Art, China's Art History of the 1990s, etc. In 2015, he established du/lab space and served as the artistic director of Manufacturing Culture Art Space and curated several contemporary art exhibitions, and has been the agent of and collaborated with many galleries.

Solo Exhibitions

Doubt Beijing Platform China Gallery

Dislocation Space Muya Culture Gallery, Shenzhen

Dear Long Changsha Yuehu Shi Gallery

Huang Jia Solo Exhibition "20180707" Yilang International Beijing Gallery

Huang Jia Solo Exhibition "Hollow Earth" CoGallieries, Berlin, Germany

Selected Group Exhibitions

2022

The Truth About Recovery. Beijing Art Granary

"Poppies and Memories" Migratory Bird Space, Berlin

POINTSOFRESISTANCEIV-Skillsfor Peace Zionskirchplatz Berlin

Toyama International Contemporary Art Exhibition" Toyama Museum of Art, Japan

2021

Berlin Art Fair. Berlin

Art Beijing.Beijing Agricultural Exhibition Center

DNA Shenzhen. Shenzhen Convention and Exhibition Center

2021 Art Shenzhen.Shenzhen Convention and Exhibition Center

Poem of Time" Shenzhen Hong Art Space

Abstraction in progress.Shenzhen Haihan Art Space

"Existence" International Women's Art Invitation Exhibition - Weihai Peninsula Art Museum

Future Contemporary Art Collection" Wang Art Space, Shenzhen

The Dimension of Identity" International Women's Art Invitational Exhibition Xiangtan BBG Art Space

Although there is not real/space in painting and painting in space - Unknown Art Space, Beijing

Abstract Fragment - Opening Invitation Exhibition of Huimei Art Gallery.Zhengzhou Huimei Art Gallery

China Abstract Art (Taizhou) Exhibition Taizhou

Space Recreation-Shenzhen 2nd Abstract Art Exhibition.Shenzhen

"Into Hunan" - Hunan Art Masters Invitation Exhibition.Changsha Liko Gallery

The Year of Dare Art Public Exhibition Beijing Dare Art

"Rhyme of Time - Prologue" Exhibition Briefing.Shanghai w&S Art Space

艺术粮仓 | 黄佳 Huang Jia 黄佳艺术粮仓 Jia 小时候父亲绘画大学作品世界崇真艺客

【恢复的真相：规则、感官与无限性】

【The Reality of Recovery ：sensation, regularity and infinity】

策展：张涛

学术主持：徐薇

Curator: Zhang Tao

Academic Chair: Xu Wei

展览时间 | Exhibition time

3.20-4.20

开幕时间 | Opening time

3.20 3:00pm Sun.

Address | 展览地址

北京市朝阳区草场地100号艺术粮仓

Art Granary, No.100 Caochangdi, Chaoyang District, Beijing

出品：弘真国际文化发展有限公司

Produced by: Hongzhen International Culture Development Co.

参展艺术家 / Artists

朱一虹 Zhu Yihong

马路 Ma Lu

郁涛 Yu Tao

黄佳 Huang Jia

田卫 Tian Wei

陶艾民 Tao Aimin

武一 Wu Yi

于羊 Yu Yang

姚邦亮 Yao Bangliang

李皓 Li Hao

杨淞 Yang Song

尹思文 Yin Siwen

刘诗阳 Liu Shiyang

海生 Haisheng

张建龙 Zhang Jianlong

王成普 Wang Chengpu

于洋 Yu Yang

艺术粮仓 Art Granary

艺术粮仓一直致力于将中国文化艺术—水墨艺术融入当代语境，以严谨的学术态度，联合策展人、评论家共同策划呈现中国当代水墨系列展览及大量学术研讨活动。作为国内前沿的艺术机构，艺术粮仓通过与艺术家的深度合作，系统的呈现了中国当代水墨的当代性、国际性、未来性，力求让世界更好地认识到中国当代艺术的东方气质和艺术价值。同时在多年的艺术运营推广和资源方面积累了丰富的经验，参与策划并执行了诸多公共艺术项目，打磨了一个较为成熟的艺术项目团队。欢迎国际艺术家和艺术机构到中国来展览，与艺术粮仓展开深度密切的合作，期待您的复函！

Art Granary has been committed to integrating Chinese culture and art-ink art into the contemporary context. With a rigorous academic attitude, Art Granary jointly plans and presents a series of exhibitions and numerous academic seminars on Chinese contemporary ink and wash with curators and critics. As a cutting-edge art institution in China, Art Granary systematically presents the contemporary, international and future nature of Chinese contemporary ink and wash through in-depth cooperation with artists, striving to let the world better recognize the oriental temperament and artistic value of Chinese contemporary art. At the same time, we have accumulated rich experience in art operation promotion and resources for many years, participated in planning and executing many public art projects, and polished a more mature art project team. We welcome international artists and art institutions to come to China to exhibit and start a deep and close cooperation with Art Granary, and look forward to your reply!