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“日常之境”黄君辉个展

  • 展览海报
  • 《忒修斯之船》 黄君辉 600x200x150cm 2019年 装置 木梭 金属 视频
  • 《忒修斯之船 局部1》 黄君辉 600x200x150cm 2019年 装置 木梭 金属 视频
  • 《忒修斯之船 局部2》 黄君辉 600x200x150cm 2019年 装置 木梭 金属 视频
  • 《忒修斯之船 局部3》 黄君辉 600x200x150cm 2019年 装置 木梭 金属 视频
  • 《忒修斯之船 局部4》 黄君辉 600x200x150cm 2019年 装置 木梭 金属 视频
  • 《忒修斯之船现场》 黄君辉 600x200x150cm 2019年 装置 木梭 金属 视频
  • 《无花之境》 黄君辉 40x60cm 2019年 布面油画
  • 《无花之境》 黄君辉 40x610cm 2019年 布面油画
  • 《无花之境》 黄君辉 100x80cm 2019年 布面油画
  • 《无花之境》 黄君辉 210x300cm 2019年 布面油画
  • 《纸上谈兵》 黄君辉 视频4′48″雕塑 男肖像62x43x29cm,女肖像63x42x25cm 装置 纸,乳胶 120㎡(尺寸可变) 2019年 视频 雕塑 装置
  • 《纸上谈兵 局部》 黄君辉 视频4′48″雕塑 男肖像62x43x29cm,女肖像63x42x25cm 装置 纸,乳胶 120㎡(尺寸可变) 2019年 视频 雕塑 装置
  • 《纸上谈兵 局部1》 黄君辉 视频4′48″雕塑 男肖像62x43x29cm,女肖像63x42x25cm 装置 纸,乳胶 120㎡(尺寸可变) 2019年 视频 雕塑 装置
  • 《纸上谈兵 局部2》 黄君辉 视频4′48″雕塑 男肖像62x43x29cm,女肖像63x42x25cm 装置 纸,乳胶 120㎡(尺寸可变) 2019年 视频 雕塑 装置
  • 《纸上谈兵 局部3》 黄君辉 视频4′48″雕塑 男肖像62x43x29cm,女肖像63x42x25cm 装置 纸,乳胶 120㎡(尺寸可变) 2019年 视频 雕塑 装置
  • 《纸上谈兵现场》 黄君辉 视频4′48″雕塑 男肖像62x43x29cm,女肖像63x42x25cm 装置 纸,乳胶 120㎡(尺寸可变) 2019年 视频 雕塑 装置
  • 《纸上谈兵》 黄君辉
  • 展览作品 黄君辉
展览时间:
2019-12-10 - 2020-01-06
开幕时间:
2019-12-25 15:00
展览城市:
河北 - 石家庄
展览机构:
石家庄美术馆
展览地址:
石家庄市桥西区苑东街1号
主办单位:
河北经贸大学
参展人员:
黄君辉
展览备注:
支持机构:河北丽芙医疗科技有限公司、河北省美术研究所、河北当代艺术文献库
展览团队:赵敬波、张晓伟、黄跃明、李东羽、李洋、韦雪原、李磊、庞彦兵、田倚萌

展览介绍

悖论、荒诞与人性之光——论黄君辉作品

张子康

70后艺术家黄君辉的艺术轨迹清晰且有代表性。1997年毕业于河北师范大学美术系。黄君辉的教育经历,与国内很多70后艺术家相似。而黄君辉的创作经历,则很难通过这样的文字窥探半分,难以佐证。

能够反应黄君辉艺术的是他的作品与创作路径。

黄君辉的作品充满不可定义的特性,也就给了观众多重理解和解读的可能性。从另一个角度来说,他的装置艺术、架上绘画、视频等等成为黄君辉的整体艺术表达,每个观众都可能从中找到自己的解读点。认识的视角不同理解的结果也就不同,艺术创作没有绝对的正确与不正确。

黄君辉的作品在充满悖论、荒诞中充满了神秘感,充盈着人类情感的爱,同时又有批判性的艺术表达。这也是我们这个时代可能产生的,值得我们真的“观看”的艺术之一。

艺术家安尼诗.卡普尔说“我们进入一个不确定的时代,艺术在这个时代有什么作用呢?……反应人的境况,反思艺术从何而来”“物体和自身原来的状态有矛盾的关系,物体还是非物体,实体和非实体的关系(有时候是)模糊不清的,艺术家有时候的工作是让物体自己出现。”黄君辉的作品“纸上谈兵”是这种“让物体自己的演绎,让过程与互动体验来表达的”情感作品。

在黄君辉的作品“纸上谈兵”作品中,一些孩子将废旧的纸张撕碎,浸泡,然后再用碎纸浆重新塑造的过程,形成一个丰富的日常体验的情感过程,整个过程亦是作品的一部分。黄君辉的另一个身份是老师,这些随性塑造作品的孩子是一些在校学生。这个过程,黄君辉既是艺术家,又是老师,带给学生的浸淫艺术的体验方式。

从观众角度,也是从自己的方式“参与”其中:在观众观看最后的成品时,是从了解孩子们参与塑形的过程,去了解作品的内涵,这个作品也因此产生了一种生长特性,作品本身也具有了类似生命的特征,在人们的参与中不断生长,不断的丰富作品的当下意义。

装置作品《忒休斯之船》艺术家借用船给于观众超越现实的象征意义,其玄机也隐藏在充满扩张力的外观中。当一个一个船型的中空木质小梭子被一定的序列组合在更大的框架中,像我们生活的城市,他给我们带来栖息之所的同时,也给我们带来了冲突与危机,消弭掉每一个“我们”的特性,秩序化每一个“我们”,形成一个庞大的、有秩序的、美丽而危险的造物。

了解黄君辉的人可能会联想到他的个人经历,木质的梭承载了他的一些回忆,也许有一些生活中的片段闪亮在记忆之中,累积成为一艘忒休斯之船。艺术家个人个性的回忆产生更广大的“我们”的共情,从简单易辨认的庞大船型外形而开启。理想与现实,时间与记忆在这个作品中同时的传递出来。这是一种荒诞的嘲讽还是华丽的歌颂并不重要,重要的是艺术家能够给人们带来更多理解我们城市生活空间的可能性。

架上绘画作品“无花之境”乍看之下,有一种抽象表现的特征,浓烈的颜色张扬出强烈的情绪。花朵的飞逸的姿态似乎从画布喷薄而出,色块本身充满丰富性,并不单纯。这个作品带有一定的纪念特征,同时又引导着观众情不自禁去探究作品可能传递的思想内涵。这些飞扬姿态的花朵被沙布所包围,又把人们带到一个超现实的时间空间,远离了当下现实生活。艺术家情绪传递给观众后又远离了现场,一切的解读都被消解,仅仅是观众的臆想。从作者的角度,这些抽象表现作品与其本人的创作经历、思考过程艺术认知相关。或者说,从作者的成长经历,以及由之而产生的世界观、价值观中,可以找到创作这些作品的背后意义。从另一个视角黄君辉似乎又预设了另外一个有些悖论的表达:这个系列的作品真的希望观众探究其产生的源头吗?还是抽象的引导人们自由发挥?对于艺术作品来说,内容解读和观者自己体悟是事物的一体两面,充满悖论。正如这些像花又不似花的作品,解读和体悟同时相悖的存在。

雕塑作品表现的是他生活中真实人,生活中的故事给了艺术创作的灵感。艺术家仿佛通过作品产生一种诉说欲,希望能够在与人交流中给观众一种精神触碰的互动性,既是自我的表达,又寄期望对方的回应。构成两尊雕塑作品的物质是记录情感故事报纸做成的纸浆,艺术家把这些记录故事的报纸消解成自己的创作材料,表现其生活中自己认知的人物,並把二个人物並置在一起来传递自己的情感记忆,艺术家把自己的故事.隐藏起来给观众留白,让观众在观看中寻找自己与雕塑之间联系。而对于被现代工业娱乐业耳濡目染的现代青年来说,想象这两个雕塑之间的戏剧性桥段又几乎是一瞬间就会发生的故事。

当代艺术,很容易吸引观众,但很难走心。有时候观众很难分清作品究竟是矫情、不明所以的无病呻吟;还是一些不可名状的感动瞬间,现实和灵魂的冲突,那些深入人性深处的东西。更“高效”的创作方式是迎合:迎合观众,迎合某些有权利的群体,迎合某种倾向或者迎合迎合本身。作为年轻一代的艺术家,黄君辉并不囿于某种特定的形式和技法,也并不屈服于国际已经知名的艺术家流派。他不迎合,也不反叛。他不停的尝试多种风格、多种形式语言、用各种材料,在探索的过程中,他的个人经历,这个大时代所带给他的不可磨灭的印记都将忠诚的保留在这些作品中。

也许正因如此,黄君辉得以在同时代的艺术家中有着自己独特的思考和创作观念。当然我们更期望看到他未来的尝试。

张子康:中央美术学院美术馆馆长 教授 博士生导师

Paradox, Absurdity and Glorious Human Nature: On Huang Junhui's Works

by Zhang Zikang

Huang Junhui, an artist born in the 1970s, has pursued art in a clear and representative manner. He graduated from the College of Fine Arts of Hebei Normal University in 1997. Since 1999 he has been teaching in Shijiazhuang Vocational School of Fine Arts of Hebei Province. In 2007, he attended the 15th major courses for assistant postgraduate of China Central Academy of Fine Arts. Huang Junhui's educational experience is similar to that of the artists born in the 1970s. However, as for Huang Junhui's creative experience, it couldn't be perceived the slightest bit through any words and expressions, neither could it be demonstrated.

It is Huang Junhui's works and methods of artistic creation that reflect his art.

Permeated with undefined characteristics, Huang Junhui's works leave the audience the possibility of multiple understandings and interpretations. From another perspective, his installation art, easel painting, videos, etc. have constituted Huang Junhui's overall artistic expression, where each audience may come to his or her own perspective of interpretation. Different points of view result in different conclusions of comprehension. There is no absolute right or wrong for artistic creation.

In an artistic world of paradox and absurdity, Huang Junhui's works are pervaded by a sense of mystery and human emotions such as love. Meanwhile, there are critical artistic expressions. It is also one of the arts that may come into being in our time and deserve our real "appreciation".

According to the artist Anish Kapoor, we have entered an uncertain era. What role does art play in this era?…mirroring people's situation and reflecting on where art comes from. Objects develop contradictory relations with their original state. Objects are also non-objects. The relations between entities and non-entities (sometimes) are ambiguous. Artists sometimes work to make objects appear by themselves. Huang Junhui's work Story of Paper is such a kind of work which expresses emotions by activating the performance of objects and the functions of process and interactive experience.

In Huang Junhui's work Story of Paper, some children tore up the waste paper, soaked it, and then reshaped it with crushed paper pulp, forming a rich emotional process of daily experience. The whole process is also part of the work. Huang Junhui plays another role as a teacher. The children created by him in shaping his works are some students in school. In the process, Huang Junhui is both an artist and a teacher, who can bring students the experience of immersion in art.

As for the audience, they also "participated" in the process in their own manners: when watching the final product, the audience grasp the connotation of the work through understanding the children's participation in shaping process, which resulted in a growth characteristic of the work. Hence the lifelike features of the work can continuously grow based on people's participation together with current significance being constantly enriched.

In the installation work Ship of Theseus, the ship was meant a symbolic meaning beyond reality by the artist for the audience. The mystery intended by the artist is hidden in the appearance rich in expansion force. When small hollow wooden shuttles of a ship form are combined in a larger frame by a certain sequence, like the city in which we live, it brings us a huge, orderly, beautiful but dangerous creation.

People who know Huang Junhui may think of his personal experience. Wooden shuttles carry some of his memories. Perhaps some fragments of life shine in his memory and accumulate into a ship of Theseus. The recollection of the artist with his individual personality produces a broader empathy in "us", which starts with the simple and easily recognizable shape of the huge ship. The dream and reality, time and memory are transmitted simultaneously in this work. It doesn't matter whether this is absurd mockery or magnificent praise. What matters is that artists can bring more possibilities for people to understand our urban living space.

At first glance, there are features of abstract expression in the easel painting No Flower in the Flowers, with thick colors displaying strong emotions. The flower's elegant posture seems to burst out from the canvas. The color block is full of richness and not dull at all by itself. Being somehow commemorative, the work guides the audience to feel an irresistible impulse to explore the possible ideological connotation. These flying flowers are surrounded by gauze. They bring people to a surreal time and space far away from the current real life. The artist's emotion to be delivered to the audience does not really exist, but is merely the interpretations from the imagination of the audience. From the author's point of view, these works with abstract expression are related to his creation experience, thinking process and artistic cognition. In other words, the significance of the creation of these works can be traced to the author's growth experience, as well as the world outlook and values generated from it. From another perspective, Huang Junhui seems to have preset another expression with some paradoxes: Do the works of this series really want the audience to explore the source of its creation? Or is it an abstract guide for people to give full play to their free imagination? For works of art, content interpretation and the viewer's own understanding are two sides of the same thing full of paradoxes. Just like these flowery works with no flower, interpretation and understanding exist in paradox.

As artistic creations, his sculpture works are inspired by the real people and the stories in his life. The artist seems to have a desire to tell through his works, hoping to give the audience an interaction of spiritual touch in the communication with others, which is not only an expression of himself, but also an expectation of the other party's response. The material of the two sculptures is paper pulp made from newspapers recording emotional stories. The artist reorganized these newspapers recording stories into his own creative materials to show the characters he knows in his life, and juxtaposed the two characters to convey his emotional memory. The artist hid his stories and left them blank for the audience to look for the connection between themselves and the sculpture. And for the modern youth who are influenced by the modern industry and entertainment industry, it seems to be a story that will happen in an instant to imagine the dramatic bridge between the two sculptures.

It is easy for contemporary art to attract audiences, but hard for it to be touching. Sometimes it's hard for the audience to distinguish whether the works are sentimental and make a fuss for no reason or there are some indescribable touching moments, conflicts between reality and soul, and those deep in human nature. A more "efficient" way of creation is to cater: to the audience, to certain groups with rights, to certain tendencies or to cater to itself. Among a young generation of artists, Huang Junhui is not confined to a particular form and technique, nor succumbs to the internationally known artist schools. He kept trying various styles, forms of languages and materials. In the process of exploration, his personal experience and the indelible mark brought by this great era will be faithfully preserved in these works.

It is probably because of these reasons that Huang Junhui is characterized by his unique considerations and creative ideas among contemporary artists. Of course, his future attempts are much expected.


孤独前行——黄君辉的艺术之路

刘锋

这个时代纷纷扰扰,裹挟着世人滚滚向前。在这个过程中,有人随波逐流,有人站定思考,黄君辉应属后者,他是一个有着清醒思考的艺术家,并在他的艺术道路上孤独而执著的前行。

他是一个勇于坚守的艺术家。

君辉执著于他的艺术世界。他的艺术呈现和表达并不为他周边人和河北这片有着深厚文化积淀热土上的学术界所认可。观念艺术的道路并不平坦,他一路走来,坎坎坷坷。他有着扎实的写实功底,艺术之路本可一马平川,只要他改变,改变他的执著,顺从他周边的环境,一切便可风调雨顺,但是他没有,他坚守了一个艺术家应有的艺术追求,他和许多有思想的艺术家有些相像,为了自己心中的方向,执著的坚守和前行。也正如莫言在他的《生死疲劳》中所写的那样:“哪怕只有一个读者,我也要这样写。”他不管周边的环境如何,市场如何,远离浮华,在他的艺术道路上,坚持着,前行着。

他是一个用思想去创作的艺术家。

君辉的艺术作品,是真实情感的流露,也是他对现实的思考,他的可贵之处在于能够把社会的思考上升为对艺术本身的思考。创作语言、表达方式、媒介材质,只是艺术作品的外部表现,好的作品一定可以深入公众心灵,与公众进行对话的。他的作品不是简单物像的再现,是经过思考叙述出来的,通过作品你可以与他进行可静,可烈的对话和回应,无论架上绘画,还是装置、影像,多无例外。列夫·托尔斯泰说过,“艺术不是技艺,而是艺术家所体验的感情的传达。”

他是一个有社会责任和温度的艺术家。

一个优秀的艺术家不仅会有小情怀,小自我,也一定会有大思考,一定会关照时代,与这个时代对话。君辉的许多作品关注现实,批判现实,他不回避,但也不刻意,既有艺术家的感性,更有艺术家的情怀和社会责任。他的揭示与批判,不是批判而批判,是为了让更多公众看到问题,同时,与公众一起思考解决之道。法国作家乔治·桑曾说过“艺术应寻求真理,真理不是描写罪恶,它应当是善与恶的描写。仅仅看见一方面的画家,和仅仅看见另一方面的画家,同样虚伪”。也正如习近平同志所讲到的“当然,生活中并非到处都是莺歌燕舞、花团锦簇,社会上还有许多不如人意之处、还存在一些丑恶现象。对这些现象不是不要反映,而是要解决好如何反映的问题。古人云,‘乐而不淫,哀而不伤’,‘发乎情,止乎礼义’。”这实则是一个艺术创作目的和艺术家社会责任的问题,是无病呻吟,为了批判而批判,还是为了“拨云见日”。

这次“日常之境——黄君辉艺术作品展”的推出,是他近一个时期艺术思考的成果体现,通过寻常材料叙述出艺术家深入的观念思考,雕塑、装置、视频影像、架上绘画四部分作品,在空间呈现上给我们以空灵之感,有坚守,有创新;有成果,有不足;贵在实践,贵在前行!

刘锋:河北经贸大学铁扬美术馆馆长

Huang Junhui's Persistent Pursuit of Art in His Solitary Art Journey

In this era, the times are rolling forward with people hurrying after it. In this process, some people drift along and some others stop to deliberate. Of the two groups, Huang Junhui belongs to the latter. He is an artist with sober mind who pursues art persistently in a solitary way.

He is an artist who persists in his pursuit.

Junhui keeps being immersed in his artistic world. His artistic presentation and expression are not yet recognized by the people around him and the academic circles in Hebei Province, a piece of beloved land with profound cultural accumulation. The road of Conceptual Art is not smooth. On his way he has been overcoming difficulties and troubles. With a solid foundation in painting realistically, he should have had a smooth road of achieving success in the field of art if only with the willingness to change, to change his persistency, and to obey his surroundings. In that case, everything would be fine. But he neither changed nor yielded. He sticks to the artistic pursuit of a real artist. Similar to many artists with ideas, he sticks to and moves forward for the destination in his heart. Just as Mo Yan wrote in his book Life and Death Are Wearing Me Out: "Even if there is only one reader, I will write like this." Regardless of both the surrounding environment and the market, he stays away from vanity and goes forward persistently in his art journey.

He is an artist who creates with his thought.

Junhui's works of art are the outpouring of his true feelings and also his reflection on reality. His merit lies in his ability to turn thinking about the society into thinking about art itself. The language, expression and medium are only external manifestations of artistic works. Good works can certainly penetrate into the hearts of the public and have dialogues with them. His works are not simply the reproduction of objects and images, but are narrated after consideration. Through the works, you can have both calm and vigorous dialogues and interactions with him. This is true to his easel paintings, installations and images with no exception. As was told by Leo Tolstoy, "Art is not a skill, but a transmission of feelings experienced by artists."

He is an artist with social responsibility and artistic passion.

An excellent artist will not only cherish personal feelings and identities, but also ponder over big problems and interact with the times which he or she is concerned about. He will take care of the times and talk with them. Many of Junhui's works focus on and criticize the reality which is neither avoided nor intended. Hence their being permeated with the artist's sensibility and rather more the artist's feelings and social responsibilities. His revelation and criticism are not for the sake of criticism, but in order to expose problems to more people and to think about the solutions together with the public. The French writer George Sand once said, "Art is meant for truth, which is not a description of the evil but of both the good and the evil. It is equally hypocritical for an artist to see only one hand or merely the other hand." And as is according to Comrade Xi Jinping, "Of course, life is not always full of songs, dances and flowers. There are still many unsatisfactory aspects and some ugly phenomena in the society, which we should focus on how to resolve rather than consider whether to resolve. The ancients said, 'The joyous but not indecent, mournful but not distressing', and ''Based on the instinct; constrained by propriety". It is actually a question of the purpose of artistic creation and the social responsibility of artists, whether to adopt a sentimental pose and criticize for the sake of criticism, or to work to dispel the clouds for the public to see the sun.

The launch of this activity named "Life in Art-An Exhibition of Huang Junhui's Artistic Works" presents his artistic thinking over a recent period. Through ordinary materials, it depicts the artist's in-depth conceptual thinking. Such four groups of his works as sculptures, installations, video images, and easel paintings inspire us with a sense of unconventional grace in space presentation. With both persistence and innovation, achievements and shortcomings, Huang Junhui keeps making progress in his artistic practice, which is the most precious.

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(责任编辑:杨红柳)

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