招募 | 明日上午来美术馆相遇那片湘西稻田

凉灯：那块田里长出来的画

—— 黄于纲个展

时间   2019年4月30日-6月2日

地点   北京民生现代美术馆一层展厅

(对公众开放，无需报名)

西画的现状与问题

——新文化运动100年来的写实主义艺术反思

时间   2019年4月30日 10:30

地点   北京民生现代美术馆一层公教厅

刘震子、 朱青生、黄于纲、周旭君

朱青生

黄于纲这次在北京民生现代美术馆的展览是一个当代艺术展，通过三个方面来进行一次当代艺术实验：

首先，展览本身具有实验性。所谓的实验就是把展览中，黄于纲每一张绘画产生的现场、过程和背景都全面地通过装置、影像、笔记和从当地运来的一块稻田综合展现。这块稻田，既是凉灯人生活的依赖，也是黄于纲绘画的依据。这块田在展览之后会运回原地，目前我们为艺术和学术的用途而“租用”这块田。

第二，多媒介和多感官的综合。这个展览既要展示传统的媒介——黄于纲的绘画，这个部分要充分展示绘画本身的“画性”及其技巧和精彩；同时，绘画作品的“陪衬”实际上要延伸向多媒体。所谓多媒体，就是要把人全部的综合感觉统统调动起来，让展览全面呈现为装置、影像等的结合。在当地“租用”的那块田，周围正用围挡圈起，围挡上喷印着北京民生现代美术馆，并架置摄像装置，将当地田地的耕作与稻秧生长的实况接入展厅。

第三，既要把当代艺术关心社会现实的“当代性”表达出来——这也和北京民生现代美术馆和中国民生银行的社会责任相一致，同时又要具备理解和观看互动的过程，让每个阅读和走进展览的人都具有自我的解释性和自我的介入性。美术馆是一个在价值层面开放共建的空间，而参观美术馆是一个主体建构的过程，每个人得出来的结论不应该是一致的，不应该是艺术家或策展人的某一种意见，而是在跟观众自身的真实节奏和体验中，达到对生活和人性的一种自我的理解与认识。

LaoZhu

The exhibition on Huang Yugang at Beijing Minsheng Art Museum is a contemporary art exhibition that aims to conduct a contemporary art experiment from three aspects:

Firstly, the exhibition is experimental in the way that it displays the process and background of creating each painting by juxtaposing local objects, installations, video images, notes and diaries, as well as a paddy field transported from Liang Deng – a village in west Hunan Province. This paddy field is a symbol, signifying not only the livelihood of local people at Liang Deng, but also the cultural root of Huang Yugang’s art. The paddy field will return to its original place after the exhibition. We are just “renting” it for artistic and academic purposes.

Secondly, the exhibition features multimedia and multisensory integration. On one hand, the exhibition focuses on traditional mediums, namely, Huang Yugang’s paintings, highlighting the pictorial feature of his paintings and virtuosity of his techniques. On the other hand, the “milieu” of the paintings deploys multimedia devices to engage the audience at all fronts, on both sensory and emotional levels. Hence the exhibition has integrated installations and video images, etc., to evoke an immersive viewing process. The site of the “rented” paddy field is enclosed by a fence, with the image of Beijing Minsheng Art Museum spray-painted on it. Video cameras are installed there to document the growth of seedlings and the faming scenes of the locals. The audience in Beijing will get a glimpse of the real-life scenario at Liang Deng.

Thirdly, the exhibition showcases social concerns that characterize contemporary Chinese art, in accord with the social responsibility that China Minsheng Bank and Beijing Minsheng Art Museum shoulder. At the same time, the exhibition invites the audience to immerse in an interactive viewing process, to comprehend and engage with the exhibition on their own terms. Art museums open up a space for diverse values to unfold and interact, and visiting art museums is a process of claiming our subjectivity. The audience shall draw their own conclusion, but not that of the artist or the curator. Drawing upon their personal viewing experiences, the audience will reach their own understanding of life and humanity.