三遠(yuǎn)當(dāng)代藝術(shù)宣布，黃丹個(gè)展“四色之名”將于1月18日下午4時(shí)開幕。本次展覽為三遠(yuǎn)當(dāng)代藝術(shù)2024年，新年首展，由鮑棟策展。

黃丹畫很多事物，山、石、樹、橋、馬、貓、虎、兔、花卉、蔬果，這些傳統(tǒng)中國(guó)畫中亦有的題材被她反復(fù)捶打，變得愈發(fā)莊重，但同時(shí)又充滿活力，她用一種今天的視角去描繪這些過去的，更確切的說，那些似乎一直存在而顯得恒定的事物。近景、特寫、滿幅構(gòu)圖，在觀看方式上，黃丹的作品與傳統(tǒng)中國(guó)畫的位置經(jīng)營(yíng)拉開了極大的距離，她的畫面具有鏡頭感，仿佛有一個(gè)觀看者就在不遠(yuǎn)處端詳。正是在這一點(diǎn)上，她的作品完全擺脫了“國(guó)畫”的教化感，而生出了一種感性確實(shí)性的說服力。

但這種確實(shí)性并非視覺再現(xiàn)意義上的準(zhǔn)確，實(shí)際上，黃丹減去了大部分的細(xì)節(jié)，在她的畫中，事物通常只留下了輪廓與剪影，并孤伶伶的展現(xiàn)在虛空的背景前，變成了一個(gè)個(gè)的不依賴于定語的名詞。它們既構(gòu)成普遍類型，也極具個(gè)別性，即使很多形象簡(jiǎn)化到幾乎是為了那幾根線條而存在，但線條又因?yàn)樗栏降男蜗笈c形體而更具活性與動(dòng)能，進(jìn)而又反哺了形象與形體的活力。她簡(jiǎn)化造型、壓縮體積、省略細(xì)節(jié)，這一切是為了把繪畫的能量集中在線條、形狀，以及繪畫過程的時(shí)間厚度上，進(jìn)而獲得了一種碑拓式的鈍力。

鮑棟

Huang Dan paints many subjects: mountains, rocks, trees, bridges, horses, cats, tigers, rabbits, flowers, fruits, and vegetables. These common subjects in traditional Chinese paintings have been repeatedly scrutinised and refined into more solemn and vibrant interpretations. She depicts the past, or more precisely, those things that have always existed and are even iconic, from a contemporary perspective. In Huang Dan's works, the foreground, close-ups, and compositions vary tremendously from traditional Chinese paintings. Her images introduce a sense of the photographic lens, as if viewers were observing them from a closer distance. In this sense, her works completely break away from the edifying qualities of "Chinese painting" by presenting an ethereal and more persuasive narrative.

Although what is defined in her paintings does not suggest accuracy in the figurative sense, in fact, Huang Dan has chosen to eliminate most of the details in her subjects. In her paintings, objects depicted are often left as forms and silhouettes and presented singularly against an empty background. Linguistically, the images become common nouns that require no edification. They are seemingly generic yet minimalistic, as many images are reduced to their intrinsic qualities; the lines exist just to animate the forms, which in turn enhance the vitality of the images. She accentuates the form, compresses the volume, and minimises the details, all to harness the energy of the painting based on the forms, the shapes, and the time process, comparable to the process of calligraphic carvings on stone steles.

Text by Bao Dong

關(guān)于藝術(shù)家
About The Artist

黃丹

1979 出生于廣西

2001 中央美術(shù)學(xué)院國(guó)畫系，學(xué)士

2004 中央美術(shù)學(xué)院國(guó)畫系，碩士

現(xiàn)工作生活于北京

部分個(gè)展

2022，初醒，方由美術(shù)，香港；

2021，入境，三遠(yuǎn)當(dāng)代藝術(shù)，北京；

2020，觀其生，三遠(yuǎn)當(dāng)代藝術(shù)，北京；

2019，生，三遠(yuǎn)當(dāng)代藝術(shù)，北京；

2018，赤流與白光，格蕊利畫廊，上海；靈感，方由美術(shù)，香港；

2017，界限，方由美術(shù)，香港；

2006，女人香，Eland 藝術(shù)館，韓國(guó)首爾；

Huang Dan

1979 Born in Guangxi

2001 BFA Traditional Chinese Painting, Central Academy of Fine Arts

2004 MFA Traditional Chinese Painting, Central Academy of Fine Arts

Now works and lives in Beijing

Selected Solo Exhibition

2022, When You Rise , Galarie Ora-Ora, Hong Kong.

2021, Into the Realms ，N3 Contemporary Art, Beijing.

2020, Beholding ，N3 Contemporary Art, Beijing.

2019, Raw , N3 Contemporary Art, Beijing.

2018, Flaming Flow and White Light , The Gallery, Shanghai; Inspiration , Galerie Ora-Ora, Hong Kong.

2017, Boundary , Galerie Ora-Ora, Hong Kong.

2006, Scent of A Woman , Eland Art Gallery, Seoul, South Korea.

關(guān)于策展人

About The Curator

鮑棟

鮑棟是中國(guó)新一代活躍的藝術(shù)評(píng)論家與獨(dú)立策展人，“北京當(dāng)代”藝術(shù)博覽會(huì)創(chuàng)辦人、藝術(shù)總監(jiān)。他1979年出生于安徽，2006年畢業(yè)于四川美術(shù)學(xué)院藝術(shù)史系，現(xiàn)工作生活在北京。從2005年進(jìn)入中國(guó)當(dāng)代藝術(shù)界至今，他的評(píng)論文章廣泛見于國(guó)內(nèi)外藝術(shù)期刊，批評(píng)文集以及藝術(shù)家專著；他曾為眾多國(guó)內(nèi)外藝術(shù)機(jī)構(gòu)策劃展覽，其中包括尤倫斯當(dāng)代藝術(shù)中心、朱拉隆功大學(xué)藝術(shù)中心、廣東時(shí)代美術(shù)館、上海民生現(xiàn)代美術(shù)館等等；2014年，他榮獲亞洲文化協(xié)會(huì)（ACC）藝術(shù)獎(jiǎng)助金；同年成為國(guó)際獨(dú)立策展人協(xié)會(huì)（ICI）獨(dú)立視野策展獎(jiǎng)候選人。2016年他獲得了 “Yishu中國(guó)當(dāng)代藝評(píng)和策展獎(jiǎng)”。

Bao Dong

Bao Dong is an art critic and curator based in Beijing，founder and art director of Beijing Contemporary Art Expo. In contributing essays to the artistic dialogue and other forms of involvement, Bao has established himself as a leading curator and critic of work by the new generation. His articles have been widely published in art journals and artist monographs both at home and abroad. He has curated many exhibitions for a wide range of art institutions including Ullens Center for Contemporary Art, Guangdong Art Museum, the Art Center of Chulalongkorn University, Guangdong Times Museum, Shanghai & Beijing Minsheng Art Museum, OCT Contemporary Art Terminal Shanghai etc. He was awarded Asian Cultural Council (ACC) fellowship grant in 2014, and became a nominee of Independent Curators International’s (ICI) 2014 Independent Vision Curatorial Award. Recently he was awarded Yishu Awards for Curating Contemporary Chinese Art 2016.