Huang Yong _( 1954 —20 19) from Fujian. Huang Yong _ is the most important member of the contemporary art movement in China, and is called the "Three Giants" of contemporary art in China together with Morita and Ai Weiwei. "20 17 The most valuable 10 modern and contemporary works of art in the world"
20 19 10 year 10 20th, Huang Yong _ died at the age of 65.
Chinese name: Huang Yong _
Nationality: China.
Place of birth: Fujian
Date of birth: 1954
Date of death: 2065438+0910120 October.
Occupation: artist
Representative works: China's painting history and a brief history of western modern art are washed in the washing machine for two minutes. "
The life of the character
Huang Yong _ 1954, from Fujian.
1977, Huang Yong _ admitted to Zhejiang-American Oil Painting Department.
1985 Huang Yong _ used roulette to decide the color selection order and painting method, tried an accidental process, completely abandoned the subjectivity of the creator, and finally got the so-called "expressionless painting", which seemed to be "anti-painting", and was regarded by critics as an important achievement of contemporary art methodology.
1986, Huang Yong _ founded the "Xiamen Dada" movement.
In September, 1986, Huang Yong _ published "Xiamen Dada-a postmodern? 》。
1987, Huang Yong _ created the most representative installation work-"Two Minutes of Washing Machine: A Brief History of China Painting and Western Modern Art", which was enough for Huang Yong _ to be written into the modern and contemporary art history of China. Huang Yong _' s works are not only for the pursuit of visual beauty, but mostly involve China's history and fairy tales, so wheels, covered bridges, pavilions, live scorpions, fish made of glass and so on have all appeared in his works.
1May, 989, Huang Yong _ was invited to participate in the exhibition "Magician of the Earth" in Paris, and then settled in France.
Board the "20 17 list of the most valuable 10 modern and contemporary works of art in the world".
20 19 10 year 10 20th, Huang Yong _ died at the age of 65.
artistic style
Huang Yong _ Explore the relationship between Chinese and Western cultures and between people and animals through space devices, and try to find an expression that can transcend national boundaries and ideological conflicts. Huang Yong's artistic charm lies not only in the artistic skills and techniques themselves, but also in the philosophy, culture and political thoughts revealed in his works. He challenged traditional artistic concepts, beliefs and logic with his own creation, juxtaposing Chinese and western cultural concepts and symbols, and showing the tension and conflict among them.
Personality characteristics
Huang Yong _ studied Zhouyi, Taoism, Zen, Wittgenstein, powys and Duchamp. He reads books at an amazing speed, and he can read a philosophy book a day. He made many works with Zhouyi and played divination for himself and his friends, although he didn't want to talk about it too much. Zhouyi is a portable reading. He once said that its meaning was like "Jewish Bible", but this did not prevent him from killing Buddha and destroying his ancestors. In the work "The House of the Diviner", he also put Zhouyi in the washing machine and hung the remnants of these books on the hook like bacon. Speaking of the secular level, Huang Yong seems to be a detached image. He never sells himself. Fei Dawei said he "fished with a straight hook". But the meticulous degree of his works, like a hard-working small grocery store owner, never ignores the opportunity to come. In Ullens, he lavishly occupied the seats of so many people who used to be the "eighth five-year new wave". Although he denied that this meant some cultural power, he said, "There is still more room" and his face lit up.
Fei Dawei's evaluation of Huang Yong is that "he caught the most essential and important problem as soon as he came up." For example, although Huang Yong _ was fashionable in the Eighth Five-Year Plan, he opposed some promiscuous, self-expanding and complacent paintings in those years, and opposed the situation of factions and PK on the hills in those years. 1988, Huangshan held the second national congress of the "85 trendy" movement. At this time, it was "Huashan on the sword" and the sword was tense. In fact, this is the best. At this meeting, heroes from all over the world took out their most powerful "weapons". Huang Yong _ spoke on behalf of Xiamen Dada. The meeting arranged a slide projection for him to show what Xiamen people are doing. Instead, I showed you four slides of the history of ancient western art, and everyone was shocked. What are we looking at this for? As a result, Huang Yong said, I took the wrong slide before I went out. Fortunately, it doesn't matter if I took it wrong, because it doesn't matter whether I am avant-garde or not, whether I am an artist in China. It is important to put some slides. "He completely refuses to compete with anyone. He is completely contemptuous and ridiculous about this factional competition." Fei Dawei said.
Attack the art gallery
Looking back on the growth history of Huang Yong, the clue of "rebellion" began in the university. After graduation, use industrial spray gun and spray paint directly instead of brush to create. When he later recalled his college life, he said that it took him four years to learn something, and it took him 10 years to spit it out.
After graduating from college, he was assigned to be a teacher in a middle school in Xiamen. In the mid-1960s, he launched "Xiamen Dada" art group, which was the most extreme and rebellious art movement group in the 1980s. The most famous action is to burn all the works after an exhibition. At the burning site, Huang Yong wrote a slogan on the ground with lime: "If art is not destroyed, there will be no peace in life. All this seems accidental, but it is hard to say that it was not carefully planned by Huang. Talking about the past many years later, Huang Yong mentioned that when other artists wanted to draw patterns on the ground, he didn't agree, thinking that it would change the meaning of the action.
The rebellion against the art system once made the art museum Huang Yong _. He and several other artists were allowed to exhibit a work in the Fujian Provincial Art Museum, but suddenly changed the exhibition plan before the exhibition. He led the participating artists to put all kinds of materials and wastes outside the museum into the exhibition space, so the exhibition was closed just one and a half hours after it started. Therefore, when Huang Yong _ (1989) went to Paris to attend the exhibition "The Magician of the Earth" and chose to stay, some artists in Fujian might feel happy-a troublesome "troublemaker" finally left.
Huang Yong thinks that France has given him a new context. Although language may still be an obstacle at first, "all obstacles do not affect communication." French life also provided him with a new official identity. He is no longer a "teacher Huang" in middle school, but works as an artist with some of the most important contemporary artists in the West. The space of his works also suddenly became larger. When making a device about "mountain fire", he used the whole mountain as the venue for his work. Many of Huang Yong's works continue to challenge the art museum. 1992 At the Carnegie Biennale in the United States, Huang Yong chose to put all the two rows of bookshelves in the library of the Art Museum with the pulp washed by art magazines and books, and sealed each compartment of the washed pulp with plexiglass. However, in less than a week, its smell came out and the work had to be withdrawn.
In Italy that same year, he cooked 400 kilograms of rice and put it in the hall of the art museum. After cooking for a week, the back is still steaming, and the front is slowly moldy and smelly. He thinks this thing symbolizes that the art museum, as a digestive system, has no ability to digest art, and this exhibition is named "indigestible thing".
Huang Yong _ has repeatedly stressed that art galleries are graves, and all the things displayed in them are zombies, so it is impossible to learn art in them. Fei Dawei, an art critic and curator, once asked him, "Why don't you burn all the photos, videos and words of your burned works?" Huang Yong _ gave a less convincing answer, "Who would believe you if there were no photos?"
Fei Dawei believes that Huang Yong's contradiction can also be compared with Zen Buddhism, and both of them say the same thing-language cannot be conveyed and language is useless. However, in Zen, there are 20 volumes of Five Lights Meeting Yuan alone, and _ Li _ Suo said, "Never trust words".
In a lecture at the Ullens Center for Contemporary Art, Fei Dawei told everyone that the key to understanding Huang Yong _ is: "Never trust Huang Yong _" Huang Yong _ was very happy to know this.
Solo Exhibitions
1990 "Sacrifice of Fire" Aix Academy of Fine Arts, France
Huang Yong _ avignon Academy of Fine Arts
Huang Yong _ French Rouen Academy of Fine Arts
199 1 "We should also build a cathedral" fenster Gallery.
1992 "divination room" Fromen &；; French Putman Gallery
1994 "Handmade Laundry in China" The New Museum of Contemporary Art in new york, USA.
1995 "pharmacy" fromen &; French Putman Gallery
1996 "Three Steps and Nine Prints" French Marseille Artists Studio
1997 "Huang Yong _" Jack Tilton Gallery, new york, USA.
Huang Yong Amsterdam Dippel Holland
"The Disaster of Sheep" Paris Cartier Foundation for Contemporary Art France
2000 "Taigong fishing, the willing take the bait" Jack Tilton Gallery, new york, USA.
Joint exhibition
1983 "Five Artists Joint Exhibition" China Xiamen Cultural Palace
1986 "Event" Fujian Art Museum in China
"Xiamen Dada" China Xiamen Cultural Palace
1989 "Earth Magician" Georges Pompidou Center and villette Science City.
"China Pioneer Art", China Art Museum, China.
1990 "International Exhibition of Building Textiles" Nimes, France
1991"1991Carnegie International Exhibition" Carnegie Museum of Art, Pittsburgh, USA
1992 "Personal Journey 1992" Paris, France
1993 "sinking power" Oxford Museum of Modern Art, UK
"United" Glasgow Center for Contemporary Art UK
"China Pioneer Art" Berlin Art Museum.
1994 "Beyond the Boundaries (Art and Life, 1952- 1994)" Georges Pompidou Center.
Cartier Contemporary Art Foundation collects the National Museum of Contemporary Art in Seoul, South Korea.
1995 "five continents gallery" national museum of African and Oceania art in Paris, France
1996 "Facing History" Georges Pompidou Center
1997 "Moving City" Vienna, Austria
"Open-air Sculpture Seminar" was organized in Korea.
"1997 Sculpture Planning of Mü nster", Mü nster, Germany
"Parisian" London Camden Art Center UK
"Walking in Asia II" Shiseido Gallery, Tokyo, Japan
1998 "East Railway Station" Luxembourg Contemporary Art Forum Luxembourg
"Inside and Outside: China's New Art" PS 1 at the Asian Social Gallery in new york and the United States.
"Moving City II" Museum of Contemporary Art in Bordeaux, France
"The Third Mobile City" new york PS 1 USA
1999 "Sudan pool" Jerusalem, Israel
The 48th Venice Biennale, Italy
"Global Idealism: Starting Point 1950- 1980", Queen new york Art Museum, USA.
"Unfinished Story" Museum of Modern Art, Chicago, USA
"Inside and Outside: China Art Nouveau", San Francisco Asian Art Museum, USA.
"The Fourth Floating City" Museum of Modern Art in Louisiana, Denmark
2000 "stopover in Paris" Museum of Modern Art in Paris, France