Exhibition: A Museum Show–Hai-Hsin Huang Solo Exhibition Venue: Gallery 456
Location: 456 Broadway, 3rd Floor, New York, NY 10013 Dates: August 26 – September 23rd, 2016
Opening Reception: Friday, August 26th, 6 – 8 pm
CAAC | Gallery 456 Visual Arts Exhibition Series” is supported, in part, by public funds from the National Endowment for the Arts, and the New York City Department of Cultural Affairs, in partnership with the City Council. This program is also made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. Special thanks to friends of CAAC.
Gallery 456 and the Chinese American Arts Council is pleased to present “A Museum Show,” a solo exhibition of Taiwanese painter Hai-Hsin Huang. The exhibition presents a series of recent oil paintings and drawings, and will be open August 26th through September 23rd, 2016.
The exhibition explores the unfortunate qualities of a popular museum that often dampen one’s experience: tweeting crowds, forever queues, rowdy schoolchildren, the unapologetic gift shop, bloated benches of the bored and erudite. Her humorous and bewildered characters — each face as singular and studied as a portrait — gaze with half lids, yawn or Instagram. The Greco-Roman sculptures, Grecian vases and Picassos are pulled from the MET and MoMA, each piece possessing as much personality as their admirers. Her mobbing of museum objects remind us of Paul Valéry’s marvelous little essay of a similar tone, The Problem of Museums:
“I am not overfond of museums. Many of them are admirable, none are delightful. Delight has little to do with the principles of classification, conservation, and public utility, clear and reasonable though these may be. At the first step that I take toward things of beauty, a hand relieves me of my stick, and a notice forbids me to smoke. Chilled at once by this act of authority and by the sense of constraint, I make my way into a room of sculpture where a cold confusion reigns...I am lost in a turmoil of frozen beings.”
Such turmoil is well related in Huang’s large-scale drawings, such as The Met (#1 and #2), where a number of sphinx, Rodins and the Three Graces exist listlessly alongside tourists in the Great Hall; of marble or Manhattan Tours, each subject is exquisitely depicted. These drawings present a playful sampling of New York personalities, but also question the institutional hoarding — and occasional stealing — of objects, as well as the upper class system that supports it. Indeed, many of her characters, as in Gala, sport teetering wine glasses, formidable jewelry and heavy makeup. They stare, mesmerized or possibly drunk, at objects with hilarious intent. Just as Valéry warned, in the midst of such artistic glut, “we grow superficial.”
Art history imbues the rendering of Huang’s subjects beyond the museum object as well. In the large oil painting, The Chinese Wing, a gaggle of half mad schoolchildren photography a display of ancient vases with atypical enthusiasm. Wild eyed with mouths gaping, each child caricatures the “laughing man” — the leitmotif of Yue Minjun (who is perhaps China’s most recognized contemporary painter). This is a poignant intersection of ancient Chinese and contemporary art: both are leveled under the consumer gaze, separated and dissected by panes of glass (iPadded or museum-grade).
Throughout “The Museum Show,” each bemused millennial, deranged schoolboy and punch drunk patron speaks to the heart of Valéry’s problem with museums: “The ear could not tolerate the sound of ten orchestras at once,” no more than our smart phones can document every blockbuster acquisition. Nonetheless, the honest individuality granted to each of Huang’s subjects celebrates the diversity of humanity, and its embarrassment of riches, with as much humor as melancholy.
Hai-Hsin Huang was born in Taipei, Taiwan 1984 and received her MFA from The School of Visual Arts in 2009. She currently lives and works in Brooklyn, New York. Huang is interested in the ridiculousness and fear in society, the absurdity and the loneliness. As part of a generation marked by hedonism, people seem to know more but feel less. Catastrophes become assumptions; we practice suffering and crisis with laughter. Huang tries to highlight the lives of this easy and comfortable generation, and in particular, their lightness of being. At the same time, she is trying to show audiences the beauty and uncanniness of single moments, the humor and tragedy that is in us, life’s grandeur as well as frailty of humanity.
Huang’s work has been exhibited and collected at museums and galleries in New York, Shanghai, Sydney, Herzliya, Kyoto and multiple cities in Taiwan including ISE Cultural Foundation, White Rabbit Collection, Kyoto Cultural Center, Herzliya Museum of Contemporary Art, Kuandu Museum of Fine Arts, Taipei Fine Arts Museum and National Taiwan Museum of Fine Arts.
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紐約456藝廊和美華藝術協會很榮幸為 您帶來台灣旅美畫家黃海欣的全新個人 展覽「美術館展」。此次展覽包含黃海 欣的油畫與素描近作,將於2016年8月 26日至9月23日舉行。
隊伍、冒失的學童、俗氣的商品,每張 長凳都坐滿了昏昏欲睡、高談闊論的觀眾。黃海欣筆下的人物既幽默又尷尬 - 睡眼 惺忪、呵欠連連也好,沉溺於社群網站也罷,每一張面容都是值得仔細玩味的人間 一態。無論是大都會美術館的希臘羅馬雕像,或是紐約當代美術館的畢卡索畫作, 每一件名作都巧妙映襯出觀眾的獨特群體性。她所描繪的情境讓我們想起瓦勒里 (Paul Valéry) 在「美術館難題」中一段評論:
我並不特別喜歡美術館。它們大多值得讚揚,卻無一令人愉快。喜悅與分類原則、 文物保存、公共設施少有關聯。我起步走向那些美好的事物,一時忘卻自己手中枴 杖,猛然看見一張禁止吸菸的公告,公權力和拘束感讓熱情與想像戛然而止。我走 進雕塑展間,只感覺到一股冰冷的錯置感...
我們可以在黃海欣的大型素描「The Met #1 & #2」看見這樣冰冷的錯置感,人面獅 身像、羅丹雕像、三美圖毫無生氣地陳列在遊客及導覽間;這些精心繪製的素描俏 皮地呈現紐約性格,同時也質疑制度性囤積和文物掠奪,和這些亂象背後的菁英階 級體制。 「GALA」中的貴婦們,濃妝豔抹,衣飾浮誇、手裡酒杯搖搖欲墜,雙眼癡迷地望 著展品。在這個藝術商品化的時代,正如同瓦勒里所警告:我們變得膚淺。
美術史也是黃海欣試圖探索、再詮釋的主題之一。大型油畫作品「The China Wing」 中,一群學童正在拍攝青銅花瓶,人人目瞪口呆,驚喜若狂,像是著魔般。每一個 孩子都像是中國藝術家岳敏君畫中的大笑人。這是中國古典藝術與當代藝術最尖銳
的交集點:兩者都被消費者的目光夷平,被一塊平板玻璃 (iPad 或是美術館藏櫃) 隔離、肢解。
「美術館展」中,每一個困惑的Y世代、每一個著魔的學童、每一個爛醉的收藏家 都深刻道出了瓦勒里的美術館難題:一雙耳朵無法同時聆聽十個交響樂團。 我們的智慧型手機也無法詳細記載每一筆熱門館藏。我們在黃海欣作品中看見她忠 實地觀察、描繪出複雜多元的人性,中產階級的無所適從,讓人莞爾,也讓人傷感。
黃海欣,生於1984年,台北,台灣。2009年畢業於視覺藝術學院碩士(美國紐約)。 現居紐約布魯克林。 黃海欣的創作主題主要圍繞著當代社會的日常景色。特別是那些隱約浮現出介於幽 默與恐怖怪異氛圍的枯燥普通的影像;平凡的家庭照、旅遊景點的觀光客行為、例 行性的防災演習...黃試圖探索當代社會中的荒謬、背後的恐懼不安、寂寞以及其中 的光怪陸離現象。 對她來說,生命中大部分的面向幾乎是怪異、彆扭、可笑與沒 有意義的綜合體。
近年個展:2 0 1 6 《美術館展》,456藝廊,美國紐約。2015《闔家觀賞》。2014 《Hai-Hsin Huang x Wanwan Lei Project》Leigh Wen Fine Art, 紐約。聯展: 2016 《她 的凝視》,台灣書院,美國紐約, 2015 《平面檔案三》,TSA紐約,布魯克林, 美國。《Art Pow Wow開幕&游擊展》,176利文頓街,紐約,美國。2014《天人五 衰》,關渡美術館, 台北。 近期受國立台灣美術館、台北市立美術館典藏,2016 受邀芬蘭亞特雷斯創意中心駐村、2013文化部及台北市文化部贊助、受邀至紐約 ISCP以及Vermont Studio等駐村。作品為國立台灣美術館、台北市立美術館及澳洲 白兔美術館等典藏。