新氧艺O2art欣然宣布将于2023年11月25日展出艺术家黄冰洁个人展览“不要叫醒我”，展期将持续至2024年1月16日。
O2art is pleased to announce that Huang Bingjie's solo exhibition "Don't wake me" will be open on November 25, 2023. The exhibition will last until January 16, 2024.
不知从何时起，以盖棺定论的理论来指导我们的思维方式成了一种惯性，比如谈女性主义绕不开波伏娃，谈梦境难逃弗洛伊德，基于历史经验与知识而达成的某种共识似乎也在形塑我们的思想。黄冰洁在新氧艺O2Art呈现的新展“不要叫醒我”提供了另一种思路，一个成长过程中的艺术家如何顺应自己的梦境，又在创作中找寻梦幻与现实的边界。
延续黄冰洁上一次个展“梦与野兽”的线索，她将梦境视为自己潜意识的投射，又以更为理性的方式，在折射出的世界中挖掘、理解自己，再经由绘画来表达个体对内部世界的观察。艺术家选择如此坦陈地面对自我，因而她的创作并非全然一派美好景象。干枯的花卉背后留存着曾经怒放的影子、相吻的恋人面容斑驳、宏伟的纪念碑却逐步在风中消散。此次展览中呈现的诸多件作品如《低空飞行》和《复梦》等不仅延续了艺术家对于恐惧和焦灼的探析，最新系列《镀金时代》展开了艺术家对于社会环境以及当下所处时代对个体发生的效应。
“落寞总在最绽放的一刻悄然而至”黄冰洁称自己喜欢在规矩中追求不可控的自由感，而对边缘的处理是她建立画面秩序的方式，假如将其视为透析自我心理的一把钥匙，任颜料自由流淌便是放飞的出口。黄冰洁的梦是她话语的起点，无论令人心生畏惧，还是充满神秘，她都将其视为日常中可坦然接受的现实。她以敏锐的感知进入神秘的梦中，又在画中重拾与清醒世界的互动、传递。
It’s unknown when using definite theories as guidance became conventional thinking. For instance, when speaking of feminism, one has to think about Simone de Beauvoir or unable to talk about dreams without visiting Sigmund Freud. In other words, the consensus reached that history, experience, and knowledge ultimately shape the way we think. Huang Bingjie's second solo exhibition at O2 Art, "Don't Wake Me," provides an alternative way of thinking that follows clues presented in her dreamscape, revealing the artist’s coming of age to explore the boundary between the illusory and reality through the practice of painting.
Extending the thread from her previous solo exhibition, "Dream and Beast," Huang Bingjie perceives dreams as projections of her subconscious mind, the interpretation of which provides her with rational ways of self-discovery and self-understanding. The canvas then becomes the interface onto which she translates such discoveries. The artist's sincerity in confronting the self has since delivered a scene that is not entirely made of wonder and splendor, where one finds blossom behind wilted flowers, facial expression suggesting ulterior motives behind kissing lovers, and a monument of birds perched together with traces of ruins. Many of the works presented in this exhibition, such as "Up Above, Hanging Below" and "A Recurring Dream," continue to reveal senses of fear and anguish; at the same time, her latest series, "The Gilded Age," unfolds Huang’s perceptive observations of her immediate social environment and the current times.
"Desolation always creeps in at the apex of blossom." Huang Bingjie prefers to search for freedom within sets of rules and conventions. Her approach to edges, be it that of her painting or her brushwork – was one to conceive it as a key to one's psyche, then allowing dripping in controlled brush works may be perceived as a reach for freedom. Huang Bingjie's dreams are her points of departure from a discourse filled with fear or enigma, and what's revealed in them is part of the reality of her everyday life. She dives into the undecipherable dreams with keen perception and, through her tableaus, conveys and translates her discoveries to the outside world.
低空离⾏ Up above, hanging below
布⾯油画 Oil on canvas
190 x 200 cm 2023
复梦 A Recurring Dream
布⾯油画 Oil on canvas
160 x 200 cm 2023
黄冰洁，1994年出生于湖南湘潭，2016年毕业于湖北美术学院油画系，现为职业艺术家，生活工作于北京。她同时为人文艺术博客RED·MOON的创办人，以分享艺术内容与经营艺术社群受到广泛关注，同时活跃在策划新生代展览等艺术人文活动的不同领域。个展：梦与野兽——黄冰洁个展，新氧艺O2art，北京，中国（2021）；夏天——黄冰洁作品沙龙新氧艺O2art × 苗师傅，北京，中国（2019）。
Huang Bingjie, was born in Xiangtan, Hunan Province in 1994, and graduated from the Oil Painting Department of Hubei Academy of Fine Arts in 2016. She is now a professional artist and lives and works in Beijing. She is also the founder of the humanities and art blog RED·MOON, and has attracted wide attention for sharing art content and running the art community, while being active in different fields of planning art and cultural activities such as new generation exhibitions. Solo exhibition: Dreams and Beasts —— Huang Bingjie’s solo exhibition, O2art Space, Beijing, China(2021); Summer — Huang Bingjie work salon, O2art space and Master Miao, Beijing, China(2019).
贺潇，独立策展人、艺术写作者和翻译。她毕业于麦吉尔大学美术史专业，曾担任亚洲艺术文献库中国大陆研究员和艺术论坛中文网编辑。她近期策划的展览与写作视绘画为培养皿，研究在多元媒介时代下，绘画这一古老载体的自生能力；发现视觉环境改变与艺术创作，展览政治和观看机制之间的渗透关系。她近期的文章收录在Fredrik Vaerslev: Renne 和尤伦斯艺术中心即将出版的玛利亚·拉斯尼格的展览图录中。她长期为国内外艺术机构和国际知名艺术刊物供稿，其中包括余德耀美术馆、法国Frac Bretagne 、 UCCA尤伦斯当代艺术中心、ARTFORUM、艺术新闻/中文版、 Art-Ba-Ba 、 Flash Art、Artnet、艺术界LEAP、Art Review Asia、Yishu等。
Fiona He is an independent curator, art writer, and seasoned translator of art texts. A graduate of McGill University, Montreal, with a degree in art history and Asian studies, she has worked as a researcher for Asia Art Archive in Mainland China and an editor for Artforum.com.cn. Her ongoing research interests include the permeating impacts of media and technology on human perception, reception, and artistic practice; the politics of representation; and the mechanisms of viewing. Recent essays include catalogue texts for Fredrik Vaerslev: Renne at Frac Bretagne, France, and an upcoming exhibition of Maria Lassnig at UCCA Center for Contemporary Art, Beijing. She is a longtime contributor to many art publications, including Artforum, Art-Ba-Ba, Flash Art, Artnet, Leap, ArtReview China, and Yishu, and writes a featured column on painting for the Art Newspaper (Chinese edition).
