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展览时间

2017年10月22日-2017年11月21日

开幕时间

10月22日 16:00

观展费用

免费

展览地址

北京市朝阳区酒仙桥北路798艺术区A04栋

（星巴克右斜对巷797东街街尾左手）

主办单位

大千当代艺术中心

支持单位

中央美术学院

学术主持 | 余丁

策展人 | 刘礼宾

出品人 | 陶巍

策展助理 | 王奕丹 杨芳

• 艺术家简介

黄勇

1968年生。

1990年毕业于中央美术学院民间美术系。

2004-2016年执教广州美术学院，任造型艺术基础部主任。

2016至今任中央美术学院艺术管理与教育学院副院长、教授、硕士生导师。

个展

2015 《食局-黄勇作品展》——施达克基金会  柏林

   《手抄本第3回-黄勇作品展》——新美术馆  上海

   《手抄本第2回-黄勇作品展》——雅博艺廊  美国纽约

2013 《异象-黄勇作品展》——天仁和艺艺术中心  杭州

2011 《手抄本-黄勇作品展》——集美当代艺术空间  北京

2009 《出境—黄勇作品展》——今日美术馆  北京

联展

2017 《2017欢乐春节·艺术中国汇:中国当代艺术邀请展》——大都会展览馆   纽约

2016 《2016欢乐春节·艺术中国汇:中国当代艺术邀请展》——贾维茨中心   纽约

2015 《心·目》——柏林中国文化中心  德国柏林

   《双城记-上海、广州当代绘画年度展》——多伦现代美术  上海

2014 《温良欧陆行》——华艺廊  广州

   《神游者》——非凡仕艺术广州空间  广州

   《散点》——南澳大学  澳大利亚阿德莱德

   《超级景观》——石家庄美术馆  石家庄

   《下一站-广州》——广州美术学院大学城美术馆  广州

2013 《在南方-广东当代艺术邀请展》——南都艺术空间  广州

   《四季：时间、叙事与当代视野》——广东当代艺术中心  广州

2012 《弥散》——大德堂  上海

2011 《狠。现实》——银石空间  上海

   《造山造水》——山东  高密

2009 《马来西亚艺术博览会》——马来西亚  吉隆坡

   《当代艺术名家邀请展》——中国银行   武汉

   《进化—广发当代艺术展》——多伦现代美术馆  上海

2008 《粤、沪、杭艺术家邀请展》——如意画廊  广州

   《第23届亚洲国际艺术展》——广州美术学院美术馆

2007 《观物—首届写生双年展》——广州美术学院美术馆

   《伪英雄时代》——东廊艺术  上海

   《中层脉动》——广州美术学院美术馆

   《痕迹艺术展》——上海、广州、北京

2006 《广州美术学院造型艺术双年展》——广州美术学院美术馆

   《纸尚》——安德雷思国际艺术中心  上海

    ——广州美术学院美术馆

• 展览前言

一套扑克，四类标签，各十三张，王和王后，不属此类，共五十四张。

“玩法”设定后，扑克牌重新列队。摸牌机缘，开启了“运”的闸门。如何把一副好牌或臭牌打好，看的是改“命”能力。

不同于棋局两路对弈，纸牌屋多有各路人马。群雄角逐中原，为的是城门插定我家旗。

牌友落座，纸牌屋就变成了战场。牌友脱掉既往身份，既来之，则安“元帅”之职。

兵马未动，粮草先行。熟悉古战争的人都知道，粮草运输的重要和艰难，粮草十之四五消弭于运输队往返程的口粮。那兵马与粮草同行如何？

黄勇为五十二位冲锋陷阵的扑克牌配给了鲜美食品，并给王和王后设计了礼服。

每次战争，五十四张牌必然战死沙场。黄勇耗费如此大的精力绘制巨型扑克牌，一方面源自悲天悯人之心，一方面希望纸牌屋飘满温馨的饭香。刀光剑影之下，民以食为天的凸显，又展现了黄勇看牌局的狡黠与睿智。

色粉入画，由来已久。黄勇选择色粉进行创作，有其偶然原因，在我看来，也有其必然因素。以色貌色，色粉与作品表现的物象关系直接，手和他特制的纸的距离缩短，手的运动半径小，以心接物的路程更近，画家更容易和所绘画面形成私密空间。去除了对背景的筹划，物之特性更加明显，艺术家格物致知的状态更加直接。

所以在黄勇的笔下，所绘食品毫发毕现，鲜活晶莹，让观众睹之垂涎三尺，生活气息呼之欲出。打牌者发牌的一刻，定然夹杂着失去食物的失落，还混杂着舌胃的痉挛。在运筹帷幄之中，多种感触纷至沓来。局中局外，进入和出离，纸牌上的食品成了打牌人若即若离的诱因。

在电视剧《纸牌屋》中，主角弗兰西斯·安德伍德经常“打破第四面墙”，与观众直接对话。让观众在紧张的故事情节中，明白这只是一个“局”。弗兰西斯·安德伍德借用的是局中人“旁白”，黄勇借助的描绘的食品，不过后者出现的频率远远要大于前者。前者是锐利观点的纷至沓来，后者是你手中牌带来的五味杂陈。

屋中有纸牌，纸牌屋，其浓缩的是纷繁复杂的人际社会。弱水三千，只取一瓢。在机智交锋、勾心斗角的牌局之中，黄勇精心给大家奉献一份美食华服，或许更是他面对人生起落的一份智慧和幽默。

——刘礼宾

Preface-The Pastel in House of Cards

A deck of cards, four suits, thirteen cards per suit, the king and the queen not included, 54 cards in total.

Once the game was set, all cards line up anew. Chances for what cards we get open the ‘gate of fate’. How to play well with the cards we have no matter good or bad, depends on our power of changing the fate.

Unlike chess where only two parties game against each other, House of Cards competes among plural players. Striving so enthusiastically amongst all competitors simply for the flag of victory to stick at one’s own gate of empire.

Once the players get seated, House of Cards becomes a battle field. All identities, current or past, are removed. All shall be settled as the ‘commander’ at the point.

Provisions and fodders before army, anyone who is familiar with the ancient battles and wars should know how difficult it would be for transportation of supplies. Four or five out of ten of the supplies would be consumed or dispersed on the round trip. What about provisions and fodders, soldiers and horses marching together?

  Mr. Yong Huang has equipped the fifty-two gallant cards with delicious food, and designed fabulous cloaks and gowns for the king and the queen.

In every battle, fifty-four cards end up in their ultimate fate of death. Mr. Yong Huang has made such efforts on such enormous cards on account of empathy and compassion. On the other hand, he also wishes for a houseful of fragrance of cozy meal. The glint and flashes of cold steel serves as the exact contrast of the human nature that indicates the first priority of food. It has demonstrated the slyness and wisdom of Mr. Huang as an observer of the battle.

Painting with pastel has been a tradition for a long time. In my opinion, Mr. Huang’s choosing pastel for creating his art is with two scales of reasons, both accidental and inevitable. Painting with the colors as exactly how they are, the objects depicted with pastel are rather accurate and direct. It shortens the distance between his hand and the special made paper so that the radius of his hand’s motion is shorter and closer to his heart. This way it’s easier for the artist to form an intimate space with his art. Excluding the design of the background, the features are more prominent and the artist’s attitude of ‘to investigate things is to attain knowledge’ becomes more direct.

Therefore, the food painted by Mr. Yong Huang are into their slightest details, and are so real and vivid with a breath of life that the audiences drool in front of them. The moment the players deal, a sense of lost combines with trembles of the tongue and stomach stirs. All kinds of feelings come up during the gaming and planning. Inside or outside, entrance or exit, the delicious food on the cards become seduction that players never seem to reach. 

In the popular TV drama House of Cards, Francis Underwood always ‘breaks the forth wall’ and dialogue directly with the audiences to make sure they understand it is just a ‘game’ despite of all the intense episodes and plots. The concept Francis borrows is insider’s ‘narration’, whereas Mr. Huang the food. Only that the frequency of the latter is far higher. The former attracts sharp opinions, yet the latter brings you a mixed taste of life.

Cards in the house, House of Cards, it extracts complicated interpersonal social significance. Taking only one ladle of water from the ocean; concentrate only on one thing among all the fabulous. In the card games where wisdom and slyness intertwine, Mr. Yong Huang has elaborately presented a fancy cloak of delicacy. Or maybe it is rather a sense of wisdom and humor of his towards life, up or down, rise or fall.

——Liu Libin