1981年出生于四川的黃予是中國近年涌現(xiàn)出的最具實力和專業(yè)度的新一代藏家之一，他的藝術(shù)品收藏從古代佛造像、瓷器等開始，逐漸轉(zhuǎn)向了當代繪畫、雕塑、裝置與影像，在民生現(xiàn)代美術(shù)館的工作經(jīng)歷深化了他對于中國當代藝術(shù)系統(tǒng)與價值的認知。作為佛教信仰者，同時作為藝術(shù)收藏的收益者，黃予為家鄉(xiāng)自貢的寺廟捐贈佛像，并且為當年的母校創(chuàng)建"助學(xué)基金"，他的另一個夢想是在成都創(chuàng)立美術(shù)館和藝術(shù)博覽會，持續(xù)推動當代藝術(shù)在西南地區(qū)的生態(tài)建構(gòu)。

本次展覽將匯集六十六位重要藝術(shù)家的百余件作品，作品涵蓋多重媒介和形態(tài)，可以視為正在進行中的中國當代藝術(shù)的縮影與指南，尤其在觀念繪畫方面體現(xiàn)出出色的體系性，藝術(shù)家的名單包括了從余友涵、李山到謝南星、段建宇及更年輕的探索者們。展覽邀請本土最重要的策展人之一、2011年中國當代藝術(shù)獎評論獎得主朱朱擔任策展，以"新資本論"為題討論消費主義語境中的當代藝術(shù)創(chuàng)作走向及藝術(shù)資本的能動性，并將在展覽期間舉辦中國年輕收藏家?guī)p峰論壇，屆時將邀請數(shù)百位國內(nèi)外重要美術(shù)館、畫廊的負責人，收藏家，商界人士和參展藝術(shù)家們等出席。

序 

有時候在一些場合里，我會經(jīng)常很幸福的感到，在別人眼里，收藏是一件很美好的事情，收藏藝術(shù)是一件很高尚的事情。可是當我安靜的時候，細細想這件事情，我會不由自主的想，其實收藏是一種病，收藏所導(dǎo)致的是，你想擁有所有的好東西。這是一種很要命的強迫癥。我的收藏強迫癥的初始，竟然是源于早年的泡泡糖。在我初中二年級的時候，流行一種泡泡糖，名字叫比巴卜。每一盒泡泡糖有一百個，里面都帶有一個附送的比巴卜小樂手?？偣灿?6個比巴卜樂手，而每一盒所附送的小樂手都有可能重復(fù)，為了集齊16個不同形象的比巴卜樂手，在三個月的時間里我買了五十幾盒泡泡糖，也就是五千多個泡泡糖，我那時候見人就送泡泡糖。這是我最早的收藏經(jīng)歷。當時我就發(fā)現(xiàn)了自己收集的愛好，我對喜愛的東西有強烈的擁有的渴望，當時習慣性的事情就是收集。

Sometimes, in certain settings, I sense, with more than a bit of joy, that others see collecting as a wonderful thing, and view the collection of art as a noble task. But when I sit back and really think about it, I can't help but think that collecting is a disorder, one that leads you to want to have all good things. It is a grave case of obsessive-compulsive disorder. My obsession with collecting began in my early years with bubblegum. In my second year of middle school, there was a popular brand of bubblegum called BigBabol. There were a hundred pieces to a box, and each box had a toy inside. There were sixteen different toys in the series, and in order to collect them all, I bought over fifty boxes of BigBabol bubblegum in a span of three months. That's over five thousand sticks of gum. I was handing it out to everyone I saw. This was my first experience with collecting. It was then that I discovered my love for collecting. I found I had a powerful desire to possess the things I loved. It was just natural to collect them.

后來在我很長一段人生中，收集收藏的愛好就一直伴隨我。強迫癥也一直折磨我，任何事情我都是要求極致，當年健身為了擁有八塊完美的腹肌，我甚至把自己煉成了2004年的中國健身先生。我是學(xué)金融的，所以到2003年，我很自然的就進入了自己家里的企業(yè)，加入了藝術(shù)品拍賣的系統(tǒng)里，首先是開始了對古典藝術(shù)的研究。2004年開始收藏瓷器雜項，尤其是對明清時期的官窯頗為喜愛，也很想將每個時代的官窯瓷器都能收藏一件，包括當時對于文玩等都非常有興趣。中國古典藝術(shù)很多的豐富性就體現(xiàn)在這些傳統(tǒng)形態(tài)的藝術(shù)品里。我覺得當時我是不自覺的對自己進行著訓(xùn)練，我想找到完美的東西。2006年的時候，我開始對佛像的研究和收藏有了極大的興趣，當然這也源于我的母親，她是一位虔誠的佛教信仰者。我從小受她影響，對佛教很熱愛。我也能清楚的記得自己當時對收藏佛像是一種很虔誠的心態(tài)。直到2007年，我的人生發(fā)生了重大轉(zhuǎn)折，那就是我開始了當代藝術(shù)的研究涉獵并且收藏。在那個時候我加入了民生系統(tǒng)，而當時民生系統(tǒng)正在積極的介入中國當代藝術(shù)的研究和收藏，籌劃建立中國當代藝術(shù)收藏體系，我正好進入這一領(lǐng)域。當時我對于一個全新的領(lǐng)域進行認識也是非常有熱情，并且很努力去學(xué)習，那個時候為了能收藏中國當代藝術(shù)作品，我將收藏過的100余件古董精品通過拍賣渠道銷售了一大部分，只是為了自己能更好的收藏當代藝術(shù)作品。但是佛像我沒有銷售，到今天我都依然保存，因為信仰我會一直保留對佛像藝術(shù)的敬畏之心。但是除此之外，我從2007年至今，我的熱情和信心全部放在了當代藝術(shù)的研究收藏中，而且會一直繼續(xù)下去。

My propensity to collect has been a part of my life ever since. I have also been plagued by obsession-compulsion ever since. In everything I do, I demand perfection. I worked out in order to develop six pack abs, and along the way, I won a national bodybuilding championship in 2004. I studied finance, and in 2003, I naturally entered into the family business, into the art auction system. I began by researching classical art. I started collecting porcelain in 2004, and particularly enjoyed the products of the Ming and Qing dynasty imperial kilns. I wanted to have a specimen from the royal kilns of each dynasty. I was fascinated by all kinds of antiquities. Much of the richness of classical Chinese art is embodied by these traditional artworks. Without planning to do so, I had begun training myself. I was on a quest for perfection. In 2006, I grew intensely interested in researching and collecting Buddhist sculpture. This can, of course, be traced back to my mother, a devout Buddhist. Under her influence, I have been passionate about Buddhism since I was a child. I also clearly remember that I first began collecting Buddhist sculpture out of devotion. This continued until 2007, when I began dabbling in the research and collection of contemporary art. I had entered into the Minsheng system, which was at that time actively getting involved in the research and collection of contemporary art, planning a system of Chinese contemporary art systems, and I was involved. I was quite enthusiastic about approaching an entirely new field, and I diligently studied it. I auctioned many outstanding specimens from my collection of over one hundred antiques so that I could collect works of Chinese contemporary art. I did not, however, sell any specimens of Buddhist sculpture. Those I still keep today. Because of my faith, I will preserve this Buddhist art for the rest of my life. But beyond this, all of my passion and faith since 2007 have been concentrated on the research and collection of contemporary art, and this will continue into the future.

時光荏苒，我都不知道自己已經(jīng)經(jīng)歷了12年的收藏歷史。2015年底依然對我是個重要的日子，我辭去了民生系統(tǒng)的工作，這時才發(fā)現(xiàn)，我的收藏伴隨著我人生的成長。12年來一個人的經(jīng)歷和發(fā)生的歷史，都是和這些當代藝術(shù)作品有著千絲萬縷的聯(lián)系。選擇成都舉辦我的個人收藏展有個重要的原因，我是四川自貢人，回到家鄉(xiāng)開啟這個展覽，我的發(fā)心就是要給成都的藝術(shù)行業(yè)及中國當代藝術(shù)帶來一點正能量。

Before I knew it, I had spent twelve years as a collector. I quit my job at Minsheng in late 2015. It was then that I realized my collection had grown and matured alongside me. These contemporary artworks are inextricably linked to my own history, encounters and experiences over these past twelve years. I chose to hold this exhibition of my collection in Chengdu for good reason. I am from Zigong, here in Sichuan Province. I chose to return to my home province to hold this exhibition in hopes of bringing some positive energy to the local art industry and Chinese contemporary art.

存在的形象或者存在的不可消逝性
The Image or Persistence of Existence

在黃予的收藏中，繪畫作品占據(jù)了絕大部分。一個人觀得的最好的風景應(yīng)該是大自然賦予的，而一個人心里最可觀的形象則是他情感的認可。黃予對繪畫的情感幾乎成為了他收藏的風格。在他有著相當數(shù)量的藏品中，我們可以看到黃予始終帶著他的情感與判斷來凝視這些最可靠的形象。

Paintings make up the vast majority of Huang Yu’s collection. The greatest scene a person can see is likely that provided by nature, and the visions that most draw the mind are those that affirm the emotions of the viewer. Huang Yu’s emotional response to painting is the core component of his collecting style. In quite a few of the works in his collection, we can see that Huang Yu has persistently drawn from his emotions and judgment in his gaze at these reliable images.

從最初那個為了收集泡泡糖贈送的玩具而買了五千多個泡泡糖不斷送人的執(zhí)著的少年形象開始，黃予在內(nèi)心里就有自己強烈認可的形象。對完美的要求，對代表時代性符號的要求，對審美生活的追求，使他必然走上最終藝術(shù)收藏的道路。

Beginning with the image of the young boy who bought and handed out over five thousand packs of bubble gum so he could collect the toys inside, Huang Yu has built a firm mental image of himself as a collector. His demand for perfection, for icons of the times, and for a life of beauty set him inevitably on the path of art collecting.

在黃予的心里存在著一個巨大的幻想之源，他內(nèi)心很固執(zhí)的認為，呼喚他的那些形象是永存的、不可替代的、他緊緊要跟隨的、他極度要挽留住的，這也就是他總是說自己是一個強迫癥患者。所謂一個強迫癥者，就是堅持自己心中的神秘美學(xué)。黃予是八十年代之后出生的人，他的生活至少是光鮮的和緩的，不會有喪失一切的深淵感，那么他心中的價值選擇體現(xiàn)在何處，什么原因使他一定要留住一些特定的形象，恐怕是他直覺上要達到的盡善，盡美。直覺或許是大多數(shù)八零后的一個重要的精神資源。黃予曾經(jīng)談到他年少時所接觸的一切文化資源和文化信息，所有宏大命題的東西他們都會產(chǎn)生懷疑，而微觀和細節(jié)卻是他們不自主迷戀的。比如他看周星馳的電影，他很自然的就把周氏電影語言融入到生活語言中。

Huang Yu possesses in his heart a great wellspring for his imagination. He firmly believes deep down that the images he pursues are eternal and irreplaceable. He chases after them, yearning to keep them. He refers to himself as obsessive-compulsive. His obsession is with the mystical aesthetic in his heart. Huang Yu was born in the 1980s, and he has lived in peaceful times of constant newness. He does not have the abysmal outlook of many born to previous generations who have experienced great loss, and that leads many to wonder about the embodiment of his values, and why he would be so obsessed with preserving certain images. I believe it is out of an instinctual drive for completeness and perfection. I think that for many in his generation, intuition is a great spiritual resource. Huang Yu once discussed the cultural resources and information he encountered in his youth. He was skeptical of the grand themes and ideas around him, but fascinated by the microscopic details, such as those found in the films of Stephen Chow. He naturally infused the language of his life with the language of Stephen Chow’s movies.

跟大多數(shù)的中國收藏家一樣，黃予并沒有系統(tǒng)的美術(shù)史訓(xùn)練，當然他也不是偶然進入收藏的領(lǐng)域，他甚至跟老派的收藏家很像，先是進入文玩古董界，開始對古典藝術(shù)發(fā)生興趣，因為母親是佛教徒的緣故，又對喜愛的佛像造像進入研究，所以機緣巧合，其實也是很自然的進入到了當代藝術(shù)領(lǐng)域的收藏。2007年的時候，他進入到民生現(xiàn)代美術(shù)館的收藏體系做助理的工作，民生現(xiàn)代美術(shù)館作為當時一個激進的收藏組織，如洪流般卷入了中國當代藝術(shù)的收藏歷史。而黃予也開始了他對中國當時藝術(shù)真正的接觸，他迅速做出判斷，換掉大部分古董精品，而是挺虔誠的把一切代表時代性的重要符號請進了自己的家門。他收藏的繪畫藝術(shù)家名單里，我們看到幾乎作為中國當代藝術(shù)中堅力量的形象都在其中。

Like most Chinese collectors, Huang Yu never received systematic art history training, though his entry into the field of collecting was no accident. Like many older collectors, he first began in the realm of antiquities, cultivating an interest in classical art. His mother’s Buddhist faith led him to research her beloved Buddha statues, making his eventual arrival in the contemporary art collecting scene at once coincidence and destiny. He joined the Minsheng Art Museum collection system as an assistant in 2007, at a time when that museum was making its mark on Chinese contemporary art history as a radical collecting organization. That was also when Huang Yu began to truly encounter Chinese contemporary art. He immediately decided to trade in most of his antiques and warmly welcome the icons of the current times into his life. Among the names in his collection we see many of the images that are the driving forces behind Chinese contemporary art.

繪畫作為一個古老而又未來的形象，帶著記憶的深淵，帶著未來的不可知性。黃予的繪畫教育是一種自我的教育，在鋪天蓋地的形象與形式中，他還是敏銳的、同時也是精挑細選的做著收藏。曾經(jīng)對古董的把玩收藏在這時竟然能給他很好的經(jīng)驗，憑著一些成功的經(jīng)驗和失敗的經(jīng)歷，黃予有次很真實的說，我還算挺過來了。這之后，他就不再打算放棄了。他比較踏實的認可他要留住的形象。當然他知道前途漫漫還很艱難，復(fù)雜性越來越多的情況下，如何能保持他的收藏的畫像不變，他自己的面目不變，這都變成了存在之根本。

As an image of both ancient past and future, painting encompasses the profound depths of memory as well as the unknowable reaches of the future. Huang Yu’s education in painting was self-directed. Among the myriad images and forms, he has a keen eye, allowing him to make careful, deliberate acquisitions. His time as a connoisseur of antiques has provided him with valuable experience, from both his successes and failures, but what matters is that he has made it, and he will not give up. He has faith in the images he wishes to keep. He is aware, of course, that the path before him will be a difficult one. In a time of increasing complexity and diversity, the retention of an unchanging vision becomes the key to survival.

一個想要在收藏歷史中留下來的收藏家，他的面貌會越來越明朗，他一定想要建立一個重要的體系。黃予就是想要走這樣的道路，他借鑒前輩的知識經(jīng)驗和經(jīng)歷，在過去與未來之間找到自己的位置。首先他面臨的問題是，他如何讓自己的觀念區(qū)別于前代收藏家，他如何超越前面的經(jīng)驗，他如何形成獨特的工作體系。還有放在黃予和他的同代收藏家面前的一個最大的疑問，如何面對資本。似乎我們已經(jīng)習慣于把資本游戲與藝術(shù)收藏聯(lián)系在一起的今天，這是最需要去樸素面對的問題，收藏家在這個意義上可能是最矛盾的人，究竟是要朝圣藝術(shù)，還是要資本贏利。對此黃予有自己的想法，他說，我們沒有那么大的資本力量去留住一個時代，但是我們有自己的判斷和抵抗方式，收藏本身就是一件既難過又幸福的事情，有時候我心里充滿了希望，有時候我又突然絕望。

Any collector who wishes to leave a name in history must present an increasingly clear vision, and will surely aspire to establish an important system. This is the path that Huang Yu wishes to take. He draws from the knowledge and experience of his predecessors to find his position between past and future. His first question is how to distinguish his ideas from collectors of the previous generation, transcending past experience to form his own working system. Another great question facing Huang Yu’s generation is how to confront capital. This is an issue worth confronting with honesty in this day and age, when we seem to have grown accustomed to linking games of capital with art collecting. In this regard, the collector may be the most conflicted. Does the collector want to worship art, or profit? Huang Yu has his own views on this issue. He says we may not have enough capital to preserve an entire era, but we do have our own judgment and means of resistance. Collecting is a source of both sadness and joy. Sometimes it fills him with hope, sometimes it leaves him suddenly hopeless.

2015年底，黃予離開了中國民生銀行體制，他在一個豐富多樣又種種沖突的局面里，開始了個人之路。他需要堅定的對自己的收藏負責，他需要巧妙的與資本周旋，他需要面對希望、失望、上升、墮落等等現(xiàn)實，他在收藏我們這個時代最觀念的符號的時候，他在觀與視的時候，面對著一個聲音，要神學(xué)還是要神話。

Huang Yu left the Minsheng Bank system in late 2015, setting out on his own individual path through a diverse and difficult scene. For this, he must maintain a sense of responsibility to his collection, must skillfully deal with capital, and must face hope, disappointment, rises and falls. As he collects the most conceptual icons of our era, as he looks, sees and listens, he must choose between theology and mythology.

2016年5月，黃予個人收藏展就要開幕。他與這個時期最有影響力的藝術(shù)家們一起展開一次視覺形象的回顧，畢竟，這是他12年來的成績，也是他12年來對藝術(shù)的朝圣。

The exhibition of Huang Yu’s personal collection is set to open in May 2016. He joins with the most influential artists of this period for a visual retrospective, one that represents twelve years of his achievements, and twelve years of his artistic pilgrimage.

文／郭小力        2016年4月

Guo Xiaoli

April 2016