1981年出生于四川的黄予是中国近年涌现出的最具实力和专业度的新一代藏家之一，他的艺术品收藏从古代佛造像、瓷器等开始，逐渐转向了当代绘画、雕塑、装置与影像，在民生现代美术馆的工作经历深化了他对于中国当代艺术系统与价值的认知。作为佛教信仰者，同时作为艺术收藏的收益者，黄予为家乡自贡的寺庙捐赠佛像，并且为当年的母校创建"助学基金"，他的另一个梦想是在成都创立美术馆和艺术博览会，持续推动当代艺术在西南地区的生态建构。

本次展览将汇集六十六位重要艺术家的百余件作品，作品涵盖多重媒介和形态，可以视为正在进行中的中国当代艺术的缩影与指南，尤其在观念绘画方面体现出出色的体系性，艺术家的名单包括了从余友涵、李山到谢南星、段建宇及更年轻的探索者们。展览邀请本土最重要的策展人之一、2011年中国当代艺术奖评论奖得主朱朱担任策展，以"新资本论"为题讨论消费主义语境中的当代艺术创作走向及艺术资本的能动性，并将在展览期间举办中国年轻收藏家巅峰论坛，届时将邀请数百位国内外重要美术馆、画廊的负责人，收藏家，商界人士和参展艺术家们等出席。

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有时候在一些场合里，我会经常很幸福的感到，在别人眼里，收藏是一件很美好的事情，收藏艺术是一件很高尚的事情。可是当我安静的时候，细细想这件事情，我会不由自主的想，其实收藏是一种病，收藏所导致的是，你想拥有所有的好东西。这是一种很要命的强迫症。我的收藏强迫症的初始，竟然是源于早年的泡泡糖。在我初中二年级的时候，流行一种泡泡糖，名字叫比巴卜。每一盒泡泡糖有一百个，里面都带有一个附送的比巴卜小乐手。总共有16个比巴卜乐手，而每一盒所附送的小乐手都有可能重复，为了集齐16个不同形象的比巴卜乐手，在三个月的时间里我买了五十几盒泡泡糖，也就是五千多个泡泡糖，我那时候见人就送泡泡糖。这是我最早的收藏经历。当时我就发现了自己收集的爱好，我对喜爱的东西有强烈的拥有的渴望，当时习惯性的事情就是收集。

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.

后来在我很长一段人生中，收集收藏的爱好就一直伴随我。强迫症也一直折磨我，任何事情我都是要求极致，当年健身为了拥有八块完美的腹肌，我甚至把自己炼成了2004年的中国健身先生。我是学金融的，所以到2003年，我很自然的就进入了自己家里的企业，加入了艺术品拍卖的系统里，首先是开始了对古典艺术的研究。2004年开始收藏瓷器杂项，尤其是对明清时期的官窑颇为喜爱，也很想将每个时代的官窑瓷器都能收藏一件，包括当时对于文玩等都非常有兴趣。中国古典艺术很多的丰富性就体现在这些传统形态的艺术品里。我觉得当时我是不自觉的对自己进行着训练，我想找到完美的东西。2006年的时候，我开始对佛像的研究和收藏有了极大的兴趣，当然这也源于我的母亲，她是一位虔诚的佛教信仰者。我从小受她影响，对佛教很热爱。我也能清楚的记得自己当时对收藏佛像是一种很虔诚的心态。直到2007年，我的人生发生了重大转折，那就是我开始了当代艺术的研究涉猎并且收藏。在那个时候我加入了民生系统，而当时民生系统正在积极的介入中国当代艺术的研究和收藏，筹划建立中国当代艺术收藏体系，我正好进入这一领域。当时我对于一个全新的领域进行认识也是非常有热情，并且很努力去学习，那个时候为了能收藏中国当代艺术作品，我将收藏过的100余件古董精品通过拍卖渠道销售了一大部分，只是为了自己能更好的收藏当代艺术作品。但是佛像我没有销售，到今天我都依然保存，因为信仰我会一直保留对佛像艺术的敬畏之心。但是除此之外，我从2007年至今，我的热情和信心全部放在了当代艺术的研究收藏中，而且会一直继续下去。

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.

时光荏苒，我都不知道自己已经经历了12年的收藏历史。2015年底依然对我是个重要的日子，我辞去了民生系统的工作，这时才发现，我的收藏伴随着我人生的成长。12年来一个人的经历和发生的历史，都是和这些当代艺术作品有着千丝万缕的联系。选择成都举办我的个人收藏展有个重要的原因，我是四川自贡人，回到家乡开启这个展览，我的发心就是要给成都的艺术行业及中国当代艺术带来一点正能量。

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

在黄予的收藏中，绘画作品占据了绝大部分。一个人观得的最好的风景应该是大自然赋予的，而一个人心里最可观的形象则是他情感的认可。黄予对绘画的情感几乎成为了他收藏的风格。在他有着相当数量的藏品中，我们可以看到黄予始终带着他的情感与判断来凝视这些最可靠的形象。

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.

从最初那个为了收集泡泡糖赠送的玩具而买了五千多个泡泡糖不断送人的执着的少年形象开始，黄予在内心里就有自己强烈认可的形象。对完美的要求，对代表时代性符号的要求，对审美生活的追求，使他必然走上最终艺术收藏的道路。

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.

在黄予的心里存在着一个巨大的幻想之源，他内心很固执的认为，呼唤他的那些形象是永存的、不可替代的、他紧紧要跟随的、他极度要挽留住的，这也就是他总是说自己是一个强迫症患者。所谓一个强迫症者，就是坚持自己心中的神秘美学。黄予是八十年代之后出生的人，他的生活至少是光鲜的和缓的，不会有丧失一切的深渊感，那么他心中的价值选择体现在何处，什么原因使他一定要留住一些特定的形象，恐怕是他直觉上要达到的尽善，尽美。直觉或许是大多数八零后的一个重要的精神资源。黄予曾经谈到他年少时所接触的一切文化资源和文化信息，所有宏大命题的东西他们都会产生怀疑，而微观和细节却是他们不自主迷恋的。比如他看周星驰的电影，他很自然的就把周氏电影语言融入到生活语言中。

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.

跟大多数的中国收藏家一样，黄予并没有系统的美术史训练，当然他也不是偶然进入收藏的领域，他甚至跟老派的收藏家很像，先是进入文玩古董界，开始对古典艺术发生兴趣，因为母亲是佛教徒的缘故，又对喜爱的佛像造像进入研究，所以机缘巧合，其实也是很自然的进入到了当代艺术领域的收藏。2007年的时候，他进入到民生现代美术馆的收藏体系做助理的工作，民生现代美术馆作为当时一个激进的收藏组织，如洪流般卷入了中国当代艺术的收藏历史。而黄予也开始了他对中国当时艺术真正的接触，他迅速做出判断，换掉大部分古董精品，而是挺虔诚的把一切代表时代性的重要符号请进了自己的家门。他收藏的绘画艺术家名单里，我们看到几乎作为中国当代艺术中坚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.

绘画作为一个古老而又未来的形象，带着记忆的深渊，带着未来的不可知性。黄予的绘画教育是一种自我的教育，在铺天盖地的形象与形式中，他还是敏锐的、同时也是精挑细选的做着收藏。曾经对古董的把玩收藏在这时竟然能给他很好的经验，凭着一些成功的经验和失败的经历，黄予有次很真实的说，我还算挺过来了。这之后，他就不再打算放弃了。他比较踏实的认可他要留住的形象。当然他知道前途漫漫还很艰难，复杂性越来越多的情况下，如何能保持他的收藏的画像不变，他自己的面目不变，这都变成了存在之根本。

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.

一个想要在收藏历史中留下来的收藏家，他的面貌会越来越明朗，他一定想要建立一个重要的体系。黄予就是想要走这样的道路，他借鉴前辈的知识经验和经历，在过去与未来之间找到自己的位置。首先他面临的问题是，他如何让自己的观念区别于前代收藏家，他如何超越前面的经验，他如何形成独特的工作体系。还有放在黄予和他的同代收藏家面前的一个最大的疑问，如何面对资本。似乎我们已经习惯于把资本游戏与艺术收藏联系在一起的今天，这是最需要去朴素面对的问题，收藏家在这个意义上可能是最矛盾的人，究竟是要朝圣艺术，还是要资本赢利。对此黄予有自己的想法，他说，我们没有那么大的资本力量去留住一个时代，但是我们有自己的判断和抵抗方式，收藏本身就是一件既难过又幸福的事情，有时候我心里充满了希望，有时候我又突然绝望。

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，黄予离开了中国民生银行体制，他在一个丰富多样又种种冲突的局面里，开始了个人之路。他需要坚定的对自己的收藏负责，他需要巧妙的与资本周旋，他需要面对希望、失望、上升、堕落等等现实，他在收藏我们这个时代最观念的符号的时候，他在观与视的时候，面对着一个声音，要神学还是要神话。

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，黄予个人收藏展就要开幕。他与这个时期最有影响力的艺术家们一起展开一次视觉形象的回顾，毕竟，这是他12年来的成绩，也是他12年来对艺术的朝圣。

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