喻红，中国最重要的艺术家之一。独立的思维、独特的视角和极富个性的绘画语言，作为80年代的“新生代”艺术家，喻红从女性的精神处境、身份和价值观表现现实生活。近四年她的创作进入黄金期，不断出现宏篇巨构，在2009年和2010年连续举办两个反响很大的个展之后，这次在上海美术馆展出的 “黄金界”，将占据上海美术馆一层两大主展厅约2000平米的场馆，由张晴策划，历时一年多的筹备，9月13日开始展出的这个展览将是今年秋季上海艺术热季中最引人注目的大展之一，针对上海美术馆的历史建筑这一特殊空间结构而策划的展览结构和展示方式，将全面呈现喻红近四年的创作脉络和代表作品，“黄金界”是艺术家喻红艺术生涯总结性的一次个展。

喻红本次在上海美术馆将展出29幅作品，展览由三个部分作品组成，展览以“黄金界”命名，突显喻红围绕着金色主题为背景的作品风格，从鸿篇巨构到小幅精品，皆以金色为底，无论是与中国古典绘画还是欧洲宗教绘画传统的对话，还是从俗世生活到超越现实的想象，在幽暗神秘而庄严的展览空间里，这些作品构成时间的隧道和跨越日常经验与神圣性之迷境。

第一个部分为2009年广东美术馆“时间内外”喻红个展的两幅主要作品《春恋图》和《天梯》，长达12米的《春恋图》根据中国古代油画《捣练图》的画面结构图而作；高达六米的《天梯》对应埃及西奈山圣.凯瑟琳修道院的宗教藏画《天梯》。两幅中外古代时期的作品各有其故事，但喻红作品画面上的形象和叙述已经是当今之生活和全新的阐释。

第二部分是2010年北京尤伦斯当代艺术中心喻红个展“金色天景”的全部四组大型天顶画，作品《天井》、《天问》、《天择》、《天幕》，它们分别是喻红对中国传统绘画，敦煌、新疆克孜尔千佛洞壁画以及西方传统绘画作品研读后得到灵感而创作。作品将延续天顶展出的方式，让人们从下往上观看，改变的不仅是作品的观看方式，也象征隐喻着对生命经验的不同感受。

第三部分由从未展出的新作构成，皆为一年来成就的力作。主体作品为一大型祭坛画，从形式到结构都以西方宗教祭坛画出发，融进了中国当代社会生活的复杂场景与生命状态。其它的作品多为对日常生活中那些转瞬即逝的感人时刻的生动捕捉，《不能自己的律动》跳绳系列，《互相角力》拔河系列，《围观》系列等都生动而鲜活的再现了当今社会语境下年轻人的生活状态，看似动态的画面上却永恒的定格了人物丰富的情绪与行动。在这个快速发展和物欲横流的当代社会中，人们的核心价值观发生了巨大的改变，艺术家通过作品对不同时空中的价值观对话和并置，使绘画构筑起沟通当下与历史情境的桥梁，在金色平面背景的衬托下，那些生动而活态的人物形象巧妙地传达出当下人们的无意义状态，并把崇高、唯美、神圣的古代宗教绘画中的至高无上的价值观在当下进行了重新的解构。喻红通过对传统文化的研究和重新解读，结合对现实社会的关注和反省，创作出跨越不同文化樊篱、直追生命本质引起人们重新思考的一种新语意，更突出了作品的层次感。

喻红，1966年出生于北京，毕业于中央美院后留校任教至今，现生活、工作于北京。

本次展览由上海美术馆主办，长征空间协办。同期将由国际出版社CHARTA出版展览画册全球发行。由展览的策展人中国美术馆展览部主任张晴，古根海姆美术馆高级策展人ALEXANDRA MUNROE和著名学者杜小真为画册撰写论文。

An accomplished and versatile painter, Yu Hong (b.1966) is one of China's most celebrated female artists. As one of the New-Generation artists beginning their artistic careers as a revolt against traditional socialist realism in 1980s, Yu Hong centers her practice on her experience as a woman, taking inspiration from both her own everyday life and the lives of others around her. The world that she creates through her art encapsulates a sense of time and memory that is intermingled in the delicate scenes that she portrays. Working on canvas, silk or resin, with oil, pastel or fabric paint, her recent series often result in large-scale works that are personal and emotionally reflective.

Following two the two acclaimed solo exhibitions “In and Out of Time (2009, Guangdong Museum of Fine Art) and “Golden Sky” (Ullens Center for Contemporary Art, 2010), Yu Hong’s “Golden Horizon” will take over Shanghai Art Museum’s main exhibition hall, showcasing a brand new body of new paintings along with a selection her most celebrated works over the past four years.Curated by Zhang Qing, “Golden Horizon” is composed of twenty-nine paintings divided into three sections.  The paintings range from intimate scales to a major composition of multiple canvases and draw on a wealth of research and scholarship related to classic antiquity of Chinese and “Western” art, reflecting Yu Hong’s interest in the idea of spirituality and how it is presented aesthetically and formally in history through architecture and artworks. Yu Hong’s new body of work elevates the banal into the realm of sublimity by preserving those fleeting moments of affection in her day-to-day life on her gold-foiled canvases.

The first section of the exhibition includes two key works, Ladder to the Sky (2008) and Romance of Spring (2008). The six meter high painting Ladder to the Sky is related in subject and composition to The Ladder of Divine Ascent from Saint Catherine's Monastry on Mount Sinai. In Romance of Spring, a work spanning twelve meters in length, Yu Hong takes the classical Chinese Tang Dynasty painting The Court Ladies Preparing Newly-Woven Silk as direct influence.  For Yu Hong, the search for ideas of beauty, the divine and the sacred is a relished daily task found in her immediate social community, her figures, carefully rendered in colorful detail, depict each individual's strength and spirit.

The second section consists of four major frescoes paintings, Atrium (2010), Questions for Heaven (2010), Natural Selection (2010), Sky Curtain (2010).  This body of paintings cites its influence from an Italian ceiling fresco depicting the triumph of Hercules, a Buddhist cave painting in Dunhuang’s Mogao Grottoes, a small etching by Francisco Goya, to a cave painting that once adorned the grottoes of Kizil, in Xinjiang Province. Displaying these paintings on the ceiling in the manner of classical frescoes changes not only the perspective of viewing and the interaction between viewer and subject, but also the perception of art and life.

The third section is composed of brand new paintings made in the past year that will debut in “Golden Horizon”. The central piece is Yu Hong’s most ambitious work to date. It takes the form and composition of classical Catholic altar painting, filling the canvases with ordinary lives in the heightened social, cultural and political situation of China now. The exhibition also includes three new series, Spontaneous Motion, Wrestling and a body of paintings of various snapshots of contemporary lives, such as Silence and Balance among others. Altogether they portray a realistic representation of the everyday experiences, exploring especially how the younger generation maintains the delicate relationship between tradition, career, family life and social expectations.

Yu Hong appropriates iconic western and eastern classical antiquity in the attempt to create works of art that transcend cultural barriers and communicate a language that is universal. Her autobiographical approach to art world friends, family and personal experience against the upheavals of recent Chinese history, give world-changing events a more human significance and put private milestones into a broader context.

Yu Hong was born in Beijing in 1966. She graduated with Master of Fine Arts in 1996 from the Central Academy of Fine Art where she also teaches. She currently lives and works in Beijing.

“Golden Horizon” is organized by Shanghai Art Museum and supported by Long March Space. The official catalogue of the exhibition will be published by Charta.