八十年代初开始，北京即成为全国艺术家移民的首选之地，但艺术家们也注定陷入再流浪的漩涡，这是北京作为政治中心城市的特色。持续变化的社会产生了记忆，而记忆有时催生出综合艺术的成果，在九十年代，突出的成果是行为艺术、摄影和装置艺术。
Since the early 1980s, Beijing has become the first choice for artists to emigrate from all over the country. However, artists were also destined to fall into the vortex of re-wandering due to the characteristic of Beijing as a political center. The constantly changing societies generated memories, while the memories sometimes give rise to comprehensive art achievements, notably the performance art, photography and installation in the 1990s.
这件《水之上，水之下》作品便是把握了这种存在即流动的敏感，水火的象征、互抵与互生又是易道的主题。黄锐以他特有的洗练手法把它们从消失的记忆中保存下来，创作出仍旧在成长的装置作品。
This work Above Water, Under Water is to grasp the sensitivity of existence as flow, with the symbol of fire and water, mutual resistance and growth as the theme of Tao. Huang Rui preserved them from the disappearing memories with his unique and refined techniques, making the installation works that keep evolving.
荣荣、邢丹文是90年代最具代表性的摄影师，他们当年创作的作品仍旧在此互动。
Rong Rong and Xing Danwen are the most representative photographers of the 1990s, and their works back then keep interacting here.
《水之下·水之上》Beneath and Beyond Water
黄锐作品 | 脸盆装置 | 288x480cm
1992-2021
《夜梦-6》Dream No.6
黄锐作品 | 布⾯油画 | 104.5 × 74.5cm
1983- 2015
《夜梦-7》Dream No.7
黄锐作品 | 布⾯油画 | 74.5 × 104.5cm
1983- 2015
《⽔墙·⽕墙》 荣荣 Water and FireWall
黄锐作品 |银盐 | 40×60cm
1995
《⽔墙·⽕墙》 荣荣 Water and FireWall
黄锐作品 |银盐 | 40×60cm
1995
《⽔墙·⽕墙》 荣荣 Water and FireWall
黄锐作品 |银盐 | 60×40cm
1995
《⽔墙·⽕墙》 荣荣 Water and FireWall
黄锐作品 |银盐 | 40×60cm
1995
《⽔墙·⽕墙》 邢丹⽂ Water and FireWall
黄锐作品 |艺术微喷 | 40×60cm
1995
《⽔墙·⽕墙》 邢丹⽂ Water and FireWall
黄锐作品 |艺术微喷 | 40×60cm
1995
《门廊里的流动的月光》 Floating Moonlight No.5
黄锐作品 |布⾯油画 | 154 × 90 cm
2021
《三⼗六计（⼗⼋计）》 36 Stratagems(18)
黄锐作品 |装置 | 尺⼨可变
1994
孙子兵法中的“三十六计”，无非是易学中的阴阳之道。黄锐把它们制成有限的空间和无限的出口。这是黄锐1994年在北京工作室对外发表的作品。另外的18计正在UCCA北京展出。
The Thirty-six Stratagems by Sun Tzu is a unique collection of ancient Chinese proverbs that describe some of the most cunning and subtle war tactics ever devised. Huang Rui transformed them into limited space and infinite outlets. This is a piece that Huang made in his Beijing studio in 1994. Another 18 are on view at the UCCA Beijing.
