黄戈近年的作品，主要采取二联画或三联画的形式，表现同一场地不同的时间节点，比如医院，第一幅有人在等待，第二幅医护人员出现，第三幅无人，只剩下空空荡荡的医院。黄戈表现的不是时间，也不是某一件具体事情的不同场面，他只是平静而且含蓄地描绘场景的变更，以及场景的变换所引起的心理情绪。

Huang Ge's works in recent years mainly take the form of two or three couplets, which show different time nodes on the same site, such as the hospital. In the first picture, there are people waiting, the second picture shows medical staff, and the third one is empty, leaving only empty hospitals. Huang Ge's performance is not time, nor the different scenes of a specific thing. He just calmly and implicitly describes the change of scene and the psychological emotion caused by the change of scene.

尽管黄戈提取的空间场景，都是他居住或行动周边经常造访的地点，但黄戈一直以来都不是一位局限于小情小调的画家，他很少表现纯粹私密化的景观，而是选取私人化与社会化、个体生活与公共往来交织的场所，比如火车车厢、大剧院、地铁站等。黄戈描绘它们的外观立面、内部结构、功能属性、人群活动，其中含有微妙的宿命感，不仅体现于画中人的存在与消失，也包括场地自身由于人的曾经存在与消失所引发的荒谬。

Although the space scenes extracted by Huang Ge are all the places he often visit around his residence or activities, Huang Ge has not been a painter confined to minor tunes. He seldom shows purely private landscapes, but chooses places where the interaction between private and social, individual life and public interaction interweave, such as train cars, grand theater, subway station, etc. Huang Ge describes their external facade, internal structure, functional attributes and crowd activities, which contains a subtle sense of fatalism, which is not only reflected in the existence and disappearance of people in the painting, but also includes the absurdity caused by the existence and disappearance of human beings in the field itself.

时间流变的因素在黄戈近年的画作里，是显著的，但不是核心。众所周知，绘画自身具有不可避免的静止特性，既是优势，也是劣势。劣势方面，体现为它不能完全适应快速变化的当今世界和海量的图像传播；优势方面，它不同于电影，绘画能够让迅疾变更的场景停住，以便观众的凝视，电影往往按照既定的时间步伐播映，在影院里观众没有仔细观看已过去场景的机会，如同在中国快进式的社会节奏当中，人们也没有驻足的时间。黄戈采取的绘画方式，是刻意让不同的场景停留，以便我们自己设定速度，在画家绘制的场景中来回进出。黄戈想停住的、想抓住的，看上去是眼前的时刻，作家米兰·昆德拉曾经感叹：“看上去好像没有比现在时刻更明显、更可感知、更可触及的东西了。其实，我们根本无法抓住现在时刻。生活的所有悲哀就在这一点上。就在那么一秒钟内，我们的视觉、听觉以及嗅觉（有意识或无意识地）记录下一大堆事件，同时有一连串的感觉与想法穿过我们的脑子。每一个瞬间都是一个小小的世界，在接下来的瞬间马上就被遗忘了。”如果简练一点，归纳一下他的意思是：生活中所有的悲哀就在于我们无法抓在现在时刻。这一判断可能过于诗意化了，中国当代太多的悲哀，不仅只是在于无法抓住现在时刻，而是有太多的过去、现在和未来，都令人悲哀。

In Huang Ge's recent paintings, the factors of time change are significant, but not the core. As we all know, painting itself has the inevitable static characteristics, which is both advantages and disadvantages. In terms of disadvantages, it can not fully adapt to the rapidly changing world and massive image transmission; in terms of advantages, it is different from film. Painting can stop the rapidly changing scene so that the audience can gaze. The film is often broadcast according to the established time step. In the cinema, the audience does not have the opportunity to watch the past scene carefully, just like in the fast-moving society of China In the rhythm, there is no time for people to stop. Huang Ge's painting method is to deliberately let different scenes stay, so that we can set our own speed, in and out of the painter's scene.What Huang Ge wants to stop and grasp seems to be the moment in front of him. The writer Milan Kundera once sighed: "there seems to be nothing more obvious, more perceptible and more palpable than the present moment. In fact, we can't grasp the moment at all. All the sorrow of life is at this point. Within that second, our vision, hearing and smell (consciously or unconsciously) record a lot of events, and a series of feelings and thoughts pass through our minds. Every moment is a small world, and it will be forgotten in the next moment To sum it up, he means: all the sorrow in life is that we can't grasp the present moment. This judgment may be too poetic. Too much sorrow in contemporary China lies not only in not being able to grasp the present moment, but also in too many past, present and future.

2018年“大剧院”三联画，包含首幕、中幕、尾幕。首幕：舞台上放置全部演奏器材；中幕：舞台上余下一张孤零零的座椅；尾幕：空无一人，仅剩场景。随着事件活动的展开，人总会存在、流变、消失，物件或场景或许能更持久地存在，但仍旧终将不免朽败。人的流变其实不难理解，物件或场景由于人的存在与消失所形成的荒谬感，才是更加细微的部分。黄戈近年采取的绘画方法也不是他独创，其他艺术家采取过类似的画面处理手段，但对他来说，揭示现实问题的重要性要大过手法和方式独创的重要性。当下场景的重要性，正如法国哲学家让—克洛德·米尔纳所言，它能引发我们对时代的愤怒激情：愤怒是这个世界上最普遍的东西。也就是说，没有任何人会觉得应该体会到比当下更盛的愤怒，然而，愤怒永远是局部的，因此也就是有选择的，每个人都根据自己的想象力来衡量愤怒的理由和程度，并且，愤怒是与当下情景相关的，激起愤怒却不说明时间和地点，只能算作布道；激起愤怒，同时指明时间和地点，则是一种筛选。黄戈保持着对时代的愤怒激情，他对时间和地点的明确化，就是一种筛选。

The "Grand Theatre" trilogy in 2018 includes the first act, the middle act and the last act. The first act: all the performance equipment is placed on the stage; the second act: a lonely seat is left on the stage; the last act is empty, only the scene is left. With the development of events and activities, people will always exist, change and disappear. Objects or scenes may exist more permanently, but they will inevitably decay. In fact, it is not difficult to understand the change of human beings. The absurdity formed by the existence and disappearance of human beings is the more subtle part. Huang Ge's painting method in recent years is not his original creation. Other artists have adopted similar picture processing methods, but for him, it is more important to reveal the real problems than to create the techniques and methods. The importance of the present scene, as the French philosopher Jean Claude Milner said, can arouse our anger and passion for the times: anger is the most common thing in the world. That is to say, no one will feel that they should feel more anger than the current situation. However, anger is always local, so it is selective. Everyone measures the reason and degree of anger according to his imagination. Moreover, anger is related to the current situation. Arousing anger does not explain the time and place, but can only be regarded as preaching. Arousing anger, at the same time, is a sermon Indicating the time and place is a kind of screening. Huang Ge maintains his anger and passion for the times. His definition of time and place is a kind of screening.

2019年他创作的二联画《街口卯时》、《街口酉时》，同一处街口，卯时无人，酉时出现两个行人；《玉桥中路124号》，三联画：第一张画两个电梯关闭，空无一人；第二张画两个电梯有人进出；第三张画又空无一人，但其中一个电梯开着门，留下行人活动的痕迹，不同于第一张完全没有人的活动。在全球当代艺术发展的趋势中，对社会环境的表现远远超过或从数量上多于对自然环境的表现，虽然现在“艺术乡建”等活动也在一定程度上推动和贡献了对自然的更多关注，但在城市里工作的艺术家还是更倾向于通过对社会环境的描绘来表达他们的感受和观念。为了暗示和揭示各类功能性的建筑机构对人群活动的相互影响，黄戈没有采用写实的表象手法，他坚持本质化的、结构式的、块面式的视觉归纳方式，将建筑或场景加以概括和简化，形成诸多有意味的景象结构。

In 2019, he created two couplets, 5 a.m. to 7 a.m. at Crossroad and 5 p.m. to 7 p.m. at Crossroad. In the same street, there was no one at 5 a.m. to 7 a.m. and two pedestrians appeared at 5 p.m. to 7 p.m. In 124 Yuqiao Middle Road, there are three couplets: the first picture shows that two elevators are closed and empty; the second picture shows that two elevators are in and out; the third picture is empty, but one of the elevators is open, leaving traces of pedestrian activities, It's different from the first one where there's no one at all. In the trend of global contemporary art development, the performance of social environment is far more than that of natural environment. Although the activities of "art rural construction" have promoted and contributed to more attention to nature to a certain extent, artists working in cities are more inclined to express their feelings and ideas through the description of social environment. In order to hint and reveal the interaction of various functional architectural institutions on crowd activities, Huang Ge did not use realistic representation technique. He insisted on the visual induction of essentiality, structure and block, and summarized and simplified the buildings or scenes to form many meaningful scene structures.

黄戈的上一次展览——2015年的个展，我提出主题“仿真景观”，“仿真”不是对现实场所的再现，而是与现实极其相似的替代景观，黄戈2015年前后的画作创造的场景或景观具有“仿真”的特性，既能唤起对现实世界的想象，又能够保留作为独立世界的自足性。而2020年《吞噬》的展览，则聚焦于现实世界，减弱“仿真”的虚构隐喻，这也许和他近年对现实社会更加深刻的体会和认识有所关联。

Huang Ge's last exhibition in 2015, I put forward the theme of "simulation landscape". Simulation is not a representation of real places, but an alternative landscape that is very similar to reality. The scenes or landscapes created by Huang Ge before and after 2015 have the characteristics of "simulation", which can not only arouse the imagination of the real world, but also retain the self-sufficiency as an independent world. The exhibition of swallow in 2020 focuses on the real world and weakens the fictional metaphor of "simulation", which may be related to his more profound experience and understanding of the real society in recent years.

虽然常年生活和工作在北京，黄戈还是怀有一种漂泊感，离开北京的念头也长期挥之不去。除了在北京的生活缺乏归宿感，还有就是，黄戈始终对外界和新鲜事物充满向往，他经常骑车、开车去往南北各地。《吞噬》展览里的作品，黄戈绘制的场景都是毫无个性的，而且由于都是现实中的场景，它们往往给人以似曾相似的感觉。同时，黄戈在画中统一使用的冷漠色彩，更是强化了场景的个性全无，色彩的冷漠带来场景的冷漠，它们均属于漂泊无根的状态，画面颇具心理效应。关于冷漠的色彩或安静的灰色调，黄戈自己曾谈起：“每个人擅长的东西都不一样，也许有的人画面内容很丰富，有的人画面色彩很鲜艳，有的人画面视觉效果很具张力，也许这些都不是我擅长的，我能做的就是满足自己内心的需求，不愿意让画面再重复出现同一形象，所以新的画几乎每一张画都是不一样的，看起来都貌似毫无关联，唯一看起来还有点相似的就是那安静的灰色调。”从黄戈以往的作品来看，他也能画出色彩鲜艳的画面，但他的鲜艳不是那种过于浮浅的鲜艳，其鲜艳里总带有一种沉着或深重。黄戈自己意识到，鲜艳对他来说，总是有些勉强。问题在于他为什么选择灰色调，我认为核心在于对社会中存在的却不可见的吞噬力量之展现。

Although he lives and works in Beijing all the year round, Huang Ge still has a sense of vagrancy, and the idea of leaving Beijing is lingering for a long time. Besides the lack of a sense of belonging in Beijing, Huang Ge always yearns for the outside world and new things. He often rides and drives to the north and south. In the works of engulf, Huang Ge's scenes are impersonal, and because they are real scenes, they often give people a similar feeling. At the same time, Huang Ge's unified use of indifference in his paintings strengthens the lack of personality of the scene. The indifference of color brings the indifference of the scene. They all belong to the state of wandering and rootless, and the picture has a psychological effect. As for the indifferent color or quiet gray tone, Huang Ge once said: "everyone is good at something different. Maybe some people's pictures are rich in content, some people's pictures are colorful, and some people's pictures have strong visual effects. Maybe these are not what I'm good at. What I can do is to meet my inner needs, and I'm not willing to let the pictures appear the same again Image, so almost every new painting is different. It seems to have nothing to do with it. The only thing that looks a little similar is the quiet gray tone. " Judging from Huang Ge's previous works, he can also draw colorful pictures, but his bright colors are not too superficial and bright, and there is always a kind of calm or deep in the bright colors. Huang Ge realized that bright color was always a little reluctant for him. The question is why he chose the gray tone. I think the core lies in the display of invisible devouring power in society.

当代人对当代社会的功能和运作方式所知不多，由于我们不是决策者，我们不知道、也不需要是谁拥有吞噬的力量，决策者的目标是什么，我们需要深究的是：社会是如何被某种力量吞噬的，在吞噬力量真实有效的社会现实结构里，吞噬是如何以各种形象出现的；吞噬的对象和应用领域如何显现，并直接作用于我们的；在规定我们的存在和肉身的种种姿势，以及行为表现的过程中，吞噬的力量是怎样达成的；谁在替我们决定我们的行为和不得已的选择，谁在阻止我们做这件事情，又在诱导我们去做另外一件完全不同的事情；是什么力量迫使我们居住和生存在某一处，又是什么样的力量诱导我们去往其它地方。黄戈近年的画作，最核心的正是以上诸多隐形却又实际的社会问题，我把该力量的施展过程称之为“吞噬”。黄戈始终关注社会，他对自己从事艺术的态度，定位非常明确，他认为“艺术及艺术家的价值在于精神上的独立，道德良知与责任感，在于敏感地触及社会问题的神经末梢，并用个人的视觉语言方式提供一份视觉方案，这是我对艺术的态度。”或许，艺术在社会的吞噬力面前，显得无能为力，黄戈在力所能及的责任范围内提供的视觉方案，并不是要解决任何社会问题，而是以视觉的方式提供观察世界的不同角度，作为个人化的创造，艺术总是另外一种觉醒的力量，是一种与沉睡进行艰难决裂的行动。

The contemporary people do not know much about the function and operation mode of the contemporary society. Because we are not decision makers, we do not know and do not need who has the power of swallowing and what is the goal of the decision-maker. What we need to study deeply is: how the society is engulfed by a certain force, and how the swallowing appears in various images in the real and effective social reality structure of swallowing power; How the objects and application fields of devourer appear and directly affect us; how the power of devourer is achieved in the process of stipulating our existence, various postures of the physical body, and behavior performance; who is determining our behavior and forced choice for us, who is preventing us from doing this, and inducing us to do another completely different thing What forces force us to live and live in one place, and what forces induce us to go elsewhere. The core of Huang Ge's paintings in recent years is the above-mentioned invisible but practical social problems. I call the exertion process of this power as "swallowing". Huang Ge has always been concerned about the society. His attitude towards art is very clear. He thinks that "the value of art and artists lies in their spiritual independence, moral conscience and sense of responsibility. They are sensitive to touch the nerve endings of social problems and provide a visual scheme with personal visual language. This is my attitude to art." Perhaps, art is powerless in the face of social devourer. Huang Ge's visual scheme within the scope of his ability is not to solve any social problems, but to provide different perspectives of observing the world in a visual way. As an individual creation, art is always another awakening power, and an action to break with deep sleep.

段君