展覽海報(bào)
式外空間很榮幸?guī)?lái)藝術(shù)家李鋼的武漢駐地藝術(shù)項(xiàng)目“遺忘”,這是藝術(shù)家首次面對(duì)一個(gè)城市為對(duì)象去行動(dòng),在反復(fù)斟酌中創(chuàng)作六件全新且不同類(lèi)型作品,同時(shí)這些作品也是藝術(shù)家創(chuàng)作概念向前推進(jìn)的堅(jiān)實(shí)一步。
展覽“遺忘”現(xiàn)場(chǎng),武漢,2024
展覽“遺忘”現(xiàn)場(chǎng),武漢,2024
展覽“遺忘”現(xiàn)場(chǎng),武漢,2024
李鋼,《均碼》,2024,墻體刻字、尺寸可變
李鋼近年來(lái)的創(chuàng)作核心始于他相信作品實(shí)體在歷史的某個(gè)時(shí)間節(jié)點(diǎn)一定真實(shí)存在,其中對(duì)象的基本屬性如距離、質(zhì)量、材料等變量構(gòu)成了它們之間的相互作用的關(guān)系,藝術(shù)家只需要在其中給出確定的信息,對(duì)象的屬性便開(kāi)始展開(kāi)連鎖效應(yīng),構(gòu)成地理、時(shí)間、歷史的結(jié)界。
展覽“遺忘”現(xiàn)場(chǎng),武漢,2024
李鋼《何為無(wú)限》 2024年 水、鋁盆、銅盆、陶碗、牛角杯、 尺寸可變
具體說(shuō),在李鋼早期重要的創(chuàng)作中,作品《念珠》是公眾信仰賦予作品力量,但近些年藝術(shù)家逐漸有意識(shí)剔除創(chuàng)作過(guò)程中出現(xiàn)的復(fù)雜信息,保留作品最為初始簡(jiǎn)潔的概念,在這個(gè)條件下,與《念珠》相對(duì)應(yīng)的作品《河流》誕生。做一個(gè)假設(shè),如果將作品《念珠》放置在沙漠中不斷風(fēng)化,通過(guò)時(shí)間自然的洗刷與打磨最終形成作品《河流》,這一演變關(guān)鍵在于是李鋼在明確自己工作方法中形成的,在兩件制作思路完全一樣的作品中,《河流》更為亙古且富有靈韻,“觀(guān)念之美”在后者被凸顯出來(lái)。至此,李鋼逐漸建立了以物質(zhì)自覺(jué)的創(chuàng)作的基本法則,開(kāi)辟一個(gè)更宏觀(guān)的創(chuàng)作圖景,并堅(jiān)決成為了絕對(duì)“觀(guān)念”捍衛(wèi)者。
展覽“遺忘”現(xiàn)場(chǎng),武漢,2024
展覽“遺忘”現(xiàn)場(chǎng),武漢,2024
李鋼,《耗材》,2024,斧頭、塑料布、尺寸可變
在此基礎(chǔ)上,李鋼認(rèn)為物體自身具備的時(shí)間、距離、質(zhì)量、異變等因素不需要任何加工,它本身的作用就存在于時(shí)空之中。比如作品《誓言》里,李鋼確定了石頭重量的法則是一到十千克,但更為廣泛和抽象的理解是它們“確切的重量”,“確切的重量”這個(gè)概念精彩之處在于,既符合了藝術(shù)家對(duì)作品絕對(duì)極簡(jiǎn)的創(chuàng)作理想,同時(shí)還解放了所有散落在大地之上一樣重的石頭,那么也自然將所有石頭歸類(lèi),分組,連接和具體化。以石頭為對(duì)象還有藝術(shù)家早期另外一件作品《星座-蓮池》,在李鋼看來(lái)地上的石頭就是大小不同的繁星,如果我們站在足夠遠(yuǎn)的距離凝視地球,就會(huì)發(fā)現(xiàn)我們的地球本來(lái)就是一顆璀璨奪目的星星,上面存在的你我眾生都是其中發(fā)光的一部分,世上所有石頭“隨機(jī)的距離”賦予了石頭相互之間的美妙存在。那么如果將這兩件作品的概念合二為一,所有有確切總重量的石頭都像點(diǎn)燃光點(diǎn)一般散落覆蓋于大地之上,編制成一個(gè)巨大的網(wǎng)絡(luò),無(wú)限延伸的范圍構(gòu)建李鋼創(chuàng)作的地理知覺(jué)部分。
展覽“遺忘”現(xiàn)場(chǎng),武漢,2024
李鋼,《地心說(shuō)》,2024,蝸牛、尺寸可變
李鋼,《地心說(shuō)》,2024,蝸牛、尺寸可變
回到李鋼展覽項(xiàng)目《遺忘》,藝術(shù)家在武漢長(zhǎng)江考察數(shù)天,發(fā)現(xiàn)長(zhǎng)江邊的蝸牛殼的螺旋紋理都是逆時(shí)針向左旋轉(zhuǎn)的,藝術(shù)家懷有對(duì)例外的篤信,并決定尋找和當(dāng)?shù)匚伵B菁y方向完全相反的蝸牛,展覽呈現(xiàn)的就是將正反旋的蝸牛殼的地理坐標(biāo)移至展廳之中。藝術(shù)家這件作品在觀(guān)念上更進(jìn)一步的是去除了藝術(shù)家主觀(guān)確立的法則,反旋蝸牛殼萬(wàn)分之一的概率便是蝸牛殼自帶的特殊性,李鋼將作品以《地心說(shuō)》命名,是將蝸牛的異變與數(shù)千年歷史相對(duì)照,引發(fā)對(duì)慣性認(rèn)知的質(zhì)疑與思考。假設(shè)更進(jìn)一步,真實(shí)情況或許是反旋蝸牛的異變,它存在的歷史可以追溯到遠(yuǎn)古時(shí)期,那么“地心說(shuō)”更多是李鋼想引出一個(gè)更久遠(yuǎn)的時(shí)間維度的概念,即過(guò)去亦或是未來(lái)都會(huì)被慣性認(rèn)知所誤解的真實(shí)歷史,李鋼提出的這一問(wèn)題就如同李鋼用蝸牛殼微小的漩渦打開(kāi)了水面的平衡激發(fā)無(wú)限的漣漪,不斷擴(kuò)散,觸及到多維的歷史邊界,那么展廳呈現(xiàn)的反旋蝸牛的時(shí)光倒流給武漢這個(gè)坐標(biāo)無(wú)限的歷史遐想。
展覽“遺忘”現(xiàn)場(chǎng),武漢,2024
李鋼,《地心說(shuō)》,2024,蝸牛、尺寸可變
展覽“遺忘”現(xiàn)場(chǎng),武漢,2024
在李鋼構(gòu)建的作品結(jié)構(gòu)里,作品之間的交疊,搭建了藝術(shù)家關(guān)于地理和歷史以及情感的經(jīng)緯,無(wú)限的延展讓藝術(shù)家其它創(chuàng)作得以在一個(gè)更為宏大的時(shí)空進(jìn)行。其中本次項(xiàng)目作品《日拋》極限的縮小時(shí)間的范圍,弱化時(shí)間的概念,另一件作品《耗材》則把“歷史更迭”作為時(shí)間的依據(jù),暗示歷史反復(fù)重現(xiàn)。作品《新道德》和《均碼》又是把歷史的反復(fù)微觀(guān)到個(gè)體生命的絮叨與回響。展覽“遺忘”六件作品也無(wú)一不是在時(shí)空的概念中去訴說(shuō)聲音、歷史、時(shí)間在這個(gè)無(wú)限坐標(biāo)內(nèi)的即將或已經(jīng)被遺忘的記憶,以這個(gè)展覽為始,藝術(shù)家不只是借助狡黠的思維去賦予作品更多的巧思,而是在搭建結(jié)構(gòu)的框架里去喚醒物本身的意義。
李鋼,《日拋》,2024,聲音裝置、塑料袋、尺寸可變。
展覽“遺忘”現(xiàn)場(chǎng),武漢,2024
李鋼,《新道德》,2024,A4紙、豬油、牛皮紙,尺寸可變
展覽作品介紹
《地心說(shuō)》 李鋼 2024年 蝸牛殼 獨(dú)版 Geocentric Theory 2024 Snail Shells Exclusive Edition
作品以中世紀(jì)時(shí)期著名認(rèn)識(shí)論“地心說(shuō)”來(lái)命名,地心說(shuō)這一理論影響統(tǒng)治著世界上千年之久,后來(lái)被驗(yàn)證為是錯(cuò)誤的認(rèn)識(shí)論。認(rèn)識(shí)論會(huì)直接作用于人的世界觀(guān),形成思維定式并影響人的價(jià)值觀(guān)趨向,最終成為某種認(rèn)知慣性。
藝術(shù)家在武漢長(zhǎng)江邊游走,發(fā)現(xiàn)江邊蝸牛殼的螺旋紋理都是逆時(shí)針向左旋轉(zhuǎn)的,經(jīng)實(shí)地考察、走訪(fǎng)并再次驗(yàn)證了這一說(shuō)法。然而,藝術(shù)家懷有對(duì)例外的篤信,并決定尋找和當(dāng)?shù)匚伵B菁y方向完全相反的蝸牛,尋找反向蝸牛這一行為,正是對(duì)以往認(rèn)知慣性發(fā)起的質(zhì)疑與挑釁,當(dāng)這只反向蝸牛真正出現(xiàn)之時(shí),此時(shí)的認(rèn)知慣性也隨之發(fā)生著松動(dòng)。
The work is named after the "geocentric theory", a famous epistemology in the Middle Ages, which influenced and dominated the world for thousands of years, but was later proven wrong. Epistemology will directly affect people's worldview, form a mindset and influence value orientation, eventually become a kind of cognitive inertia.
The artist wandered along the Yangtze River in Wuhan and found that the spiral pattern of the snail shells on the riverside was counterclockwise rotation. With some field investigation, he eventually verified the observation. However, the artist, holding a firm belief in exceptions, decided to look for local snails with the opposite spiral pattern rotation, The act of looking for reverse snails is that a questioning and provokes the previous cognitive inertia. So when the snail shell with the opposite spiral pattern rotation really appears,at that time,the cognitive inertia is also loosening.
《均碼》 李鋼 2024年 墻體鏟鑿工藝 三版二AP 尺寸可變 Equal Size 2024 Wall Chiseling Technique 3 Edition/2 AP Size Variable
藝術(shù)家在展廳的一面墻上鑿去墻皮留出“我們忘記了想要記住的事情”,在另一面墻上鑿刻出字跡“我們記住了想要忘記的事情”兩句話(huà)。這里出現(xiàn)的記住和忘記變得偶然不可控,越是想要達(dá)到的卻往往事與愿違。
“均碼”這一作品以文字觀(guān)念直接的說(shuō)出“遺忘”在人的生命情感中的偶然性,它的不可控性有時(shí)像是來(lái)自上蒼的禮物,但有時(shí)又像是一場(chǎng)災(zāi)難。在時(shí)間這里“遺忘”成了情感唯一的救贖。
In the exhibition hall, the artist chiseled off the plaster on one wall to leave the words "We forget what we want to remember"and carved out the words "We remember what we want to forget" on another. Here, the "remembering" and "forgetting" become accidental and uncontrollable, suggesting that the more we want to achieve, the more backfire we may often get.
The work "Equal Size", that builds on textual concept to directly speaks of the accidental of "forgetting" in human life and emotions. Its uncontrollability may seem like either a gift from heaven or a disaster. Within time, "forgetting" has become the only salvation of emotions.
《耗材》 李鋼 2024年 裝置 鋼鐵斧頭木頭 六版二AP 尺寸可變 Consumed 2024 Installation Steel Axes and Wood 6 Edition/2 AP Size Variable
斧頭是典型的爆發(fā)力型的劈砍工具,因?yàn)橛兴俣鹊膮⑴c劈砍強(qiáng)悍有力,可以瞬間對(duì)劈砍對(duì)象造成破壞,它的使用顯得原始和野蠻,而當(dāng)斧頭把兒被折斷之時(shí),這一切徹底被中斷,斧把兒的缺失阻隔了爆發(fā)力的參與,是對(duì)力度的取消。折斷斧把兒,這一粗暴的行為瞬間覆蓋了斧頭的原始與野蠻。
The axe is a typical chopping tool withexplosive power.Because of the speed involved in the chopping move, the axe is powerful enough to instantly cause damage to the chop object. The use of axe seems primitive and barbaric, but when the axe handle is broken, the whole process gets completely disrupted. The absence of the axe handle blocks the participation of explosive power,that is a cancellation ofthe force.And the violent act of breaking the axe handle instantly covers up the primitiveness and barbarity of the axe itself.
《日拋》 李鋼 2024年 聲音裝置 塑料袋 六版二AP 尺寸可變 Daily Disposables 2024 Sound Installation 6 Edition/2 AP Size Variable
今天,既是昨天的明天,也是明天的昨天。
藝術(shù)家把昨天的聲音錄制下來(lái)在今天播放,今天播放的聲音也同樣被錄下來(lái)等到明天放。就這樣今天的聲音一直以包含的方式覆蓋著昨天的聲音,持續(xù)重疊下去。作品以“天”的時(shí)間概念提醒著觀(guān)眾,當(dāng)下現(xiàn)代性洪流趨勢(shì)的時(shí)代是按天的單位在變化迭代的。
Today is both the tomorrow of yesterday and the yesterday of tomorrow.
The artist recorded the sound of yesterday and has it played today, and the sound played today is also recorded and will be played tomorrow. Through such a pattern, the sound of today will be covering the sound of yesterday in an inclusive way and continuously overlapping. With the concept of "day", the work reminds the audience that the current era of modern trends is also changing and iterating by the unit of day.
《何為無(wú)限》 李鋼 2024年 裝置 水、鋁盆、銅盆、陶碗、牛角杯、 六版二AP 尺寸可變 What is Infinity? 2024 Installation Water, Containers 6Edition/2 AP Size Variable
水中的容器各自保持著各自的重量,一層套一層的漂浮在水上,像宇宙一樣遵循著某種規(guī)律來(lái)維系著各自的能量守恒,不增不減,不多不少。
The containers in the water each maintain their own weight, floating on the water layer by layer. They’re just like following certain laws of the universe to maintain the conservation of their own energy, neither increasing nor decreasing,neither more nor less.
《新道德》 李鋼 2024年 裝置 豬油 、A4紙 6版二AP 尺寸可變 New Morals2024 Installation Lard, A4 Paper 6 Ed ition/2 AP Size Variable
被豬油浸漬過(guò)的紙張,透出了下層原本看不到的字樣——“不要讓食物玷污了你的血液?!边@句話(huà)聽(tīng)上去像是某種信仰或是告誡,而這樣崇高感的話(huà)語(yǔ)其實(shí)是由句式結(jié)構(gòu)所決定的,比如:“不要讓金錢(qián)玷污了你的雙眼。不要讓權(quán)利玷污了你的靈魂。不要讓欲望玷污了你的身體。”等等…這樣像箴言一樣的句式里一般都隱藏著某種煽動(dòng)性,“箴言體”話(huà)術(shù)的廣泛接納反映出了當(dāng)代人群體對(duì)某種規(guī)訓(xùn)與指引的渴望。
The paper, having been soaked by lard, becomes transparent to reveal the words on the next layer that were originally invisible: "Don't let food stain your blood." The sentence sounds like a belief or a warning, and the nobility of such words is defined by how a sentence is structured, such as: "Don't let money stain your eyes", "Don't let power stain your soul", "Don't let desire stain your body", etc. Such a proverb-like sentence structure usually hides a certain kind of incitement, and the widespread acceptance of the "proverb-style" language reflects that contemporary people long for some kind of discipline and guidance.
關(guān)于藝術(shù)家
李鋼 | Li Gang
1986年生于中國(guó)云南,目前生活、工作于北京。
李鋼將藝術(shù)創(chuàng)作視為情感儲(chǔ)存及精神容器的建造,試圖在日常事物自身的語(yǔ)言中尋找與藝術(shù)語(yǔ)言的互涉,以解析傳譯事物發(fā)展中的本源信息及其自我表達(dá),并將其轉(zhuǎn)化為得以保存情感與精神的特別之物。李鋼通過(guò)對(duì)材料上的直覺(jué),強(qiáng)調(diào)出了事物自身物質(zhì)性的內(nèi)在精神及張力,構(gòu)建出作品形式與內(nèi)容之間的平衡,以此來(lái)探索藝術(shù)與感知的界域。李鋼的?作實(shí)踐可以概括為是?種以“物質(zhì)精神“的理念,來(lái)討論藝術(shù)在?的?存情感中所產(chǎn)?的物覺(jué)過(guò)程。
近期展覽:“遺忘”式外空間,中國(guó)武漢(2024); “公?!本煾僧?huà)廊,中國(guó)北京(2023);“物覺(jué)”Galerie Rolando Anselmi,意大利羅馬(2022);“裸色”麥勒畫(huà)廊 北京-盧森,中國(guó)北京(2020); “元音” Galerie Rolando Anselmi,德國(guó)柏林(2019); “虛構(gòu)與象征”Galerie Forsblom,芬蘭赫爾辛基(2017);“Li Gang”麥勒畫(huà)廊 北京-盧森,瑞士盧森(2017)。作品曾參展于:上海當(dāng)代藝術(shù)博物館PSA,法國(guó) Fiminco藝術(shù)基金會(huì),羅馬Palazzo Merulana美術(shù)館,巴黎卡蒂斯特藝術(shù)基金會(huì),華特迪斯尼(中國(guó)),里昂匯流博物館,路易威登基金會(huì)美術(shù)館,巴黎東京宮美術(shù)館,chi K11美術(shù)館,余德耀美術(shù)館,成都知美術(shù)館,成都雙年展,第六屆莫斯科雙年展,第三屆烏拉爾當(dāng)代藝術(shù)工業(yè)雙年展,施泰爾之秋藝術(shù)節(jié)等展覽。
LI GANG was born in 1986 in Dali, Yunnan Province, China. He lives and works in Beijing.Li Gang regards artistic creation as the practice of building emotional storage and spiritual container. To analyze and interpret the source information and self-expression in the development of things/matters, he tries to find the mutual involvement between the artistic language and the language of everyday life, and transforms such mutual involvement into special things that can preserve emotion and spirit. Through his intuition on materials, Li Gang emphasizes the inherent spirit and tension of the materiality of things/matters, and constructs a balance between form and content in artworks, so as to explore the boundary of artistic perception. In summary, Li Gang's practice is a process that is guided by the material spirit as the concept to discuss the “Matter Awaken” generated by art in people’s emotions of survival.
(圖片文字 致謝藝術(shù)家及式外空間)
展覽海報(bào)