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早在90年代初，李紅軍就已經(jīng)意識到，民間藝術(shù)與現(xiàn)當代藝術(shù)有著密切的關(guān)系，現(xiàn)代藝術(shù)每發(fā)展一步，都是向傳統(tǒng)的成果的回首，向藝術(shù)本體的回歸。他在中國傳統(tǒng)民間美術(shù)的語言方式與西方現(xiàn)代藝術(shù)創(chuàng)作方法的比較中，看到了中國傳統(tǒng)藝術(shù)語言系統(tǒng)向現(xiàn)當藝術(shù)語境轉(zhuǎn)換的可能性。因而，民間美術(shù)一直成為李紅軍藝術(shù)生命中的主要養(yǎng)分。轉(zhuǎn)瞬間時間已經(jīng)掠過了風流云散的二十年，李紅軍聲名日顯，但是他在藝術(shù)創(chuàng)作中的這種對于傳統(tǒng)美術(shù)的謙恭態(tài)度并沒有發(fā)生絲毫的改變。
1996年到2006年的這十年間，李紅軍為人所知的藝術(shù)活動幾乎是一片空白。直到2006年中央美術(shù)學院實驗藝術(shù)招收李紅軍為碩士研究生為止，他一直隱居在陜西的鄉(xiāng)間，照顧病弱的妻子，研究淳樸的民間藝術(shù)，坦然、平淡而與世無爭地活著。
有意見認為2006年以后李紅軍的聲名卓著可以被看成是這之前他低調(diào)生活的某種回報，這種觀點沒有根據(jù)，但是很能令人信服。從李紅軍的作品之中很容易就能看出他的那種與世無爭的生活態(tài)度。正如《宋史》中記載的，文彥博夸獎文同說：“與可襟韻灑落，如晴云秋月，塵埃不到”的話，在這樣一個物欲橫流的時代里，這種品質(zhì)不是隱性的，社會依賴它而維持理性和節(jié)制。為藝就是為人。
李紅軍的作品就像是他的為人，看似簡單，但是柔順、豐富和層次井然。他的作品化繁歸簡，看起來很像某種根據(jù)特殊運算得出的數(shù)學模型。李紅軍據(jù)此試圖表現(xiàn)出一種對于簡單三維空間拓撲結(jié)構(gòu)的敬意。何謂拓撲結(jié)構(gòu)？在這里我們不妨假設(shè)一個（或幾個）點共享某種運動邏輯的原則，在傳統(tǒng)藝術(shù)的范疇之中我們往往只關(guān)注該點的位置，進而確定另外一個點的位置。但是在拓撲結(jié)構(gòu)的世界觀之中，我們不僅僅要記錄下這個點的位置，我們同樣要關(guān)注這個點處于這個位置的時間，還有它和相鄰點在某一位置上的相對順序，或某一順序下的先后位置。這樣，當這個點在這所有因素中的運動狀態(tài)被統(tǒng)計起來的時候，我們就得到了這么一個古怪但是發(fā)人深思的物象模態(tài)原型。
李紅軍成功地找到了自己的創(chuàng)作方法,作品逐漸彰顯出了材質(zhì)語言與觀念表達的延展性和持續(xù)性。他用單一的色調(diào)和無寓意的圖形表現(xiàn)出了一種充沛的情感。正如李紅軍在所有的場合里都念念不忘傳統(tǒng)藝術(shù)對于他的“恩”一樣，他的藝術(shù)創(chuàng)作在一方面是一種個性的、創(chuàng)作焦慮的宣泄，另外一方面也同樣是一種對于傳承文明的堅如磐石的責任感。李紅軍的創(chuàng)作體現(xiàn)出了一個生存在物欲時代的藝術(shù)家的良心。
文/ 王新友
2010年10月24日
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Preface
Since the early 90s Li Hongjun has been aware of the affinity between folk art and contemporary art. Each development of contemporary art is a looking back on the traditional achievements and a regression to the original art. Taking for comparison between the language pattern of Chinese Traditional Folk Art and the creative method of Western Modern Art, he has seen the possibility which Chinese Traditional Art Linguistic System converts into Art Context. Therefore, folk art has always been the main nutrient in Li Hongjun’s art career. Two decades flies, Li Hongjun’s reputation becomes more and more famous, but his courteous attitude to the traditional art has no change in the process of his creation.
From 1996 to 2006, Li Hongjun’s art activities are almost a blank to the people around. While until he became a master degree student in the Experimentation Art Department of Central Academy of Fine Arts, he has been buried alive in the countryside of Shaanxi Province and looked after his sick and weak wife, meanwhile, studying the unsophisticated folk art and standing aloof from the worldly affairs.
There are views that Li Hongjun’s outstanding reputation since 2006 could be regarded as some kind of return of his low-pitched life previously. These kinds of views have no basis, but much more convinced. From Li Hongjun’s works, we can easily see his aloof attitude towards life. Even as the saying recorded in the “History of Song”, Wen Yanbo compliments that Wen Tong is a noble-minded, frank and generous man just like sunny cloud and autumn moon without dust. In this kind of era with much more lust, this quality is not recessive, and the society depends on it to maintain logos and abstention. Engaging in art creation is a conduct of oneself.
Li Hongjun’s works just like his humanness, which seems simple, but facile, abundant and ordered. Li Hongjun attempts to show a kind of respect to the simple three-dimensional Topology. What is Topology? Here we may assume one (or several) point which shares some certain principles of sport logic. We always pay attention to the position of this point in the category of traditional art and then to make sure the position of another point, while in the world view of Topology, we not only record the position of this point, but also pay attention to the time when this point locates in this position as well as its relative order to the adjacent point in a certain position or the successive position in a certain order. In this way, when the state of movement of this point in all factors is statistics up, we will obtain a weird but thought-provoking prototype of imagery model.
Li Hongjun has been found his own creative way successfully, and his works clearly show the ductibility and durative in the language of materials and the expressing way of conception. He uses solo hue and figure without implication to express a strong emotion. As we have seen, Li Hongjun is obsessed with the “benefaction” of traditional art in all occasions. On the one hand, his art creation is a catharsis for individuality and creative anxiety; on the other hand, it is also a kind of rock-firm responsibility for inheriting civilization. Li Hongjun’s creation embodies the conscience of artists who live in Materialistic Age.
Wang Xinyou
Oct. 24, 2010