刹那 | 李易紋個展
THE MOMENT | Li Yiwen Solo Exhibition
香港獅語畫廊 Leo Gallery Hong Kong
藝術家｜Artist
李易紋 Li Yiwen
開幕｜Opening
2024.3.28 周四 Thur. 3 - 6 PM
展期｜Duration
2024.3.28 - 5.8
地點｜Venue
香港｜上環西街46號，獅語畫廊
Hong Kong｜Leo Gallery, 46 Sai Street, Sheung Wan
獅語畫廊於2024年3月28日欣然呈獻李易紋於香港的第二次個人展覽《刹那》，含括藝術家近年來創作的最新同名系列作品。
展覽主題「刹那」源自於佛教對時間跨度的描寫「一彈指六十刹那，一刹那九百生滅」。同名作品系列起初源於藝術家站在西北旅途間遇到的巨大冰山面前，所產生的對時間永恆的敬畏，及對比社會生活中時間的轉瞬流逝所生的感傷。李易紋的藝術創作繪畫始終貫穿著對於時間、空間與時空的思索與興趣，記憶中的經驗和當下的體驗彼此滲透、不斷堆積成為靈感和表達的源頭。
李易紋 Li Yiwen
《刹那 - 8》 The Moment - 8
2023
木板坦培拉及丙烯
Tempera and Acrylic on Wood
40 x 80 cm
在李易紋的繪畫創作中，時間總是多向流動的。時間是靜止的，因為他筆下的物體被植入了虛幻的場景，這種移位造成了一種現實的缺失，令人隱隱不安；時間又向過去延展，因為他筆下的物體通常是人造的（它們有一段物質歷史），或是在人類誕生之前很久就已存在了；時間也投射到未來，因為這些物品可能暗示著它們未來的用途。最終，對於觀眾而言，時間可能會延展。這不僅體現在欣賞作品的過程中，還在於，當我們面對這些憂鬱的時間景觀時，或許會開始自我詰問："我們究竟對這個世界做了些什麼？"
如同在前作系列中遊走於真實與虛幻、日常與荒誕之間的廢棄空間與工業殘景，以及它們所隱隱指向城市化過程中個人複雜的心理體驗，《刹那》也並不是某種現實主義的體現。不同於藝術家描繪中崇高的姿態，現實中的冰山則在加速消融的過程中成為了世界終局的物質預兆。某種層面上而言，李易紋筆下的冰山亦如他的斷垣殘壁和水泥管道，書寫著一種現世警示，激發著對自身存在詰問的迴響。
「對於李易紋而言，『人類應該如何處理我們所面臨的問題』是一個物質性的問題，同樣具有一個物質性的答案。事物在其物質性中才能被認知。世界、自然、感覺和主體性在其物質性中被認識，隨後轉譯成圖像和符號。很可能，這種被稱為藝術的轉譯行為本身並不有益於解決我們的任何實際問題，甚至無助於我們找到『我們究竟對這個世界做了什麼』、『我們又該如何存續下去』的答案。目前，這些冰山的創作只是真實事物的回聲；目前，它們是一位藝術家行為活動的物質沉積。它們存在著，就像這位藝術家存在著。這並不是一個對未來的解決方案，但或許，它是一個開始。」
—— 部分節選自德國策展人、藝術史學者
露絲·諾雅克 (Ruth Noack)《李易紋的時間風景》
李易紋 Li Yiwen
《雙旋 - 2》 Duplex DNA - 2
2023
布面丙烯
Acrylic on Canvas
180 x 300 cm
Leo Gallery is pleased to present “The Moment”, Li Yiwen’s second solo exhibition with us in Hong Kong on 28th March, 2024. The exhibition showcases the artist's latest series of works of the same title, which he has created in recent years.
The exhibition title, "The Moment" is derived from the description of time span in Buddhism, "In the time it takes to snap one's fingers, there are sixty moments; in one moment, there are nine hundred births and deaths." The inspiration for this theme comes from the artist's awe of eternal time, which he experienced while standing in front of a massive iceberg during his journey in the northwest. It also reflects his melancholy perception of the rapid passage of time in social life. Li's artistic creation and paintings always revolve around his contemplation and interest in time and space. Experiences from memory and present moments accumulate as the sources of inspiration and expression.
In Li's artistic creation, time always flows in multiple directions. Time is static because the objects in his paintings are placed in surreal settings, causing a sense of the absence of reality and subtle unease. Time also extends to the past because the objects he portrays are often man-made, with a history of material existence predating human birth. Time also projects into the future as these objects may imply their future purpose. Ultimately, for the viewers, time may expand. This is reflected not only in the process of appreciating the artworks but also in the introspection that arises when facing these melancholic landscapes, prompting our self-questioning: "What have we done to this world?"
Similar to the previous series that traversed between reality and illusion, the abandoned spaces and industrial remnants pointing to the complex psychological experiences in the process of urbanization, "The Moment" is not a manifestation of realism. Unlike the sublime portrayal by the artist, the melting icebergs in reality become material harbingers of the world's ultimate fate. In a sense, the icebergs depicted by Li, just like his crumbling walls and concrete pipelines, inscribe a warning of the present world, provoking echoes of self-existential questioning.
"To Li, the question of “How shall we, humankind, handle the problems we are confronted with?" is a material question that has a materialistic answer. Things are recognized and understood through their materiality. The world/ nature/ sensation/ subjectivity are recognized through their materiality and subsequently translated into images and symbols. It is highly likely that this translational act called art itself does not contribute to solving any practical problems we have, nor does it help us find answers to "what have we done to this world" or "how should we continue to exist." Currently, these iceberg creations are only echoes of real objects; currently, they are material deposits of an artist's behavioral activities. They exist, just as the artist exists. It is not a solution for the future, but perhaps, it is a beginning."
—— excerpt from German curator and art historian
Ruth Noack's "Li Yiwen's Timescapes"
關於藝術家 ｜ About the Artist
李易紋 Li Yiwen
李易紋，生於1982年，出生在中國河南，2006年畢業於中央美術學院壁畫系並獲得學士學位，2011年畢業於中央美術學院壁畫系，獲得碩士學位。現生活、工作於中國北京。
他近年舉辦過的個展包括：北京墨方「共時場」，2023；北京墨方「湍流」，2021；上海獅語畫廊「綿延」，2018；香港獅語畫廊「結體」，2016；比利時布魯塞爾Irene Laub畫廊「李易紋」，2015；北京楊畫廊「李易紋」，2014；北京時代美術館「閃爍不定」，2013等。
他參與的部分群展包括：
「信·息」，蔡錦空間，北京，2022；「記憶的手」，金杜藝術中心，北京，2021；「相遇亞洲 ── 多元化的青年視覺」，四川美術學院美術館，重慶，2018；「北京新語」，三遠當代藝術中心，北京，2018；「繪畫的尷尬」，亞洲藝術中心，北京，2017；「第三屆今日文獻展」，今日美術館，北京，2016；「浪漫的相關性：同一性的混搭 ── AMNUA零方案十二回」，南京藝術學院美術館，南京，2015；「微鏡 ── 5位藝術家的微敘事」，獅語畫廊，香港、上海，2015；「不是繪畫-關於繪畫邊界的探索」，亞洲藝術中心，台北，2015；「第二屆CAFAM未來展：創客創客·中國青年藝術的現實表徵」，中央美術學院美術館，北京，2015；「第六屆成都雙年展主題展 ─ 万有引力」，成都新國際會展中心，成都，2013；「繪畫課III：基礎與極限之構」，楊畫廊，北京，2013；「新視覺：2011 ── 條條框框的生長」，何香凝美術館，深圳，2011；「第二屆今日中國美術」，中國美術館，北京，2007等。
Li Yiwen, born in Henan, China in 1982, graduated from the Department of Mural Painting at the Central Academy of Fine Arts in Beijing in 2006 with a Bachelor's degree, and in 2011 with a Master's degree from the same department. Li currently lives and works in Beijing, China.
Some of his recent solo exhibitions include: Synchronic Field, Mocube, Beijing, 2023; Turbulence, Mocube, Beijing, 2021; Durée, Leo Gallery, Shanghai, 2018; Integrative Structure, Leo Gallery, Hong Kong, 2016; LI YIWEN, Irene Laub (FEIZI) Gallery, Brussel, Belgium, 2015; LI YIWEN, Yang Gallery, Beijing, 2014; Twinkling, Times Art Museum, Beijing, 2013 among others.
His group exhibitions include: In·Formation, Cai Jin Space, Beijing, 2022; Hand of Memory, KWM Art Center, Beijing, 2021; Encountering Asia - Diversified Youth Vision, Sichuan Fine Arts Institute Art Museum, Chongqing, 2018; New Language of Beijing, San Yuan Contemporary Art Center, Beijing in 2018; The Dilemmas of Painting, Asia Art Center, Beijing, 2017; The Third Today’s Documents, Today Art Museum, Beijing, 2016; Romancing Relevance: A Remix of Sameness, Art Museum of Nanjing University of the Arts, Nanjing, 2015; MICROSCOPE - The Inner Mindscape of Five Contemporary Chinese Artists, Leo Gallery, Hong Kong, 2015; This is Not Painting - Exploring the Boundary of Painting, Asia Art Center, Taipei, 2015; The 2nd CAFAM Future Exhibition: Observer-Creator/The Reality Representation of Chinese Young Art, CAFA Art Museum, Beijing, 2015; The Sixth Chengdu Biennale, Chengdu New International Convention & Exposition Center, Chengdu, 2013; Painting Lesson III: Elementary and Extreme Structure, Yang Gallery, Beijing, 2013; Fresh Eyes 2011 - Framework Growing Inside Out, He Xiangning Art Museum, Shenzhen, 2011; The 2nd Session of Today's China Art Exhibition in Beijing, Art Museum of China, Beijing, 2007 among many others.
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