BP 艺术家 | 李子勋 Lee Tzu-Hsun

李子勋，1973年出生于台北，1995年至2009年间旅居德国，于2003年毕业于德国杜塞尔多夫艺术学院，获硕士学位。1999年曾获得「杜塞尔多夫艺术学院–旅游奖学金」赴纽约游学，2001年荣获德国巴登美术馆第54届艺术展「最受欢迎奖」，2006年德国科隆市政府颁予「弗里德里·沃尔登贝赫奖学金」，2007年荣获德国第1届「Bosch Rexroth AG 艺术奖」，李子勋被认为是台湾当代最具代表性的艺术家之一，现今生活和工作于中国北京。

李子勋的作品曾受邀于国内外大型展览并屡受瞩目，其代表个展：台北市立美术馆、佩斯北京、诚品画廊、德国科隆艺术家视觉协会。参展艺术机构：美国纽约康奈尔大学强生美术馆、德国杜塞尔多夫艺术宫、德国巴登美术馆、法国克雷泰伊艺术之家、法国莫伯日演艺剧场、法国普盖莱奥—圣莱杰公园当代艺术中心、比利时哈瑟尔特省视觉艺术中心—贝金霍夫、韩国成山艺术厅、上海当代艺术馆、北京中国美术馆、北京今日美术馆、台北双年展、台北市立美术馆、台北当代艺术馆、台北历史博物馆、台中台湾美术馆、高雄市立美术馆等。他的作品曾被海内外各大美术馆、基金会、艺术机构、藏家收藏。

Born in Taipei in 1973, Lee Tzu-Hsun lived in Germany from 1995 to 2009 and graduated from the Kunstakademie Düsseldorf with a master's degree in 2003. In 1999, he was awarded the「Kunstakademie Düsseldorf - Travel Scholarship」for a study trip to New York. In 2001 he was awarded the「Most Popular Award」at the 54th Art Exhibition of the Kunsthalle Baden, Germany. 2006 he was awarded the「Friedrich Woldenbech Scholarship」by the City of Cologne, Germany. 2007 he was awarded the 1st「Bosch Rexroth AG Art Prize」, Lee Tzu-Hsun is considered one of the most representative contemporary artists in Taiwan and now lives and works in Beijing, China.

Lee Tzu-Hsun's work has been invited to major exhibitions in China and abroad and has received much attention. His solo exhibitions include: Taipei Fine Arts Museum, Pace Beijing, Sincere Gallery, Artist Vision Cologne, Germany. Cooperated art institutions: Johnson Museum of Art, Cornell University, New York, USA；Kunstpalast Düsseldorf, Germany; Kunsthalle Baden, Germany; Maison de l'Art de Créteil, France; Théâtre de l'Acte de Maubeuge, France; Centre d'Art Contemporain de Parc de Pouguereau-Saint-Léger, France; Centre d'Art Visual de Hasselt - Berginhof, Belgium；Seongsan Art Hall, Korea；Museum of Contemporary Art, Shanghai; National Art Museum of China, Beijing; Today Art Museum, Beijing; Taipei Biennial; Taipei Fine Arts Museum, Taipei; Museum of Contemporary Art, Taipei; Museum of History, Taipei; National Taiwan Museum of Fine Arts, Taichung; Kaohsiung Museum of Fine Arts, Kaohsiung. His works have been collected by major art museums, foundations, art institutions and collectors at home and abroad.

李子勋2007年开始创作「异星」系列，曾发表于佩斯北京和各艺术机构，以《机械灵魂》、《迷惑的潘朵拉》、《天王星》、《冥王星》、《金星》、《序列式》为主要代表，作品将精密制作技术融入纯艺术形式，并融汇了光、电和声音等不同介质，创造出一种介于生命体、无生命体之间的「仿生机械」。他不断地进行一种模拟生命形态的艺术实验，以其敏锐感知力对生命意识的本质做重新认识，探索人类视角外的世界。并将游离的意识碎片进行觉察、捕获与重组，来想像高维度的类生命究竟是何种存在形态，由此创作出一系列仿生动态雕塑。李子勋对再现内在信息世界有着追求秩序化、理想化的执着，通过用复杂交错的几何来塑造建构，他发展出一种介于抽象与仿生之间的机械美学，赋予作品和谐统一的内在秩序。

Lee Tzu-Hsun started his「Hidden Star」series in 2007, which presented in Pace Beijing and various art institutions. Representative works include Mechanical Soul, Pandora at a Loss, Uranian, Plutonian, Venusian, Sequential, integrated precision production technology into an art form, combined different media such as light, electricity and sound to create an「bionic machine」between organic and inorganic. He constantly conducts an artistic experiment that simulates life forms, re-understands the essence of life consciousness with his keen perception, and explores the world outside the human perspective. He also perceives, captures and reorganizes the dissociated fragments of consciousness to imagine the existence of the high-dimensional life-like forms, thus creating a series of bionic dynamic sculptures. Lee Tzu-Hsun is obsessed with the pursuit of order and idealization in reproducing the inner world of information. Building construction by complex interlaced genmetry, he develops a mechanical aesthetics between abstraction and bionics, giving his works a harmonious and unified inner order.

潘多拉以对称的蝶状图象和弧线构成身躯体态，散发着女性婀娜与华贵的气质。中央主体的前端缓慢地来回伸缩，两侧小翅膀轻轻摆动，机械连动摇晃着后方透明容器中的水，寓意着受到欲望的牵引正孕育出「世界的生命」。在艺术家自由构建的神话中，潘多拉是既带着女性美特质的雌性象征，同时也具有雄性意象的器官，它是雌雄同体的化身，存在于创造世界以前。

Pandora's body is composed of symmetrical butterfly images and arcs, diffusing feminine graceful and luxurious temperament. The front part of the central body slowly stretches back and forth, the little wings on both sides sway gently, the machine linkage to wave the water in the transparent container behind, means that the traction of desire is giving birth to "life of the world". In the mythology freely constructed by the artist, Pandora is a female symbol with beauty feature, and also an organ with a male image. It is the embodiment of androgyny, which existed before the world was created. 

「异星」系列中，《天王星》以「十」为基本构成、《金星》以「 O 」为基本构成、《冥王星》以「  I  」为基本构成。艺术家认为这种初始原型图像来自无形的「宇宙本体型态」，经由变化生成了不同样貌，存留于人类的集体意识底层，成为凝练的精神图像时至今日。他试着深掘其象征性的视觉意涵，将它们能带给人灵魂深处感受力的潜在能量，融入他创作的造型构成中，而「异星」的各型态都能引发人们对艺术的不同感受。

In the「Hidden Star」series, Uranian is based on the shape of cross (「十」), Venusian based on「 O 」, and Plutonian based on「 I 」.The artist believes that this initial prototype image comes from the invisible "cosmic ontology pattern", which has been transformed into different appearances, which remain at the bottom of human collective consciousness and become a condensed spiritual image to this day. He tries to dig deep into its symbolic visual connotations, integrates the potential energy that can bring people's deep sensibility into the composition of his creation, and various forms of「 Hidden Star」can arouse people's different feelings about art.

艺术家以七个「  I  」的横向排列作为基本构成，并藉由规律性的重复产生视觉秩序感。就好像从微观生物组织到宏观宇宙，人类内心对「 无限」的一种感受，也如同《序列式》期望能带给观者的体验。“七”很特别，它在数字学里既是「 能量、完整」，同时也象征了创造生命的源头。艺术家运用作品并置来产生连续与一致性，人为地在我们眼之所见的现实当下暂时建构出「 无限」。

Lee Tzu-Hsun uses the horizontal arrangement of seven「 I 」as the basic composition, and generates a sense of visual order through regular repetition. Sequential expects to evoke the viewers' inner feeling towards to 「infinity」from the microscopic biological organization to the macroscopic universe. ''Seven'' is special as it symbolizes「 energy, wholeness」in mathematics as well as the creation of life. The artist uses the juxtaposition to generate continuity and consistency, artificially constructing "infinity" temporarily in our present reality. 

李子勋以拓展艺术形态作为创作的动力，作品融汇了雕塑、装置、建筑、影像的表达方式，加上他对不同质材和制作工艺的探索，使作品形态变得更加丰富多样。同时，藉由结合机械动态、3D影像以及光的运用，作品在运动瞬间更是呈现出不同的视觉状态。通过这些新形态的组合实验，各元件逐渐产生了一种微妙的衔接脉络，它们共同构筑一个整体系统，形成了他个人的宇宙观。

Lee Tzu-Hsun's creations were motivated by expanding the form of art, combining sculpture, installation, architecture, and video. In addition, his exploration of different materials and production techniques makes the forms of his works more diverse. Meanwhile, by combining mechanical dynamics, 3D images and the use of light, the work presents different visual states in motion. Through the combined experiments of these new forms, each element gradually produces a subtle connection, which together builds a whole system and forms his personal view of the universe. 

艺术家试着捕捉意识中某种不断变化的形态，将这种处于进化的过程，通过创作来逐步呈现。他把心灵一部分投射于无生命物质的载体之上，藉此让「神秘的生气」贯注于其內，让自身的「精神」逐渐在现实中显化。《机械灵魂》揉合了对意识的探索、万物起源論、生物组织美学等，并以正五邊形「⬠」为底部基本构成，形成某种仪式，通过机械来回伸展五个屏幕装置，其内影像是虚拟人体完全浸游于水中，象征着「精神 – 死亡」的淨化，而中央展开双翅缓慢升起的姿态，则意喻着「精神 – 重生」，灵魂藉由不断经历死亡、重生的过程，进行着超越自身的转化。

Lee Tzu-Hsun tries to catch a certain changing form in consciousness, and gradually presents this evolutionary process through creation. He projects part of soul on the carrier of inanimate matter to allow the「mysterious vitality」to flow inside, and self' s「spirit」manifest in reality gradually. Mechanical Soul combines the exploration of consciousness, the theory of the origin of everything, the aesthetics of biological tissue, and uses regular pentagon「⬠」as the bottom composition and a certain ritual. Five screen devices are stretched back and forth by mechanical, the video playing on it is a virtual human body completely immersed in water, symbolizing the purification of「spirit-death」, the posture of spreading wings and slowly rising in the center means「spirit – rebirth」, the soul undergoes a transformation beyond itself by constantly going through the process of death and rebirth.

1996年李子勋开始创作的「幻 · 剧」系列，以《机器人 Ⅱ》、《大鱼》、《爱情殿堂》、《迷宫剧场》、《玻璃珠游戏的秘密》最具代表性，分别发表于「2002 台北双年展」、台北诚品画廊、台北当代艺术馆及各海外艺术机构。此系列是大型场景装置，藉着复杂的机械原理来运转，在空间中营造出一种现实与梦境时空交错的氛围，这是他独具诗意与理性秩序并存的美学风格。李子勋擅长运用丰富的想像力将生命的内在经验，以一种精确的表现手法，将其转化为各种心灵图象，演绎并影射出个体与世界的相对关係。艺术家认为两者之间这种隐密的平衡力量，是支撑表象世界的内在秩序与运行规律，同时也是他创作的永恆课题。

Lee Tzu-Hsun started his「Fantasy Drama」series in 1996, represented by works as Robot II, Big Fish, Love Temple, Maze Theater, Mystery of the Glass Beads Game, presented at「2002 Taipei Biennale」, Taipei Cheng Pin Gallery, Taipei Museum of Contemporary Art and various overseas art institutions respectively. This series is a large-scale installation that operates through complex mechanical principles, creating an atmosphere in which reality and dream are intertwined in time and space. Lee's aesthetics of poetic and rational order transforms the inner experience of life into various spiritual images with a precise expression method, deducting and alluding to the relative relationship between the individual and the world. The artist believes that the hidden balance between the two is the inner order and operation law that supports the apparent world, and it is also the eternal subject of his creation.

《机器人 Ⅱ》是以自我为原型设定，同时被赋予人性中的优点及缺陷。而艺术家视人格及精神为一个「发展中的整体」，他藉由在创作过程中持续地完善这投射的心理原型，来实现自身心灵的整合。作品也同时呈现了人类于当今社会中的现实处境，存在着一种疏离的状态。《机器人 Ⅱ》在现场展出中，闪动着光如同喃喃自语，全身有节奏的运转着，但当观者被吸引走进的那一刻，它会突兀地发出巨响并开始快速旋转着右臂链条上的球体，来惊吓观众产生互动，此刻，个体与个体的边界逐渐开始模糊。

Robot Ⅱ is set as a self-prototype which is endowed with both the strengths and weaknesses of human nature. The artist regards personality and spirit as a「developing whole」. By continually refining this projected psychological archetype, he seeks to achieve a certain level of self-integration. The work also presents the reality of human beings in today's society with a state of alienation. During exhibition, Robot Ⅱ's flashing light is like murmuring, and the whole body runs rhythmically, but when audiences are attracted and walk close, it will make a loud noise and start to rotate rapidly to interact with audiences by frightting them. At this moment, the boundary between the mechanical and the organic individual gradually begins to blur...

《爱情殿堂》的创作构想，源自某种微妙不确定的心理变化过程体验，艺术家透过对无意识状态的觉察，将一些偶然和片段的感觉重新整理诠释，并结合独特的机械美学，构筑出一座动态的建筑场域装置。他意图将人与自然规律中「矛盾、对立、统一」的状态，透过爱情的题材呈现，藉此表现事物背后某些模糊的共通性存在；但其本身并无传达任何直接关係于现实的讯息及意义，而是藉着色彩及造形图象语言间的对称性、暗示性，自然架构成一个有内容、无意义、自给自足的「持久存在状态」。这是一个「天堂与地狱」融合又并存的世界，也是宇宙本体中「对立和统一」永远的循环状态。

The concept of Love Temple comes from the experience of a subtle and uncertain psychological change process, through the awareness of the unconscious state, the artist reorganizes and interprets some occasional and fragmentary feelings, and combines the unique mechanical aesthetics to construct a dynamic architectural site installation. He intends to present the state of「contradiction, opposition, and unity」between human beings in the laws of nature through the theme of love, so as to show the existence of some vague commonality behind things; however, itself does not show any direct message and information towards to reality, but through the symmetry and implication between the color and shape of the image language, it naturally forms a content, meaningless, self-sufficient「persistent state」. This is a world where「heaven and hell」merge and coexist, and it is also the eternal cycle of「opposition and unity」in the universe itself.

在某处，虚构的实验室内，正发生着一连串相关但无意义的行为。在制造爱情的荒谬过程中，艺术家执行着一场具有象征性的仪式程序，他通过专注的意念和身体舞蹈的献祭，如同施展炼金术一般将「物质」转换为「能量」，刹那间从虚无的现实中创造出「精神之光」——爱情诞生。当情节接连的展开，艺术家和他的身体、音乐家即兴的演奏、动态装置、光，共同组合成一出超现实的视觉与听觉的艺术实验。

Somewhere, in a fictional laboratory, a chain of related but meaningless actions is taking place. In the absurd process of manufacturing love, the artist performs a symbolic ritual procedure, through the sacrifice of concentrated mind and dancing, he converts「matter」into「energy」as if performing alchemy, in an instant, a「spiritual light」is created from the reality of nothingness - the birth of love. As the plot unfolds one after another, the artist with his body, improvised music, dynamic installation and light combine into a surreal visual and auditory artistic experiment.

《迷宫剧场》创作历时三年，以「万物一体」的东方思想为创作的核心理念，而西方理性逻辑方法论，则成为其形式架构的手法。艺术家以探讨个人存在于世界的疏离状态为出发点，来呈现自我与外界间的主客体关係。他思考生命的尽头究竟是一片虚无，还是另有一个出口？我们都在人生舞台上身不由己的演一出戏吗？艺术家藉着视觉叙事的手法来传达内心的感受和独白，以不同的心灵图像塑造成各种角色，运用象征语汇间的关係来产生联想，诱发观者体会作者所要表述的内容。他将人性的矛盾与浪漫嵌入到机械堆砌而成的作品中，从而架构了个人语境的幻想史诗。

The process of creating Maze Theater lasted 3 years, the core concept based on the Eastern thought of「all in one」, and the Western rational logic methodology has become the method of its formal structure. Starting from the exploration of the alienated state of the individual existing in the world, the artist presents the subject-object relationship between the self and the outside world. He wondered whether the end of life is nothing, or is there another outlet? Are we all involuntarily acting a play on the stage of life? The artist conveys inner feelings and monologues by means of visual narration, shapes various characters with different mental images, and uses the relationship between symbolic words to generate associations and induce viewers to understand the content that the author intends to express. He embeds the contradictions and romances of human nature into his mechanically stacked works, thereby structuring a fantasy epic of personal context.

《玻璃珠游戏的秘密》是为呈现宇宙系统内的运作规律，所虚构搭建的一个跨时空场域装置。作品中的环形象徵着宇宙的整体与统一，环内空间由均衡的秩序所构成。当主体两侧的机械开始运转，均衡随之发生变化，动能的力量推挤着圆内的1500颗玻璃珠缓慢滚动，透过偶然的随机牵引，渐进地在圆环内交替改变位置。艺术家试图用物质材料去表现无形象的世界，并提供能量因素使其产生自由变化，每一颗玻璃珠都如同凝聚的生命能量，在这并存于现实的小宇宙中无限循环流动着。这一场游戏中，唯一不变的，就是「变化」本身。

Mystery of the Glass Beads Game is a fictional installation across time and space to present the laws of operation in the universe system. The ring in the work symbolizes the wholeness and unity of the universe, and the space inside the ring is composed of a balanced order. When the machines on both sides of the main body start to operate, the balance changes accordingly. The force of kinetic energy pushes the 1,500 glass beads in the circle to roll slowly. Through occasional random traction, they gradually change their positions in the circle alternately. The artist tries to use materials to express the invisible world, and provides energy factors to motivate it to change freely. Each glass bead is like a condensed life energy, which circulates infinitely in this small universe that coexists in reality. In this game, the only constant is「change」itself.

「永动机」系列的构想，来自艺术家想要创造出一个无限循环且永不枯竭的能量转换系统，以呈现宇宙中生命能量转化型态的持续改变过程，这也可以称之为一种艺术家虚构的「想像式科学」。在此运用了他偏好的机械语言和元素，创造出一个封闭却完美自足的系统。在这个空间中，每个部分既独立却又相互依存，因彼此间的连系而构成一个均衡的整体。艺术家希望藉此表达一种看待世界的想法及角度，同时也是机械化的纯粹美感直接的呈现。

The concept of「Perpetual Motion Machine」series comes from the artist's idea to create an infinite loop and inexhaustible energy conversion system to present the continuous changing process of the transformation of life energy in the universe, which can also be seen as the artist's「imaginative science」. Here he uses his preferred mechanical language and elements to create a closed but perfectly self-contained system. In this space, each part is independent but relies on each other, composing a balanced whole by connecting with each other. The artist hopes to express a possible perspective towards the world as well as a pure mechanical aesthetics.

《为空间测量所建的风景 I 》延续了艺术家创作中独特的美学风格，他以敏锐细腻的感知力，探寻现实世界之外的未知之境，并运用其丰沛的想像力来重新建构空间。他藉由所搭建的创作系统反覆地推演发展，争取逻辑限度内的最大自由，并以数学比例分割建构空间，营造出了一个理性秩序与幻象时空并存的世界。艺术家安排以长横幅来创作画面的场景，意在诱导观者凝神渐进地移动视点，安静欣赏连续又交错的多维空间，来经历一种共时性的特殊感受，也在此中发掘以内在规律及秩序所编织的旋律之美。

Landscape Built for Spatial Measurement I continues the unique aesthetic style of the artist's creation. With his keen and delicate perception, he explores the unknown beyond the real world and uses his abundant imagination to reconstruct space. He developed the work by repeatedly deducing the creative system he built, striving for the maximum freedom within the logical limit, and divides the construction space with mathematical proportions, creating a world where rational order and illusion coexist in time and space. The artist arranges long banners to create the scene of the picture, in order to induce the viewer to move their viewpoints gradually, quietly appreciate the continuous and interlaced multi-dimensional space, to experience a special feeling of synchronicity, and to discover the inner laws in it, and the beauty of melody woven by order.