李青：在时代变迁中探索图像与现实的边界Li Qing Solo Exhibition Opens At Long Museum!

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艺术家李青重磅个展“重瞳”

即将于2024年8月3日至10月20日在龙美术馆(西岸馆)

阶梯展厅呈现。

此次展览由朱朱策展，

将呈现艺术家自2005年至今的40余件作品，

包括其早期到近期的

“大家来找茬”系列、“互毁而同一的像”系列、

“窗”系列与“框形画”系列等。

Li Qing's major solo exhibition Dicoria 

will be on display at Long Museum (West Bund) from August 3rd to October 20th, 2024. 

Curated by Zhu Zhu, the exhibition presents more than 40 works by the artist from 2005 to the present, including some of his most significant series such as Spot the Difference, Images of Mutual Undoing and Unity, Window and Framed Paintings.

成长与影响：时代巨变的艺术回响

Growth and Influence: Artistic Responses to Great Changes of the Times

李青，出生于上世纪八十年代初，成长于中国巨变的时代。城市空间的变化和媒体技术的发展对他产生了深远的影响，并深刻在他的创作中体现而出。观看的社会机制和权力，全球化中的人与建筑、城市的关系都是他创作起源的议题，他的创作在相似性和矛盾中寻找理性的裂隙，通过迂回重叠的结构作用于观者的感觉和认知。

Li Qing was born in the early 1980s and grew up in an era of great change in China. The changes in urban space and the development of media technology have had a profound impact on him, which is deeply reflected in his creations. 

Social mechanisms, the balance between individual images and how they are perceived and the profound impact of globalization on people, cities and architecture are all fundamental topics which have influenced his creations. His creations seek rational cracks in similarities and contradictions, and act on the viewer's feelings and cognition through circuitous and overlapping structures.

《大家来找茬·镜子（两图有九处不同）》

布面油画170x130厘米x22005

Spot the Diference · Mirror (There Are 9 Diferences in the TwoPaintings)

Oil on canvas170x130 cmx22005

从“找茬”到“互毁”：图像游戏的哲学思考

From "Spot the Difference" to "Images of Mutual Undoing and Unity"：Philosophical Thinking of Image Games

从李青本科时期的“大家来找茬”系列开始，他并不以再现或表现为主要目标，而是致力于“制造一个图像与图像之间、绘画和绘画之间的事件”。这一系列作品以两幅看似相同实则存在细微差异的图像为基础，通过游戏化的方式，邀请观众参与到寻找差异的过程中。在这个过程中，李青将艺术作品的创作过程转化为观众参与和互动的过程，打破了传统绘画的静态观赏模式。

Starting from the "Spot the Difference" series during Li Qing's undergraduate years, he did not aim at reproduction or expression, but was committed to "creating an event between images and between paintings". This series of works is based on two images that seem to be the same but actually have subtle differences. Through a game-like approach, the audience is invited to participate in the process of finding differences. In this process, Li Qing transforms the creation process of the artwork into a process of audience participation and interaction, breaking the static viewing mode of traditional paintings.

与“大家来找茬”系列的理念相似，“互毁而同一的像”系列也采用了双联画的形式，但更为注重图像之间的互相绘制与解构。在这一系列作品中，李青通过镜像式的对称性创造出既相似又相互冲突的画面，揭示了图像之间潜在的张力与关系。他以张国荣及其在《霸王别姬》中的程蝶衣扮相为题材，通过油彩未干时的拓印互融，创作出两张相似度极高却并非完全由艺术家“画”出的图像。互毁式的绘画间诞生了同一的图像由此诞生，动作和时间同时呈现在图像之上。

这种创作理念在他的早期代表作“大家来找茬”与“互毁而同一的像”两个系列中得到了充分体现。这两个系列采用双联并置的形式，通过镜像式的相似性、游戏感、悖谬的修辞以及图像的互相“绘制”与解构，引发观众对信息不确定性和真相可能性的思考。

Similar to the concept of "Spot the Difference" series, "Images of Mutual Undoing and Unity" series also adopts the form of diptychs, but pays more attention to the mutual drawing and deconstruction between images. In this series of works, Li Qing creates similar and conflicting images through mirror-like symmetry, revealing the potential tension and relationship between images. 

He uses Leslie Cheung and his Cheng Dieyi in "Farewell My Concubine" as the subject matter, and creates two images that are extremely similar but not completely "painted" by the artist through the rubbing of wet oil paint. The same image was born between mutually destructive paintings, and action and time were simultaneously presented on the image.

This creative concept was fully reflected in his early representative works Spot the Difference and Images of Mutual Undoing and Unity. These two series adopt the form of double juxtaposition, through the mirror-like similarity, sense of play, paradoxical rhetoric, and the mutual "drawing" and deconstruction of images, which aroused the audience's thinking about the uncertainty of information and the possibility of truth.

《后窗·作家与爱神》古董木窗、油彩、有机玻璃、油漆笔190.5x91x12厘米2023-2024

Rear Window·Writer and PsycheAntique wooden window, oil paint, plexiglass, paint marker190.5x91x12 cm2023-2024

观众驻足于那历史悠久的窗棂之前，景象的对比与融合让他们深切地感受到了时间的流转与变迁。

Visitors stopped in front of the historic window frames, and the contrast and fusion of the scenes made them deeply feel the flow and changes of time.

从图像关系到集体记忆

From image relations to collective memory

随着创作的深入，李青的绘画实践不再围绕画面四角内的工作，而是不断地延展绘画的外部空间和观看形式。李青逐渐将关注点从图像之间的关系扩展到个体与集体记忆的层面。

As his creation progresses, Li Qing's painting practice no longer revolves around the work within the four corners of the picture, but constantly extends the external space and viewing form of the painting. Li Qing gradually expands his focus from the relationship between images to the level of individual and collective memory. 

从画布到现实：跨越界限的绘画新视野

From canvas to reality: a new vision of painting that transcends boundaries

“窗”系列是李青艺术创作中的一个重要转折点。他将拆毁的旧建筑上的窗框加以手工涂绘，同时运用图片拼贴、文字等综合手段，来回应和转化个体的生命经验与集体记忆，如他自己所言:“我在窗格后描绘的风景侧重于城市中引人注目的一面，无论是过去的还是未来的风景，它们都指向景观化的一面，是一种异托邦，而窗子本身则指向日常的消逝的一面，经济与身份的迥异在此碰撞。”他对日常空间和图像中的微观政治的捕捉，对美学传统当中的意识形态的分析，体现出一种独特的历史意识。在这一系列作品中，窗框不仅作为取景框存在，更成为了一个观者投射视线与想象的框架。通过窗框内外的风景对比，李青揭示了不同时空之间的张力与差异，同时也引发了观众对当代城市景观变迁中荒谬与悖论的深刻思考。他通过画面正中的矩形空间露出另一层画面，形成了内外两层画面的对比与呼应。

The “Windows” series is an important turning point in Li Qing's artistic creation.He hand-painted the window frames on the demolished old buildings, and used comprehensive means such as picture collage and text to respond to and transform individual life experiences and collective memories. 

As he himself said: "The scenery I depicted behind the window panes focuses on the eye-catching side of the city. Whether it is the past or future scenery, they all point to the landscaped side, which is a utopia, while the window itself points to the disappearing side of daily life, where the differences in economy and identity collide." His capture of the micro-politics in daily space and images, and his analysis of the ideology in the aesthetic tradition, reflect a unique historical consciousness.

In this series of works, the window frame not only waists as a ‘functional’ frame,  but also becomes a framework for the viewer to project his sight and imagination. By contrasting the scenery inside and outside the window frame, Li Qing reveals the tension and difference between different time and space, and also triggers the audience's deep thinking about the absurdity and paradox in the changes of contemporary urban landscape. He reveals another layer of the picture through the rectangular space in the middle of the picture, forming a contrast and echo between the two layers of the picture inside and outside.

李青新系列“框形画”则是回到了绘画之上，去除了窗系列的物理框架，两张图画以比较直接的遮蔽和覆盖的形式来呈现，受限的观看范围让画中画之间产生微妙的幽默之感。现实世界在图像中的碎片化，以及对于任何图像背后都有与之相悖之物存在的可能性的认知，让他转而思考创作者如何透过主体性表达，在绘画中尝试纳入这世界潜在另一面的各种方式。

Li Qing's new series of "Framed Paintings " returns to painting, removing the physical frame of the window series. The two pictures are presented in a more direct form of covering and covering. The limited viewing range creates a subtle sense of humor between the pictures. The fragmentation of the real world in the image and the recognition that there is a possibility that there is something contradictory behind any image made him think about how the creator can express himself through subjectivity and try to include various ways of the potential other side of the world in the painting.

《愿望塔》古董木门、油彩、有机玻璃248x62x4厘米2024

Wish Tower (Shenzhen)Antique wooden door, oil color, plexiglass248x62x4 cm2024

纵观李青系列创作，李青完成了自我意愿之中从画家到艺术家的身份转变，绘画仍然扮演着重要的手段，但让渡了媒介的纯粹性和自足性。对他而言，不变的内在创作逻辑是以图像之间的叠映流转造成意义的张力，仿佛他是一个天生重瞳的人，如是地观看到时空成为图像的透视学与生成法则。

Li Qing's series of works marks the transition of his identity from painter to artist. Painting remains a vital tool, but relinquishes the purity and self-sufficiency of the medium. For him, the enduring intrinsic logic of creation lies in the tension created by the overlay and flux of images.  As though he were blessed with natural double pupils (dicoria), he sees time and space as the fundamental perspectives and principles for creating images.

 关于艺术家 

 About the artist 

李青

 关于策展人 

 About the Curator

朱朱

展览信息

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