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西岸艺术与设计博览会
West Bund Art Design
参展艺术家 | ARTIST
展期 | Exhibition Period
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Pubilc Hours
可以画廊即将参加第十一届西岸艺术与设计博览会，将于 B303 展位呈现代理艺术家李关帅个展「回音厅」。此次展会以「回音厅」为主题，将完整呈现李关帅近一年来的一系列最新创作。展览将持续至11月10日。
KeYi Gallery Possible will participate in the 11th West Coast Art & Design , and will present the solo exhibition "Echo Hall" by represented artist Li Guanshuai at Booth B303. Under the theme of "Echo Hall", the exhibition will present a series of Li Guanshuai's latest creations in the past year. The exhibition will run until November 10th.
伦理先行 / Ethical priority
2023-2024
布面油画 / Oil on canvas
180 × 120 cm
回音并非实质的声音，回音的职能也不是让人感到空旷与虚无，而是自问、祈祷的回复。我们总盼望着能从一段故事和阅读中学到什么，盼望着能从能量的源泉处求到什么，或许我们都得到了一样的回应。但因着人性的复杂，这回应余音绕梁，让人无法全面的领略和试探。
从古至今，类似的例子蕴含在明面的故事和文本里，故事中无论是神是人，都被赋予了人性，他们纠结、后悔、贪权、恐惧，完美的神性被冲淡，人性的残缺让其极具可读性，时而神秘，时而具体，如同有实体一般。
李关帅渴望把这些残缺、过剩、唯美、瘘烂，实体化在形象上，和身体的变形上。绘画的太不可控性与绘画者的控制欲相冲突，这些实体化和变形有时基于文本的发散，有时候基于审美的冲动，艺术家把这些发散和冲动看做造物主的恩赐。
遥远的无边无际的场景中时，这些实体化形象显得更加巨大。小说、圣经故事中难懂的字眼和事迹，包括古与新的学识，它们有时是枷锁，有时是福音，它们干扰着艺术家的判断，常让他在私心和亲近之间徘徊，文本的干扰；审美的冲动；现实的麻木，这些在他的绘画中，注定是个难题。
The echo is not a substantial sound, nor is the function of the echo to make one feel empty and void, but rather a reply to self-questioning and prayer. We always hope that we can learn something from a story or a reading, that we can ask for something from the source of energy, and perhaps we all get the same response. But because of the complexity of human nature, the response lingers, making it impossible to fully appreciate and test it.
Throughout the ages, similar examples are embedded in explicit stories and texts, stories in which both gods and men are given a human face, they are torn, regretful,power-hungry and fearful, their perfect divinity is diluted, and their humanity is crippled in a way that makes them highly readable, sometimes mysterious, sometimes concrete as if they had an entity.
Li Guanshuai aspires to materialize these mutilations, excesses,aesthetics, and fistulas in the image, and in the deformation of the body. The too uncontrollable nature of painting conflicts with the painter's desire for control, and these materializations and deformations are sometimes based on textual dispersion, sometimes on aesthetic impulses, which the artist sees as gifts from the Creator.
These materialized images appear all the more gigantic when in the midst of distant and boundless scenes. The difficult words and deeds in novels and biblical stories, including ancient and new learning, which are sometimes shackles and sometimes gospel, interfere with the artist's judgment, often leaving him torn between selfishness and intimacy. The interference of text; the aesthetic impulse; and the numbness of reality, which are destined to be difficult in his paintings.
3万年的情感 / 30000 Years relationship
2024
布面油画 / Oil on canvas
300 × 200 cm
希腊故事中普修斯的为人类盗取天火，触犯了天规，从而宙斯派提丰之子神鹰三万年间撕扯啄烂普罗米修斯的肝脏。李关帅以此故事为契机，剥离出人物的痛苦情感。
但神话终究是神话，普罗大众脑中被塑造的现实主义成分总会使人在了解这类神话的过程中找到不解的逻辑和无线的畅想。希腊神话中的神具有七情六欲和羞耻心，拥有人的复杂性。
李关帅从当下人的复杂性的角度来看，这两位神明分别被赋予了酷刑和任务，却没有被赋予相互的仇恨，三万年间每天的交集即不可控，又变化多端。而人所遭遇的苦难，与此种情感的长久折磨相比看似微乎其微，实际并无差距。
绘画放大了李关帅个人的角度下，文字所不能描述的微妙的感受。海面替换了高加索山、脚部变成音符的神鹰、模糊的双眼、全身仅剩三个头的普罗米修斯等这些不知所云的违和元素，都不具有象征意义，只有他在现实下情感的判断与想象的延申。In the Greek story, Prometheus stole the fire of heaven for human beings and violated the rules of heaven, thus Zeus sent the eagle, the son of Typhon, to tear and peck Prometheus's liver for 30,000 years. Li Guanshuai uses this story as an opportunity to strip away the character's painful emotions.But myths are myths after all, and the realism that has been molded in the minds of the general public will always lead one to find unintelligible logic and wireless ideas in the process of understanding such myths. The gods in Greek mythology have human complexity with their seven emotions and shame.
From the point of view of the complexity of man in the present, Li Guanshuai sees that the two gods were given torture and tasks, but not mutual hatred, and that the daily interactions over 30,000 years were uncontrollable and varied. And the suffering encountered by human beings may seem minimal compared to the long-lasting torture of such emotions, but in reality there is no difference.
The paintings amplify the subtle feelings that words cannot describe from Li Guanshuai's personal perspective. The sea surface replaces the Caucasus mountain, the eagle whose feet turn into musical notes, the blurred eyes, the Prometheus with only three heads left in his body, and other unknowable elements of dissonance do not have symbolic significance, but are only the judgment of his emotions and the extension of his imagination under the reality.碑形人体 / Stele Human
2024
布面油画 / Oil on canvas
280 × 180 cm
西奈山的山顶上，摩西领受了上帝传达的十诫，并将其刻在碑上，这是对当时以色列众民的道德和戒律，也是利未记记载中的重要环节。
固有印象——然而，大众在面对过去的人事时，历史长河给大众挂上了buff：神秘的干扰，朦胧暧昧的面纱。在此干扰下，至今提及或在网上搜索摩西时，摩西总是会在李关帅脑海、屏幕上与十诫的碑同时出现，在艺术家的印象中，两者彼此无法分割。
人们越来越注重如何面对自己——所以李关帅在面对利未记中的故事与文字时，难免对摩西这一神和人之间的“中介”产生一个当下人的属性才会有的联想：摩西作为人，在面对神、以色列民众、自己时候的多面性。
On the summit of Mount Sinai, Moses received the Ten Commandments communicated by God and inscribed them on a tablet, a moral and commandment for all the people of Israel at that time, and an important link in the Levitical account.
Inherent impression - However, when the public is confronted with the personnel of the past, the long river of history hangs a buff on the public: a mysterious interference, a hazy and ambiguous veil. Under this interference, to this day, when Moses is mentioned or searched for on the Internet, Moses always appears in Li Guanshuai's mind and on the screen at the same time as the Tablet of the Ten Commandments, and in the artist's impression, the two cannot be separated from each other.People are more and more concerned about how to face themselves - so when Li Guanshuai is confronted with the stories and texts in Leviticus, he inevitably has an association with Moses, the "intermediary" between God and man, which is only a human attribute at the present time: Moses, as a human being, is confronted with God, Moses as a human being facing God, the people of Israel, and himself.
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李关帅，1997 年生于山东东营，2019 年本科毕业于四川美术学院版画系，2022 年研究生毕业于四川美术学院造型艺术学院，曾在四川美术学院驻留，现工作生活于重庆。他的作品曾被白兔当代艺术基金，广东当代艺术基金会，罗中立美术馆，鲸美术馆，X 美术馆等机构收藏。
他参与的个展有：“赞歌”，可以画廊，（合肥，2023）；他参与的群展包括 : “筒仓，算力，垂直之梦”，可以画廊（合肥，2024）； “离 谱 ”， 三 远 当 代 艺 术，（ 北 京，2024）；“记忆”，BLANKgallery，（上海，2024）；“驿驿其达”，龙美术馆，（重庆，2023）；“在动物园散步才是正经事”，可以画廊（合肥，2023）；“动态刷新”，罗中立美术馆（重庆，2023）；“罗中立奖学金作品展”，芒果美术馆（长沙，2023）；“ 向前的前一步”，赛麟空间（上海，2022）；“折叠·覆盖”，鸿坤美术馆 （北京，2022）；“固体与偏差”，重庆星汇当代美术馆 （ 重庆，2022）；“信息捕捉器、超未来、启示、友爱共生”，北京妙有艺术（北京，2022）；“无论盛开还是不盛开，花都是花” ，可以画廊（合肥，2022）；“ 礼物提名奖” 作品展，并获得提名奖，罗中立美术馆（重庆，2022）；明日视线奖，（杭州，2021）；作品《我为什么在这里》，中国美术馆（北京，2018）等。
Li Guanshuai, born in 1997 in Dongying, Shandong Province, graduated from the Printmaking Department of the Sichuan Fine Arts Institute in 2019, and graduated from the School of Plastic Arts of the Sichuan Fine Arts Institute as a postgraduate student in 2022. He has been in residence at the Sichuan Fine Arts Institute, and now lives and works in Chongqing.His works are collected in the White Rabbit Art Museum, Sydney, Australia, Guangdong Contemporary Art Foundation, Luo Zhongli Art Museum,Whale Art Museumetc,X Museum, etc.His solo exhibitions include:"Paean", KeYi Gallery, (Hefei,2023);and group exhibitions he participated:"Silo Dreams",KeYi Gallery,(Hefei,2024); "Memory", BLANKgallery, (Shanghai,2024); "Sprouting",Dragon Art Museum,(Chongqing,2023);"Walking in the Zoo is the most Serious Thing", KeYi Gallery,(Hefei,2023);"Dynamic refresh" ,Luo Zhongli Art Museum, (Chongqing,2023);"Luo Zhongli Scholarship", Mango Art Museum, (Changsha,2022);"Look Before You Leap", Sailing Space,(Shanghai,2022);"Fold and cover",HK Fine Art Museum,(Beijing,2022);"Solids and Deviation", Galaxy Museum of Contemporary Art, (Chongqing,2022);"MOUart X Meta MOUart Group Exhibition 2022: Information catcher, super future, revelation, fraternal symbiosis", MOUart, (Beijing,2022);"Whether in Full Bloom or not, All Flowers are Flowers", KeYi Gallery, (Hefei,2022);"The 4th Gift Nomination Award" and won the nominated award, Luo Zhongli Art Museum,(Chongqing,2022);"Hyper Youth Award", (Hanghou,2021);The Work: "Why I am Here", NAMOG, (Beijing, 2018),etc.
KeYi Gallery (Beijing) current exhibition ![]()
KeYi Gallery (Hefei) current exhibition
关于可以画廊 / About KeYi Gallery
可以画廊 KeYi Gallery 是一间成立于2019年的当代新星空间，旨在为艺术家打造一个开放性的具有学术实验性的平台，致力推广多元独特的展览项目和艺术家作品，挖掘和培育年轻艺术家。可以画廊前身以私人收藏为主，20年间不断收藏那些具有一定学术价值的当代作品，并始终关注艺术当下及未来的发展趋势。KeYi Gallery is a young contemporary art space established in 2019. It aims to create an open and experimental platform for artists and dedicates to promoting diverse unique art programs and works of art, exploring and developing young artists. KeYi Gallery gave priority to private collections previously and has been insisting on collecting contemporary artworks with high academic value while concentrating on art trends in the art world.![]()
