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©李关帅 Li Guanshuai
2023年12月，可以画廊合肥空间呈现了李关帅的首个个展「赞歌」，展出了十余件近作。“信仰与现实微妙的博弈”是现阶段艺术家在思考创作中最重要的东西之一，而此场展览中的作品则是艺术家作为复杂个体对亘古未知与未来未知的想象与连接。今年11月，可以画廊将携手李关帅在西岸艺术与设计博览会上带来精彩个展呈现。2025年，北京空间将举办艺术家的第二次画廊个展，敬请期待！亘古的未知与当下的未知给李关帅的作品带来隐形的博弈。他将人内心的神圣和人与神性中细微的情感视为一种未知与神秘。整个过程表现为从自信到纠结，再到发现自身认知的缝合，转到失望再到接受并参与博弈，这些环节无序地出现在他的生活态度和作品中。细微的情感附着于巨大的、形象化的人的意志；附着于具体文本中人性部分的想象延伸上，包括人对仪式感的具体化和信仰的形象化。但这些都起于他在信仰中个人的想象力与求知欲的私心。李关帅的绘画中具有当下人们对未知、神性、仪式的新的个人的认知与情感判断。这古与新的意志和私心在他生活和画中交替，注定是个难题。左右滑动查看更多 Swipe left and right for more KeYi Gallery is pleased to announce the representation of the artist Li Guanshuai.In December 2023, KeYi Gallery Hefei space presented Li Guanshuai's inaugural solo exhibition titled "Paean" featuring over ten recent works. "The subtle game between faith and reality" stands as a paramount consideration in the artist's current creative reflections, evident in this exhibition where the works reflect his imaginative connections to the eternal unknown and future unknown as a complex individual.In November of this year, KeYi Gallery will collaborate with Li Guanshuai to present an wonderful solo exhibition at the Westbund Art & Design Fair. In 2025, our Beijing space will host the artist's second gallery solo exhibition. Stay tuned!The ancient unknown and the contemporary unknown engage in an invisible struggle within Li Guanshuai's works. He perceives the inner sanctity and subtle emotions within human and divine interactions as forms of mystery and the unknown. This process unfolds from confidence to hesitation, discovery of cognitive seams, transition to disappointment, and finally acceptance and engagement in this struggle, all disorderly manifested in his life attitude and artworks. Subtle emotions cling to the colossal, figurative will of individuals and extend to the imagined aspects of humanity within specific texts, including the concrete representation of ritualism and the imagery of faith.However, these emanate from his personal imagination and thirst for knowledge within faith. Li Guanshuai's paintings embody contemporary individual perceptions and emotional judgments of the unknown, divinity, and rituals. This intertwining of ancient and modern wills and personal motives in his life and art is inherently complex.角落办大事 / A Moment in History
“面对自己的时候，常常放不下想不通的事，这些事多是信仰与现实有所冲突的时候；也是无法理解一些神话和文本故事的字眼意思（尤其是圣经，因为信）的时候，我常想把他们画出来。成长在基督家庭，在还未被教育所塑造时，教会的人告诉了我世上有一个至高点，我模糊，幻想，害怕。现在想起，小时候的“信”多是建立在想象中未知的被监视的恐惧之下的。好奇心的驱使和长大的过程中我逐渐变为接受到完全相信，本着相信的信心，我发现看待圣经，甚至神话故事的时候，我的角度总会于他人不同，因为理解的世界中有至高点。
至今，我把艺术理解为是被赋予的东西，它不是直接赋予我们人的，它存在于我们被赋予的人的残缺当中，存在于人性永恒的复杂，永恒的局限中，当我在一些创作出的媒介中感受到某种复杂、残缺、对抗、不和谐、局限时，我觉得它是属于艺术的。每次在平庸的生活中感到一丝这类感受，都有点刺激。所以人在某种维度上，不可能不是扭曲的。
神话中的神在流传的过程中，都被人赋予了人性，他们纠结、后悔、贪权、恐惧，完美的神性被冲淡，而被赋予的残缺的人性让其极具可读性。我就想把他们画下来，这些残缺的东西，多附着于一些头部形象上，身体造型的扭曲上，这些变形的方式有时候基于文本的发散，有时候基于简单的个人审美，我把这些发散和个人审美理解为神赋予我的。当这些形象置身于遥远的无边无际的场景中时，他们会显得更加巨大，细微的残缺和不完美也会被放大。圣经中的难懂的字眼和事迹，常让我在私心和求知欲和亲近他之间徘徊，但通过绘画并不能解决这一问题，我总在画面中追求一些现实中应有的美，但无疑是在展现我被赋予的不完美。”
——李关帅
软珀狡吕之遇 / Soft Per Cunning Encounter 天边伴着我 2 / Accompanied by the Sky 2 布面油画 / Oil on canvas
60 x 80cm
"When facing myself, I often struggle to let go of unresolved issues, particularly those arising from conflicts between faith and reality. It's also when I cannot grasp the meanings behind certain mythological and textual narratives (especially from the Bible, chicken god) that I often feel compelled to paint them. Raised in a Christian household before formal education shaped me, church figures introduced the concept of a supreme point in the world, which left me feeling vague, fantastical, and fearful. Looking back, my childhood 'belief' often rested upon an imagined fear of being scrutinized from the unknown. Driven by curiosity and the process of maturation, I gradually transitioned to wholehearted faith. With this faith-driven perspective, I've realized my approach to interpreting the Bible and mythological stories inevitably differs from others', influenced by a perceived supreme point in my understanding of the world.To this day, I regard art as a bestowed entity rather than a direct endowment to humanity, existing within the imperfections of those endowed with humanity, amidst the eternal complexity and limitations of human nature. When I encounter complexity, imperfection, conflict, disharmony, or constraints within the mediums I work with, I perceive them as intrinsic to art. Each time I sense such emotions amidst mundane existence, it's somewhat exhilarating. Thus, in some dimension, humanity inevitably embodies distortion.In mythology, gods, as they are transmitted, are imbued with humanity—they agonize, regret, crave power, and fear, diluting their perfect divinity and enhancing their readability due to endowed imperfections. I wish to depict them, these imperfections often manifesting in distorted head imagery or contorted body forms. Sometimes these distortions stem from textual interpretations, other times from simple personal aesthetics—I regard these divergences and personal aesthetics as gifts bestowed upon me by the divine. When these figures inhabit distant, boundless landscapes, they appear monumental, with their subtle imperfections and flaws magnified. The opaque words and deeds in the Bible often leave me oscillating between selfishness, curiosity, and a desire for closeness, but painting cannot resolve this dilemma for me. In my artworks, I consistently strive to capture a beauty that should exist in reality, yet undoubtedly, I am revealing my endowed imperfections."
— Li Guanshuai
李关帅，1997年生于山东东营，2019年就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。他的作品收藏于澳大利亚悉尼白兔美术馆，广东当代艺术基金会，罗中立美术馆等。他的个展：“赞歌”，可以画廊，（合肥，2023）；参与的群展包括：“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, etc.His solo exhibitions include:"Paean", KeYi Gallery, (Hefei, 2023);and group exhibitions he participated: "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.
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.
