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[驻地艺术家分享-李竹君] 与银盐摄影的存在之旅 First Studio Gathering with Zhujun Li

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2019年7月1日，工作室画廊_项目空间迎来了新一期驻地艺术家李竹君，她将在接下来近两个月的时间内进行她的驻地创作。7月7日（本周日），我们将组织驻地艺术家的首次创作聚会分享活动。而艺术家也将于2019年8月25日进行她最终的驻地创作汇报，而我们也非常期待与您分享这个未知过程中的种种经历与美好。

在首次驻地驻地的聚会中，艺术家会简述她十二年间的银盐摄影创作经历，以及她是如何通过摄影来感受自身对存在问题的探索。艺术家亦会谈到此次驻地项目的创作计划 —— 在暗房制作出一系列她在冰岛拍摄的照片。

Studio Gallery_Project Space is pleased to welcome our recent residency artist ZhuJun Li's arrival on July 1st. She will complete her your residecny project in the next 2 months. On July 7th (this Sunday), we will organize the first Studio Gathering event. And the artist will have her final presentation "OPEN STUDIO" on August 25th 2019. We are thrilled to share with you all these exciting and fresh moments during this unknown journey.

In this gathering, the artist will talk about her twelve-year journey with analogue photography and how she experiences her existential quest through shooting. The artist will also discuss her plan for the residency - developing a series of photos she shot in Iceland before coming to Shanghai.

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Silver gelatin print 2018

Editions: 2 +AP Size: 14.4 cm x 14.8 cm

After you have exhausted what there is in business, politics, conviviality, and so on - have found that none of these finally satisfy, or permanently wear - what remains? Nature remains

在你疲倦于商业、政治、社交等一切之后——发现这些东西都不能让你最终满意，也不可能永久存在——最终永存的是什么？是自然罢了。

—— Walt Whitman

沃尔特·惠特曼

撰文 Text / Adriana Furlong

2019.07 上海 Shanghai

Colour silver print, 2016

Various sizes, the first 3 editions are 20.2 x 13.3 cm

There is a refreshing anti-intellectualism in Zhujun Li’s work, careful attention to truth, a sacred spirituality based around ideas that one may also find embedded in the east coast Transcendentalist movement.

李竹君的作品中有一种清新的反智主义，对真理的迫切关注，一种基于超验主义运动中相同思想的高尚精神内核。

Untitled 09, 2018

Silver gelatin print on cotton paper

Editions: 2 +AP , 49 cm x 33.4 cm

Through her utilization of film photography versus digital, we are almost reintroduced to the common nomenclature of recognizable symbols such as a bird in flight, the view of clouds from an aeroplane, and yet we are prompted to not only look but see. And yet, her preoccupation does not solely lie in the documentation, there is a painterly aspect to her work that distinguishes her as much more of a process-based artist, an artist intent on connecting with the world around her. The camera exists as a tool to understand what she is seeing, and through the later stages of developing, the artists hand is revealed, allowing for a very painterly effect to her ensue, leaves room for the artists hand— and mistakes; a direct link is shown between the self, and what is produced… the camera is merely, as Li says, “an extension of the body”.

通过她对胶片摄影和数码摄影的运用，我们几乎重新认识了那些寻常符号的普遍命名，比如飞翔的鸟，从飞机上看到的云，然而，我们被催促于不仅要看，更多的是沉浸其中的观察。当然，她的专注点并不仅仅在于记录，她的作品中有绘画的成分存在，这让她更像是一个以过程为创作基础的艺术家，或一个致力于与周围世界联系的艺术家。相机的存在为一种工具，用来理解她所看到的一切，然后随着后期的发展，艺术家的手参与其中，给作品带来绘画般的呈现效果，把空间留给了她的双手——还有错误; 这样一种直接的联系在自我和其作品之间产生，正如李所说，相机只是“身体的延伸”

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Silver gelatin print 2018

Editions: 2 +AP Size: 16.3 cm x 16.3 cm

Li referencing her disconnection with humankind, and a thirst for meaning, imparts that fulfillment was found by an excavation into nature; the answers she was seeking not able to be found in religion, or philosophy, was obtained in the quiet repose of nature, man-kinds first cathedral.

李提到了她与人类的疏离，以及对意义的渴望，她告诉我们，通过对自然的挖掘，她找到了满足; 她所寻求的答案，无法在宗教或哲学中找到，却在静谧的自然中得到了，毕竟那才是人类的第一个教堂。

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