关于艺术家
About Artist
李玉双，1935年出生于江苏徐州，是国画大师李可染的长子，母亲苏娥为沪上戏曲名家苏少卿长女，少年在家学熏陶下开始了创作之路。1956年，毕业于北京机械制造学校的李玉双赴上海交通大学造船学院进修，之后分配到郑州机器制造学校教授工程力学，在工作之余坚持艺术创作，这一时期以水彩画创作为主，多为描绘学校及周边村庄的景色，创作了大量以自然风景为题材的水彩画和速写作品。1969年，开始常赴河南鲁山、平顶山等地写生。1971年，李玉双开始研究人类视觉与艺术的关系，制作相关模型并尝试视觉试验，逐步形成一套独特的观察方法和绘画体系。李玉双称之为“光编码”画法。1986年返回北京，逐渐开始探索水墨、丙烯等综合材料的运用，探索中国材料对色彩的表现力，并坚持写生创作从未间断。2010年，工作室建好，不过所有写生依然在室外完成。李玉双开始大幅面的作品创作，使用综合材料，尝试西方材料与中国传统纸张的结合。2015年，今日美术馆举办六十年艺术个展，共展出作品60余幅。2017年，前往日本、台湾、新西兰等地写生；2018年5月，中国国家大剧院举办个人绘画展。艺术理念：李玉双先生认为绘画系统与认知系统是同一个系统，作画的过程就是对世界，对生活的认知，而李玉双的画就是其生活本身。六十余年埋首于科学研究与绘画艺术，并近于朝圣般地热爱着自然。李玉双先生六十余年如一日以自然为唯一主题进行写生创作和独立研究。在李玉双看来，“光编码”是上帝传递给人类的最初信息，艺术家只是忠实地将这些信息呈现出来，并无丝毫增减。而能看到“光编码”，则是其基于视觉研究、长期不懈的观察训练的结果。李玉双的绘画既非机械的“画物本体”，也非主观的“画心像”，其眼光已经超越了绘画的光影色彩，而触及到宇宙自然、天地万物的本质。在探索“光编码”奥秘的艺术之旅中，李玉双看到的是一个无穷尽的世界。作为一位八十五岁高龄的中国当代艺术家，李玉双是中国艺术领域罕有的坚持以自然为题材、坚持在自然中创作的艺术家；有工程学背景和科学知识背景，以系统化的科学方法进行艺术创作，又在科学之眼的帮助下，用艺术表达对宇宙和自然的理解。重要展览：“李玉双同名个展”（亚洲艺术中心，北京，2020）、“玉双的写生 - 2018年越洋行走写生展”（白盒子之家，北京，2018）、“田野的色彩 - 李玉双艺术巡回展美国站”（世界粮食奖总部，艾奥瓦州得梅因，2018）、“画我眼中所见 - 李玉双绘画艺术展”（国家大剧院，北京，2018）、“自然 - 李玉双艺术·展览·雅集”（圣之空间，北京，2018）、“自然而来：光编码观照下的风景 - 李玉双写生创作六十年艺术展”（今日美术馆，北京，2015）等。Li Yushuang, born in Xuzhou, Jiangsu in 1935, is the eldest son of Chinese painting master Li Keran. His mother, Su'e, was the eldest daughter of the Shanghai opera master Su Shaoqing. The specific artistic atmosphere started to impress Li Yushuang since his childhood. In 1956, Li Yushuang, who graduated from Beijing Mechanical Manufacturing School, went to the Shipbuilding Institute of Shanghai Jiao Tong University for further studies. Afterwards, he was assigned to Zhengzhou Machine Manufacturing School to teach engineering mechanics, meanwhile he insisted on artistic creation during his spare time. At this period, he mainly focused on watercolor painting, mostly depicted the scenery of schools and surrounding villages, and created a large number of watercolor paintings and sketches based on the subject of natural scenery. In 1969, he went to Lushan, Pingdingshan in Henan Province and other places for outdoors sketch, and began to paint mountain scenery, river beaches and folk customs with xuan paper and ink. In 1971, Li Yushuang started researching the relationship between art and visual sight. He operated relative models and visual experiments, and gradually formed a unique set of observation methods and painting systems, which is so called as "light coding method". Li Yushuang returned to Beijing in 1986, afterwards he gradually began to explore the comprehensive use of ink, acrylic and other materials, persisting in the creation of sketches. His studio was built in 2010, however since then all the sketching was still finished outdoors. He began to create large-scale works, using comprehensive materials, intending to combine Western materials with the traditional materials of Chinese paper. In 2015, Today Art Museum held Li Yushuang's solo exhibition, displaying more than 60 artworks. In 2017, he visited Japan, Taiwan, New Zealand and other places for sketching. In May 2018, National Centre for the Performing Arts of China held a solo art exhibition for Li Yushuang.
Artistic Theory: Li Yushuang believes that the painting system and the cognitive system are comparable. He regards the process of painting as the recognition towards the world and life, thus his painting faithfully represents his life. He has been immersed in scientific research and art creations for more than 60 years, pursuing nature almost like a pilgrimage. Li Yushuang believes that "light coding" is the first message God sent to mankind, thus he faithfully presented these messages without any increase or decrease. The system of "light coding" triggers his presentation of long-term tireless observation training based on visual research. His paintings neither depicted mechanical "artificial objects" nor subjective "painting images". His vision has surpassed the color of light and shadow in painting, touching the nature of the universe which consists of all mundane objects in the world. In this regard, through the artistic journey of exploring the mystery of "light coding", Li Yushuang witnessed an endless world. As an 85-year-old Chinese contemporary artist, Li Yushuang insists in drawing from nature and creating in nature, which is quite rare in Chinese art field; with a science and engineering background, he creates art in a systematic and scientific way and expresses his understanding of the universe and nature through his "science eyes".Significant Exhibitions: “Li Yushuang Solo Exhibition” (Asia Art Center, Beijing, 2020), "Yushuang's Sketches - 2018 Transoceanic Travelling Sketches Exhibition" (Whitebox Choice, Beijing, 2018), "Colors in the Field - Solo Exhibition of Li Yushuang" (World Food Prize Hall of Laureates, Des Moines, Lowa, 2018), "Draw what I see - Li Yushuang Painting Solo Exhibitions" (National Centre for the Performing Arts, Beijing, 2018), "The Nature Showed by my eyes Li Yushuang " (SZ Art Center, Beijing, 2018), "From and For Nature: Landscape in the perspective of Light-Code Art Exhibition of Li Yushuang's six decades on sketches and paintings" (Today Art Museum, Beijing, 2015)
关于主讲嘉宾
About Guest Speakers
方志凌，1970年出生于湖北，副教授，湖北美术学院学士、武汉理工大学硕士、中央美术学院访问学者。2007年以后介入当代艺术批评以来，在《美术》、《世界美术》、《当代艺术》、《国家美术》等各类专业杂志、书籍上发表艺术批评文章50余篇；并于威尼斯、曼谷、香港、北京、杭州、厦门等地主办过一系列展览。重要策展项目：“李玉双同名个展”（亚洲艺术中心，北京，2020）、“疏离之境 - 尹朝辉、尹朝宇作品展” （亚洲艺术中心，北京，2018）、“群贤·白露文慧 - 中国当代艺术邀请展”（华中农业大学艺术馆，武汉，2018）、“群贤·狮山夏至 - 中国当代艺术邀请展”（华中农业大学艺术馆，武汉，2018）、“另一个阿莱夫 - 中德当代艺术对话展暨德美术馆开幕展”（德·美术馆，厦门，2018）、“诗性的共同体 - 厦门自贸区成立一周年国际当代艺术展”（厦门国际邮轮城博乐德艺术空间，厦门，2016）、“不一不异 - 中国青年艺术家试验展”（中国美术学院美术馆，杭州，2013）、“风物纪 - 中意青年艺术家对话展”（威内托科技艺术馆，威尼斯，2011）、“70后艺术的十个个案”（香港展览中心，香港，2010）等。重要编辑出版画册：《纸象 - 尹朝阳的纸上绘画》（四川美术出版社，2015）、《王劼音》（安徽美术出版社，2014）、《木兰溪》（中国美术学院出版社，2012）、《70后艺术的十个个案》（中国经济出版社，2010）等当代艺术画册。Fang Zhiling was born in 1970, associate professor, bachelor of arts in Hubei Institute of Fine Arts, master of arts in Wuhan University of Technology, he is also the visiting scholar of Central Academy of Fine Arts.When he involved in contemporary art criticism since 2007, he has published more than 50 art criticism articles in various academical journals and books such as Art, World Art, Contemporary Art and National Arts. As a curator, he has curated a series of exhibitions in Venice, Bangkok, Hong Kong, Beijing, Hangzhou, Xiamen and other places.Significant Curatorial Programs: "Li Yushuang Solo Exhibition" (Asia Art Center, Beijing, 2020), "The Distant Landscape - Exhibition of Yin Zhaohui & Yin Zhaoyu" (Asia Art Center, Beijing, 2018), "Gathering of Masters · South Lake · The White Dew - Contemporary Chinese Exhibition" (The Art Museum of HZAU, Wuhan, 2018), "Gathering of Masters · Lion Hill · Summer Solstice - Contemporary Chinese Exhibition" (The Art Museum of HZAU, Wuhan, 2018), "Another Aleph - Chinese and German Contemporary Art Exhibition & DE Gallery Opening Exhibition" (DE Gallery, Xiamen, 2018), "The Poetic Community – First Anniversary of Xiamen Pilot Free Trade Zone International Contemporary Art Exhibition of Xiamen" (Blanc Art Space of Xiamen International Cruise Center, Xiamen, 2016), "Bu Yi Bu Yi - Experimental Exhibition of Young Chinese Artists" (Art Museum of China Academy of Fine Art, Hangzhou, 2013), "Fengwu Ji - An Exhibition of Dialogue between Chinese and Italian Young Artists" (The Veneto Museum of Technology, Venice, 2011), "Ten Cases Studies of Post-70s Artist" (Hong Kong Exhibition Center, Hong Kong, 2010)Significant Edited and Published Catalogues: Images on Paper - Yin Zhaoyang's Works on Paper (Sichuan Fine Arts Publishing, 2015), Wang Jieyin (Anhui Fine Arts Publishing, 2014), Mulan River (China Academy of Art Press, 2012), Ten Cases Studies of Post-70s Art (China Economic Publishing House, 2010) and other contemporary arts catalogues
夏可君，1969年生于湖北，哲学家、评论家与策展人，曾留学于德国与法国，现任教于中国人民大学，为文学院教授。
夏可君出版个人著作达十多部，以“无用”为核心概念，出版相关著作：《一个等待与无用的民族——庄子与海德格尔的第二次转向》，《无用的神学——班雅明、海德格与庄子》，让庄子与海德格尔、班雅明、卡夫卡以及德里达等人对话，试图打开一种跨文化哲学对话的可能性，并且让无用、虚以及余让的概念生成为当代哲学的核心概念。
同时，作为非常有影响的当代艺术评论家与策展人，他也提出了虚薄艺术、余象与虚托邦等概念，并在国内外策划过一系列重要展览。
Xia Kejun was born in 1969, philosopher, critic and curator. Xia received his PhD from Wuhan University in China, and completed his post-doctoral work at Universität Freiburg and Université de Strasbourg (following Jean-Luc Nancy). Xia has published more than ten books, including Waiting and Useless Nation: Zhuangzi and Heidegger’s Second Turn (2017) and The Theology of Uselessness: Benjamin, Heidegger and Zhuangzi (2019).
章剑，1968年出生于北京。1993年毕业于中央美术学院壁画系，现工作、生活于北京。重要展览：“总有宁静的风景”（偏锋新艺术空间，北京，2017）、“诗意地栖居”（偏锋新艺术空间，北京2016）；“年轻的回忆”（La galerie épisodique，巴黎，2016）、“居间”（成艺术，北京，2015）、“园林·异景——中国当代艺术邀请展”（苏州文化艺术中心，苏州，2015）
Zhang Jian, was born in Beijing, China in 1968. In 1993, he graduated from Fresco Department, Central Academy of Fine Arts. He recently lives and works in Beijing.
Significant Exhibitions: "Tranquility"（Solo Exhibitions, PIFO Gallery ,Beijing, 2017）、"Poetic Dwelling in Contemporary Art"（PIFO Gallery, Beijing, 2016）、"Drawing the Beginning"（La galerie épisodique , Paris, 2016）、"Interbeing"（Cheng Art, Beijing, 2015）、"Garden Splendors – Chinese Contemporary Art Invitational Exhibition"（Suzhou Culture and Arts Centre, Suzhou, 2015）
▲ 李玉双《阳朔公园（漓江）》(局部）
▲ 李玉双《河岸边（艳芳走过的路）》
▲ 李玉双《暖日植物园》(局部）
▲ 李玉双《谷雨》 
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