“合作，为了污染，不为完善” ｜第四期：解放

第四期项目预告

“解放”

第四期 参展艺术家：

李昕頔、麻剑锋

Stage 4. Participating Artists:

Li Xindi, Ma Jianfeng

时间 Duration

   2021.06.08（周二）

—

   2021.06.19（周六）

开幕式将在2021年6月8日（周二）16:00 进行。

The opening reception will take place on-site from 16:00 on June 8th (Tuesday), 2021.

地址 Location

户尔空间 北京市朝阳区酒仙桥路2号798艺术区东街 D08-3

Hua International Beijing D08-3, 798 East Street, 798 Art District, No.2 Jiuxianqiao Road, Chaoyang District, Beijing

"Collaboration, Not for Perfection, but for Contamination" is an experimental art project in line with Rafael Domenech's first solo show in China "Imperfect Fragments of an Uncertain Whole."

“合作，为了污染，不为完善”即将迎来最后一期的呈现，我们荣幸邀请到艺术家李昕頔和麻剑锋前来“污染”现场——这次，以“解放”的名义。

历数二人艺术生涯的创作，他们虽然主要各自秉持着画家与雕塑家的身份，却无意画地为牢，而是致力于解放身份。这便是本期项目名称的第一重语义。他们各自的解放手段体现为对于反常规材料（如生活材料、展览物料）的刻意使用（如麻剑锋绘画材料中的纸板与塑料布，李昕頔以地贴和荷兰绒布作为一种出乎意料的雕塑材料），逆反了一般认知中雕塑与绘画的规范媒介，以及雕塑家和画家的工作范式。

We are honored to have artists Li Xindi and Ma Jianfeng joining us to contaminate the exhibition "Collaboration, Not for Perfection, but for Contamination" for the last stage of the parallel art project in the name of "Liberate". 

Looking back on the career of artistic creation of the two artists, although they have been upholding the identities of painter and sculptor respectively, they have never intended to restrict their practice to the two designated options. Instead, they are committed to liberate identity, which is the first semantics of the title for Stage Four of the experimental art project. Their respective means of liberation are embodied in the deliberate use of unconventional materials (such as daily living materials, exhibition materials including cardboard and plastic cloth for Ma Jianfeng, Dutch flannelette as an unexpected sculpture material for Li Xindi), which goes against the common perception of the normative media of sculpture and painting, as well as the working paradigm of sculptors and painters.

麻剑锋的绘画往往不设目标，常常是自然状态下的“冲动”之作，材料的选择似乎也源自本能，还原出一种原始主义的天真之感。绘画的呈现同样不受传统羁绊，反而多以雕塑装置的形式自由组合；其图示来源同样广泛，自然之景、各族人像等。这些具有多重题材的绘画以多种形式呈现在展览现场，侵入墙面、桌面与空中，以亮色点醒原本单色调的空间。

李昕頔本次场域特定的创作延用了他惯常的艺术语言与手法，曾在他之前作品里出现过的荷兰绒布和地贴胶条，在新的空间中幻化为新的机体：桌面的绒布与墙面的绒布交相呼应，或需用眼睛细细分辨，或可以用手触摸介入，以改变其颜色与形态。地面的荧光胶条像是在守护展场中本来的灯光装置，却将在白日吸足光线后，在夜晚反客为主成为虚空暗淡中的显影存在。李昕頔的创作隐忍而克制，却在难以捉摸的微妙之处蕴含着对于当下时刻的反思。

Ma Jianfeng's paintings do not preset goals and are often "impulsive" in nature. The choice of materials seems to come from instinct, which comes at the artist’s disposal, hence often conveying a sense of naivety and primitivism. The presentation of painting is also not fettered by tradition, displayed rather often in the form of sculpture installations. The sources of graphics that can be painted are also extensive, including natural scenery and people of all nationalities. These paintings with multiple themes are presented in various forms inside the exhibition, invading the walls, tabletop or in the air. The bright colors of the paintings add freshness to the original monochromatic space. 

The site-specific creation of Li Xindi extends his habitual artistic language and methods. The Dutch flannelette and adhesive strip sticking on the ground appeared in his previous work transform into new existence: the flannelette on tabletop echoes with that on surface of the walls. In order to change its color and morphology, we can either distinguish the difference by sight, or intervene with our hands by touching. The fluorescent tape on the ground seems to be guarding the original lighting device in the exhibition space. After absorbing enough light in the daytime, it will become the dominant existence in the dim void at night. The creation of Li Xindi is forbearing and restrained; however, the elusive subtlety in his creation contains the reflection to every instant moment.

在本次项目中，“解放”这一有军事属性的概念的词语，又将二人的创作（以及被污染的拉斐尔·多梅内克的展览）置于新的语境下：在展览原本的桌面之上，经由李昕頔的介入而铺陈开来的地形图似是广场，又如战场；这一旁，桌面的孔洞像是水路与半岛，它们整体构成了一片区域的规划图，像是解放之路上的沙盘演示。在此，立体的艺术家书（拉斐尔·多梅内克作品）、纸箱绘画装置（麻剑锋作品）和仙人球雕塑（李昕頔作品）一转而成空间中的纪念碑，各自无言，却似有预示。新的时代将要来临。

又或许，这一切论述都是只言片语的想象。“解放”或仅是一种概述，但我们却相信它是通向自由创作的真谛。在“合作，为了污染，不为完善”平行项目行至最后一期之时，在先后邀请本地27位艺术家在拉斐尔·多梅内克的个展现场放肆铺展开各自的作品之后，我们仍坚持那一丝余念，那丝余念是“污染”的前提与终途：解放身份，解放自我，解放艺术，解放展览。

In this project, the title "liberate", a concept with military indication, puts their works (and the contaminated exhibition of Rafael Domenech) into a new context. The topographic map spreading on the tabletop of the original exhibition through Li Xindi's intervention is similar to a public square or battlefield, and the holes in the table are like waterways and peninsulas. Together they form an area planning map similar to the sand plate demonstration for achieving liberation. Here, the three-dimensional art books (by Rafael Domenech), cardboard box painting installations (by Ma Jianfeng) and cactus sculpture (by Li Xindi) turn into monuments in the space, each speechless, but seems to foretell the future in which a new era will arrive.

Or perhaps all of the discussion is nothing but imagination. "Liberate" may be just an overview, but we believe that it is the essence leading to free creation. In the final phase of the parallel project of "Collaboration, Not for Perfection, but for Contamination", after inviting 27 local artists to develop their works at the site of Raphael Domenech's solo exhibition freely, we still adhere to the unwavering idea, which is the premise and final path of "contamination": liberation of identity, liberation of self, liberation of art, and liberation of exhibition.

李昕頔，1996年出生于北京，现生活和工作于北京。

毕业于芝加哥艺术学院雕塑系。他的装置作品常以无厘头的幽默以及对现实事物出其不意的戏仿，质疑艺术机构的本质以及它们在生产当代文化与定义当代社会审美方面的作用。

Li Xindi, born in Beijing in 1996, now lives and works in Beijing.

 Li majored in sculpture at School of the Art Institute of Chicago. His installations works critically pose questions and comments on the nature of art institutions and their roles in producing culture and defining aesthetics in contemporary society with unexpected parody and non-sequitur humor.

麻剑锋，1983年出生于浙江，现工作和生活于北京。毕业于中国美术学院壁画系，2012获得德国柏林艺术大学“Burkhard Held大师生”称号。

麻剑锋坚持以绘画作为自己的主要创作形式，他的创作关注绘画与空间的关系。

Ma Jianfeng, born in Zhejiang in 1983, now lives and works in Beijing.

Graduated from China Academy of Art, majored in Mural studies. Acquired the title of “Protege of Master Burkhard Held” at Universität der Künste Berlin. Ma insists on painting as his major form of art-making, and his works concern the relations between painting and space.

展览现场｜拉斐尔·多梅内克「画廊周北京2021公共单元」

“合作，为了污染，不为完善”｜拉斐尔·多梅内克个展平行项目

“合作，为了污染，不为完善”｜第二期回顾：生成中的双个展