BP 艺术家 | 黎雨诗 Yushi Li
黎雨诗 Yushi Li
令人窒息的梦 The Smothering Dream, 2022
105 x 130 cm
手工C-type，富士哑光相纸，馆藏玻璃框
Handmade analogue C-Type, Fuji matte paper, framed with museum glass
黎雨诗 Yushi Li
户外盛宴 The Feast (Outside), 2020
105 × 130 cm
手工C-type，富士哑光相纸，馆藏玻璃框
Handmade analogue C-Type, Fuji matte paper, framed with museum glass
黎雨诗 Yushi Li
室内盛宴 The Feast (Inside), 2020
105 × 130 cm
手工C-type，富士哑光相纸，馆藏玻璃框
Handmade analogue C-Type, Fuji matte paper, framed with museum glass
在这一系列照片中，艺术家将她的幻想投射到男性形象上，以继续她将男性体征作为色情主题的研究。通过翻看一些艺术史上的经典画作，黎雨诗试图反思这些对于女性身体的表达形式，并对身体的原始欲望做出个人的写照。她把对于肉体欲望的渴求，梦想与爱以照片的形式，加上动物和奇妙的环境元素来进行创作与倾诉。在这些照片中，女性不再是别人梦想或欲望的化身，而是真正成为自己故事的创造者。
In this series of photographs, Li projects her fantasies onto the male figure to continue her investigation of male representations as an erotic subject. By looking at certain classical paintings in art history, she tries to reflect on these representations of the female body and makes her own portrayal of the body of desire. Li's desire, dreams and love for the desired body are illustrated in a photographic form, using animals and fantastic settings. In these photographs, the female figure is no longer the incarnation of someone else’s dream or desire, but the creator of her own stories.
黎雨诗 Yushi Li
沙龙 The Salon, 2022
105 x 128 cm
手工C-type，富士哑光相纸，馆藏玻璃框
Handmade analogue C-Type, Fuji matte paper, framed with museum glass
黎雨诗 Yushi Li
房间 The Room, 2022
102 × 127 cm
手工C-type，富士哑光相纸，馆藏玻璃框
Handmade analogue C-Type, Fuji matte paper, framed with museum glass
黎雨诗 Yushi Li
镜前的纳西索斯 Narcissus with the Mirror, 2021
81 x 64 cm
手工C-type，富士哑光相纸，馆藏玻璃框
Handmade analogue C-Type, Fuji matte paper, framed with museum glass
黎雨诗 Yushi Li
一百只眼睛 The Hundred Eyes, 2021
259.1 × 325.1 cm
手工C-type，富士哑光相纸，馆藏玻璃框
Handmade analogue C-Type, Fuji matte paper, framed with museum glass
黎雨诗 Yushi Li
噩梦 The Nightmare, 2019
102 × 128 cm
手工C-type，富士哑光相纸，馆藏玻璃框
Handmade analogue C-Type, Fuji matte paper, framed with museum glass
在她的作品中，女性形象扮演了一种主动而非被动的角色。这不仅仅是简单地颠倒转换男性与女性在社会中通常扮演的固有角色，而是艺术家的一种尝试：去质疑广泛嵌入艺术史之中的主动男性和被动女性的性别二元表征。穿越旧画、梦想和爱情，我们在有意识和无意识之间徘徊，这让我们可以去接近一种新形式的性，去参与一场极富观赏性的戏剧。
Through taking an active rather than passive role in her work, instead of simply reversing the gender roles, Li tries to question and challenge the dyadic representations of active men and passive women that has been broadly embedded in art history. Across old paintings, dreams and love, we drift between the conscious and the unconscious, approaching a new form of theatre of sexuality and spectatorship.
这张照片的灵感来自于日本画家北斋的作品《章鱼与海女图》。原画描绘了渔夫的妻子与两只章鱼发生性关系的情色梦。在这件作品中，我们可以看到一个雌雄同体的男人和两只章鱼在浴缸里，这也可以是渔妇的梦想。女性形象不再是别人梦想或欲望的化身，而是成为梦想和渴望的主语。
This photo is inspired by the Japanese painter Hokusai’s work The Dream of the Fisherman’s Wife. The original painting depicts an erotic dream of the fisherman’s wife, in which she is sexually entwined with two octopuses. In my work, we can see an androgynous man with two octopuses in a bathtub, which is the dream of the Fisherwoman. The female figure is no longer the incarnation of someone else’s dream or desire, but the one who is dreaming and desiring.
黎雨诗 Yushi Li
静物2 The Still Life 2, 2021
25 × 30 cm
手工C-type，富士哑光相纸，馆藏玻璃框
Handmade analogue C-Type, Fuji matte paper, framed with museum glass
黎雨诗 Yushi Li
面纱，双联画 The Veil, diptych, 2020
70 x 55 cm
手工C-type，富士哑光相纸，馆藏玻璃框
Handmade analogue C-Type, Fuji matte paper, framed with museum glass
作品近期展览
个展：绘画，梦想和爱
Paintings, Dreams and Love
2021/03-2022/09
@Fotogalleri Vasli Souza, Oslo, Norway
展览现场 | Exhibition View
黎雨诗 Yushi Li
梳子 Brush, 2019
269.2 × 322.6 cm
手工C-type，富士哑光相纸，馆藏玻璃框
Handmade analogue C-Type, Fuji matte paper, framed with museum glass
黎雨诗 Yushi Li
花园 Garden, 2018
124 x 154 cm
手工C-type，富士哑光相纸，馆藏玻璃框
Handmade analogue C-Type, Fuji matte paper, framed with museum glass
在 Your Reservation Is Confirmed 项目中，黎雨诗通过在线酒店服务 Airbnb 租用了“理想”的家，并通过互联网预订了“理想”的男性模特来构建她的“理想”形象。通过将这些对理想生活的即时幻想带出数字屏幕，她的作品试图探索人类欲望的商品化表现，并质疑在如今这样一个社会快速变革的时代中，如何让独立个体之间不同的欲望得以表达。
In the project Your Reservation Is Confirmed, Li rents the ‘ideal’ home through the online hospitality service Airbnb, and books the ‘ideal’ man through the Internet to construct her‘ideal’ images. By bringing these instant illusions of the desired life out of the digital screen, her work tries to explore the commodification of our desire and question the distinction between representations and individual subjects in an era of rapid social change.
黎雨诗 Yushi Li
钢琴 Piano, 2018
手工C-type，富士哑光相纸，馆藏玻璃框
Handmade analogue C-Type, Fuji matte paper, framed with museum glass
黎雨诗 Yushi Li
楼梯 Stairs, 2018
127 × 105.9 cm
手工C-type，富士哑光相纸，馆藏玻璃框
Handmade analogue C-Type, Fuji matte paper, framed with museum glass
黎雨诗 Yushi Li
乐高 Lego, 2018
手工C-type，富士哑光相纸，馆藏玻璃框
Handmade analogue C-Type, Fuji matte paper, framed with museum glass
通过将这些男人置于不同的家庭空间中，黎雨诗的作品试图以一种非男性化但不女性化、色情但不性感的方式呈现他们。照片中的人与摄影师和观众之间肯定存在一定的权力关系。但它不是二元的主动-被动关系，而是流动于主客体之间的一系列循环。
作品近期展览
群展：61069019 boooom!
2019/11-2020/02
@BROWNIE Project
Rm 105, Bldg 6, 105 Mo Gan Shan Rd, Shanghai
展览现场 | Exhibition View
在 My Tinder Boys 项目中，黎雨诗拍摄了通过在线约会应用程序Tinder认识的不同男人们。“我看着他们，我“喜欢”他们，我让他们成为我的图像。”在拍摄这一系列照片的过程中，那些背后重复繁琐的工作和类似的设定将这些人变成了她欲望的无差别且可替换的对象。同时，在这些并不日常的日子里，艺术家既是试图侵入他们私人空间的侵犯者，也是参与到他们的脆弱中的欲望对象。
In the project My Tinder Boys, Li photographed different men she met through the online dating application Tinder. "I look at them, I ‘like’ them, I make them become images of mine." The repetition of the process and similar settings in this series of photographs turns these men into undifferentiated and replaceable objects of her desire. Meanwhile, during these unusual dates, Li is both the violator who tries to invade their private space and also the desiring object who participates in their vulnerability.
黎雨诗 Yushi Li
本，25岁，距离45km Ben, 25, 45km away, 2018
92 x 92 cm
手工C-type，富士哑光相纸，馆藏玻璃框
Handmade analogue C-Type, Fuji matte paper, framed with museum glass
黎雨诗 Yushi Li
卢卡斯，21岁，距离27km Lukas, 21, 27km away, 2018
92 × 92 cm
手工C-type，富士哑光相纸，馆藏玻璃框
Handmade analogue C-Type, Fuji matte paper, framed with museum glass
可以看出，这些记录男人为艺术家展示自己的照片存在一定的不确定性，这揭示了男人对于如何在镜头下表露色情的不确定性。通过将这些男人置于刻板印象的女性空间——厨房，黎雨诗的作品试图质疑性别的二元观点，并探讨了这种既定的展示色情和亲密关系的方式。
It can be seen that there is certain precariousness to the way these men stage themselves for Li's photographs, which revealed men’s uncertainty in knowing how to be erotic for the camera. By putting these men in the stereotypically feminine space – the kitchen, her work tries to question the binary view of gender, and to examine established ways of staging eroticism and intimacy.
黎雨诗 Yushi Li
汤姆，20岁，距离5km Tom, 20, 5km away, 2018
92 x 92 cm
手工C-type，富士哑光相纸，馆藏玻璃框
Handmade analogue C-Type, Fuji matte paper, framed with museum glass
黎雨诗 Yushi Li
詹姆斯，28岁，距离3km James, 28, 3km away, 2018
92 x 92 cm
手工C-type，富士哑光相纸，馆藏玻璃框
Handmade analogue C-Type, Fuji matte paper, framed with museum glass
黎雨诗 Yushi Li
埃德里克，24岁，距离13km Edric, 24, 13km away, 2018
92 x 92 cm
手工C-type，富士哑光相纸，馆藏玻璃框
Handmade analogue C-Type, Fuji matte paper, framed with museum glass
作品近期展览
个展：您的预订已确认
Your Reservation Is Confirmed
2019/03-08
@Fotogalleri Vasli Souza, Malmo, Sweden
展览现场 | Exhibition View
黎雨诗 Yushi Li
希望你会喜欢你所见到的
I Hope You Like What You Have Seen, 2020
尺寸可变 Dimension variable
影像
Video
在这个项目中，黎雨诗策划了一系列不同男性陌生人通过 Skype 为她进行不同日常活动表演的视频。这些人通过电子邮件或在线消息联系到艺术家，说他们想在她的作品中出现。他们对于被注视的渴望揭露了偷窥者和暴露狂之间复杂的关系。在这些聊天中，黎雨诗试图通过短信或语音信息的方式来指导这些人的行为，而不是亲自或通过网络摄像头展表达自己。她试图完全控制他们，不仅是通过指导他们做什么和如何做，还通过男性的完全暴露和艺术家本人的不可见所标志的绝对权力来证明。通过为屏幕的两侧创造这些视觉乐趣，黎雨诗试图探索在互联网时代，凝视所蕴含的内在力量是如何变化并作用的。
In this project, she is trying to curate a series of videos of different male strangers performing different mundane activities for she via Skype. These men are the ones who contacted her by emails or online messages, saying that they want to be shown in her work. Their desire to be looked at opens up the complicated relationship between the voyeur and the exhibitionist. During these chats, she tries to instruct these men’s behaviour through her text or voice messages without showing herself in person or via the webcam. Her attempt to be in full control of them is demonstrated not only through directing what they do and how they do it, but also by executing the power inherent in their total visibility and her invisibility. By creating these visual pleasures for possibly both sides of the screen, she tries to explore how the power dynamic inherent in the gaze has changed in the Internet age.
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