“延展与隐匿：俊朗之径”明日开幕！

编者按：

黎朗、李俊双个展——“延展与隐匿：俊朗之径”，经过漫长的布展期，明天迎来开幕。此次展览正式启动于1月底，在不到两个月的时间内，策展人谢晋宇率先完成对展览的巧妙构想和策划，并用半个月左右的时间，完成与12位社会人士就展览、参展艺术家及作品的交流讨论，这其中包括批评家、策展人、人类学家、哲学家、艺术机构经纪人、艺术家等。参展艺术家黎朗、李俊除了提供众多优秀的作品，还参与了数次线上及线下的展览讨论，更是不遗余力的参与现场布展工作。众多的藏家包括千高原艺术空间等，为了此次展览的完美呈现，不吝将视若珍宝的藏品带到现场。此外，此次展览还得到了东来艺术的慷慨赞助……

展览最终的完美呈现离不开参与者的辛勤付出，更离不开屏幕前的您一直以来对蓝顶美术馆的关注和支持。故而，在新展开幕之际，真诚邀请大家莅临蓝顶美术馆共同见证和品鉴～～‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍

前言：俊朗缠枝莲的缠转

黎朗和李俊都是素人出身，在创作上有意识地彰显自己的业余身份，利用这种身份制造一种不确定性、不安全感。他们用这样的创作构建自身的日常，歌颂自己的业余。他们拿起相机，朴素地坚持不做糖水式的摄影，最早的标本就是布列松，然后走向问题意识，开始出来系列创作（刘杰语）。在成都的当代摄影家群体中两位艺术家非常典型，均具样板价值。他们基于对摄影本体的思考，从最早的“决定性的瞬间”朝自己思考的方向进发,已卓有成就。

《延展和隐匿》这个展名是在策展前期对于多名艺术界和非艺术界人士访谈的基础上，用内容分析法提取出来的，是对两位艺术家创作之径的总结。两条路径也可以用于解释成都当代摄影艺术。

两个艺术家都是怀疑的。他们发挥了摄影两个传统（新闻报道的摄影和美学的艺术摄影）的力量，分别在公共领域和个人领域彰显了摄影的新可能：揭示性和自主性。他们的创作一个带着史诗般的壮阔，形成纪念碑式的存在（安溯语），一个带着柏拉图式的哲思，轻柔而坚定；一个关注摄影的社会层面的应用，一个关注摄影的心理层面的应用；一位显然定位于社会学或者纪实主义，一位显然将自己的创作定位与“创造性”的表达；一位更加回到到摄影艺术的摄取功能，一位更加进入到摄影艺术本体中（如曝光、多棱镜、暗箱）；他们一位总是在外面旅行，一位喜欢把自己关起来；一位关注焦内，一位关注焦外，身体性的创作和思维性的创作构成对应。

李俊作品的谦虚和幽玄和黎朗作品的巨大和体系感形成对照；李俊的创作是让时间完成的一个行为艺术，是让光来完成的行为艺术，黎朗创作中时间是一种架构方式；黎朗更加凸显自己在创作中的存在，书写、画外音都凸显着作者的存在，凸显着摄影之外的艺术手法，而李俊却退后到机器后面，坚守着摄影的阵地；黎朗的创作主动靠近人类学的、社会学，李俊的创作主动回避意识形态因素。所有这些向观众展示了当代摄影艺术创作方法的丰富性和内容广谱性。展览借缠枝莲这个中国美学的意象来呈现两位艺术家的创作，希望在他们作品的缠转中揭示当代艺术摄影的层次感和旺盛力量。

两个艺术家都做到了极度的敏感，他们的作品都表达了某种他们自己才感觉到的东西，又能够让观者感知和理解的更深刻的见解。在黎朗，这可能是某种被强化的戏剧性、仪式感和庄严性。在李俊，这可能是神秘感、平静感，某种抽离和隐匿。无论是什么，总之，这已经超越了单纯的风景、人物或者静物。他们都在为当代摄影艺术贡献着自己的微薄。

对两个艺术家的作品进行展呈，总是一个不轻的挑战。在他们的创作之间，不存在一条楚河汉界。我们好像在看似不同的关系里寻找相同，或者反过来，在看似相同中寻找不同。两个艺术家的创作似乎构成了某种镜像关系，两个充满回转叠合的褶子，一个展开，一个包裹。

因此，我们没有选择简单地将展场分成两个独立的空间或者区域来独立呈现两个艺术家的作品。我们选择借由中国传统图示里极具影响力的缠枝莲的意象，将两个艺术家的作品以“团”与“团”（缠枝莲意象里的“花”和“果”）的关系进行并置性的呈现，我们希望观众在观展过程中成为那条缠绕这一团一团的花和果的“枝莲”，使这些花果成为相互连接的网络。我们期待的是观众在这样的缠转中去发现作品在方法和内容上的链接。

这次展览的黎朗的几个创作原本采用的多媒体式（多频同步放映或者多部幻灯机播放）的呈现。研究发现他的创作原初使用的素材都是照片。这些照片本身也是特别棒的作品。我认为静止照片能够产生更大的能量，能够让我们看到更多的细节以及时间的力量。纳切威[1]认为人们心目中总有一张不可磨灭的照片，但是却没有不可磨灭的视频。我希望这次展览将艺术家的创作回归到可以凝神注目的照片上。这个展览可能的一个贡献点是让我们看到艺术家同样的作品在不同的场馆会形成不同的在地性。蓝顶这个馆的那一面最大的展墙，也应该是第一次被用到了最充足的份上，这是否恰恰是美术馆的价值所在？

摄影的一个原初功能就是让我们用一种沉思态去观看，调动你的情绪和欲望观看吧，去成为缠枝莲吧。

谢晋宇

2023年3月2日

The Entwining Creations of Jun and Lang

Li Lang and Li Jun were both amateurs in the field of art, consciously showcasing their amateur status in their practices to create a sense of uncertainty and insecurity. They use this approach to construct their daily lives and celebrate their amateur status. They pick up their cameras and insist on styles of photography against cliché. With the earliest precedent studies of Henri Bresson, they then moved towards practices of interrogation through problem-conscious series of works (words from Liu Jie). Among the contemporary photographers in Chengdu, the two artists are very representative and have exemplary value. Based on their contemplation of the essence of photography, they have progressed from the earliest " The Decisive Moment" towards their own paths of thoughts, and have already achieved remarkable success.

The title of this exhibition – “Extension and Hiddenness” – was extracted from a content analysis of interviews with several individuals from the field of art and other professions during the early stage of curation. It is a summary of the creative paths of the two artists. These two paths can also be used to explain contemporary photography art in Chengdu.

Both artists are skeptical. They have used the power of two photography traditions (photojournalism and aesthetic photography) to demonstrate the new possibilities of photography in both the public domain and personal realm: unveiling and autonomy. Their creations embody epic grandeur and Platonic philosophy, with one focusing on the societal applications of photography and the other on its psychological applications. The contrast between the modest and subtle style of Li Jun's work and the grandiose systematic style of Li Lang's work is evident. One always actively travels outside, while the other prefers to bury himself in solitude. One focuses on the inside of the instrument, while the other focuses on the outside world. The physical and conceptual creations correspond. All of these demonstrate the richness and breadth of creative methods of contemporary photography art to the audiences. The exhibition uses the image of intertwining lotus branches from Chinese aesthetics to present the creations of both artists, hoping to reveal the depth of contemporary art photography and its vigorous power through their body of works.

Both artists have achieved a high degree of sensitivity, and their works express something that they themselves can feel but that can also provide viewers with deeper insights and understanding. In Li Lang's work, this may take the form of heightened dramatic and ceremonial elements. In Li Jun's work, it may be a sense of mystery, detachment, and hiddenness. Whatever the case may be, it has already transcended plain depictions of landscapes, people, or still lifes. Both artists are devoting themselves to contemporary photography art sincerely and modestly.

Exhibiting the works of two artists is always a daunting challenge. There is no clear mark of demarcation between their creations. It's as if we're looking for similarities in differences, or conversely, looking for differences in similarities. The works of the two artists seem to form a mirroring relationship, with one being an unfolded crease and the other being an opened crease.

Therefore, we have chosen to exhibit the works of the two artists through a juxtaposition of "bundles" and "bundles" (the "flower" and "fruit" in the entwined lotus imagery). We hope that the audiences will become the "branches" (entwined lotus) that winds around these clusters of flowers and fruits during the exhibition, making these flowers and fruits into a network of interconnectedness. Our hope is that through this intertwining, the audience will discover the links between the works in terms of both method and content.

Some of Li Lang's works in this exhibition were originally presented in a multimedia format (such as synchronous projection or looping slide projector). We found that the original materials used in his creations were photos. These photos themselves are also outstanding works of art. I believe that still photographs can generate greater energy, enabling us to see more details and the power of time. Nachtwey believes that there exists an indelible photo in everyone’s minds, but no indelible videos. I hope this exhibition will bring back the artists' creations to the photographs that could be gazed at attentively.

One of the primal functions of photography is to invite us to observe with a contemplative attitude. Please do so with your emotions evoked and your passion overflowing.

Xie Jinyu，

Translated by LU Yu

March 2^nd, 2023

注释：

[1] 詹姆斯·纳切威（James Nachtway），被称为上个世纪最伟大的战地摄影家，摄影记者之王。

展览讨论（左起：董艳娜、金延、李俊、黎朗、谢晋宇）‍

就空间模型讨论展陈规划（左起：谢晋宇、李俊、黎朗）

布展（左起：李清、李俊、王海波）

展览团队（图片来自鲁钰）

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