展览预告 | 给未来的证物：高磊、李怒双个展

北丘当代美术馆荣幸地宣布即将举办新展览，“给未来的证物”。此次展览由朱朱策划，呈现高磊和李怒两位艺术家近年来的重要作品和最新创作。展览通过绘画、雕塑、装置和影像作品，呈现两位艺术家对当下与未来、个体存在与时代现状的思考。

本次展览的初始构想依托于北丘当代美术馆与“白盒子”有异的空间性质，这是一处由防空洞改造而成的艺术场域，在很大程度上保留了前者的结构特征和历史遗迹感，以及它与钦天山山体密不可分的地理环境。展览将“防空洞”空间想象成高磊和李怒这两位艺术家储放和交流作品的地方，在未来的某一天打开，成为两个交集过的个体生命以及现在这个年代的集体记忆和反思的证物。

The concept of the exhibition is inspired by the difference between the space of Beiqiu Museum of Contemporary Art and that of the “White Box”. As an artistic space transformed from an air-raid shelter, the art museum retains the previous structural characteristics and sense of historical relics as well as its geographic environment that is inseparable from the Jilongshan Mountain. The space of the "air-raid shelter" is treated as a place where Gao Lei and Li Nu store and exchange their works. One day, far in the future, upon looking back, the door of the “shelter” would be opened, displaying testimony for the collective memory and reflection of the two intersecting individual lives as well as of the present era.

李怒 Li Nu

直到海洋被关进栅栏 The True Believer

2020

石膏, 铁, 电机 Plaster, iron, electric machine

550×190×162cm

图片由艺术家及马刺画廊提供 Image courtesy of the artist and SPURS Gallery

在展览具体的结构关系中，两位艺术家的作品将通过有机的组构方式，形成直接的主题对话、叠加的视觉张力或可意会的内在关联，两种独立的个体创作形态在此被编织成一条裸陈在时空隧道中的线索；就各自的方法论而言，高磊的表达拥有理性设计式的恒常外观，李怒则在轻与重、缄默与爆发之间不断转换，他们的创作本身同样兼具现实的见证和形而上的追问，与本土的前代观念艺术家相比，他们避免了过于符号化的生产，对共同的境遇予以了更多内化于艺术本体的回应。

In the specific structural arrangement of the exhibition, works of the two artists are organically grouped together to form direct thematic dialogues, superimposed visual tensions, or understandable interconnections, weaving the two independent forms of individual creations into a bare thread in the tunnel of time and space. In terms of their respective methodologies, Gao Lei's expression has the constant appearance of rational thinking, while Li Nu constantly shifts between lightness and heaviness, silence and explosion. Their works are both witnesses to reality and metaphysical inquiries. Compared with the local conceptual artists of the previous generation, Gao Lei and Li Nu avoid excessively-symbolic production and respond to the common circumstances by focusing more on art itself.

展览将首次同时动用北丘当代美术馆的主展厅和隧道副空间。展览将于2024年3月30日正式对公众开放，展期将持续至2024年6月30日。

The exhibition, for the first time, will be presented in both the main gallery and the tunnel sub-space of Beiqiu Museum of Contemporary Art. The duo exhibition will be unveiled on March 30, 2024, and closed on June 30, 2024.

高磊的艺术创作涉及装置、雕塑、摄影及绘画等各类媒介。他在创作中多借用日常物及“标准化”的工业制品为基本元素，这些作品经由合成或抽离的规训化形态处理，在模糊、改造中被篡改或增添了功能、属性与含义，从而成为测量身体、权力、消费与宗教等诸种领域之间的尺度与模型。通过精准的材质测试与图形的矢量化，作品与其面临的对象及试图发出的问题一起在空间维度与观念维度中不断跳转，使观者得以用一种经验之外的标准来重新审视与测量我们与世界固有的边界。

Gao Lei’s art practice spans multiple media, including installation, sculpture, photography, and painting. Gao often adopts everyday objects and “standardized” industrial products as the essential component, whose works are manipulated through synthetic or abstract regulatory forms, in which the functions, properties, and meanings are tampered with or added through blurring transformation. Thus, they become a scale or model for measuring various domains such as the body, power, consumption, and religion. Through precise material testing and vectorization of graphics, Gao’s works, along with the objects they confront and the questions raised, alternate between spatial and conceptual dimensions, allowing the viewer to re-examine and remeasure our inherent boundaries with the world using a standard other than that of experience.

李怒，毕业于英国皇家艺术学院雕塑系，获硕士学位。2015年荣获英国皇家雕塑家协会Bursary大奖。英国皇家雕塑家协会成员。现生活和工作于北京。

李怒的创作植根于日常生活，将客观真实性下的自我经历和主观化感受作为创作媒介，表现了对于社会大环境的普遍性感知、以及个体的情绪波动和群体在宏观社会演变中的精神状态。他关注偶然、突发以及当下状态的真实性存在，反对形式和技巧，摈弃视觉上的单调以及现代主义后期艺术家创作上连贯性、策略性和风格化的创作范式，探索装置艺术、当代雕塑、实验影像、行为艺术以及剧场艺术等等的各种可能性。他颠覆纪实与虚构、再现和抽象之间的感知界限来探索和实践当代艺术的语言。他把一切事物视为具有生命感知的存在，在看似信手拈来的材料运用和不择手段的艺术表达中，是他敏锐而丰富的艺术语言。他的作品有着强烈的扩张力和穿透力，既观念又感官，既直白又隐晦，既诗性又现实，并具有某种隐喻的、尖锐的和幽默的特质。他的作品通常是复杂的，并且包含着多重含义。

Li Nu graduated with an MA in Sculpture from the Royal College of Art. He is a winner of RBS (Royal British Society of Sculptors) Bursary Awards 2015, and as a member of RBS, lives and works in Beijing.

Li Nu’s practice is rooted in everyday life. He subverts the perceived boundaries between documentary and fiction, representation and abstraction to explore and achieve a poetic language in art. Through capturing the details of everyday life, he aims to reflect the individual’s mood swings and the menials state of the population in the evolution of macro-society. The seemingly unpromising materials of everyday life are transformed into something metaphorical, poignant, humorous, poetic, and dramatic, challenging us to question our received experiences about life and see the world afresh. The concept that he wants to express is never what you have seen. It is always wandering between void and solid.

朱朱，1969年出生。诗人、策展人、艺术评论家。曾获安高诗歌奖，中国当代艺术奖评论奖、《山花》双年奖等。著有诗集、散文集、艺术评论集多种，包括中文诗集《我身上的海：朱朱诗选》《皮箱》《五大道的冬天》，法文版诗集《青烟》，英文版诗集《野长城》，艺术评论集《灰色的狂欢节：2000年以来的中国当代艺术》等。

北丘当代美术馆坐落于江苏省南京市玄武区环亚凯瑟琳广场半山花园，背倚北极阁鸡笼山。作为全国首座镶嵌于城市中心山丘上的美术馆，北丘集当代艺术收藏、展陈、研发和教育为一体。

美术馆主体建筑保留了二十余年前的建筑原貌，在六年前历经修复与加固，1100平方米的空间与郁郁葱葱的山体巧妙衔接，清水混凝土浇灌的展馆内部呈现出工业与原始的碰撞。历史、自然和现实交织，先锋与传统反复试探，当代艺术的在地性、多模态化和不确定性都在这里得以响应。