
收录于话题

在李易纹的绘画、水彩以及他为了绘画制作的模型中,时间总是多向流动的。时间是静止的,因为他笔下的物体被植入虚幻的场景,纷乱的错位抽离了现实。时间向过去延伸,因为他常常描绘人造物(它们有物质的历史),或者比人类还古老的东西。时间投射到未来,因为这些物体暗示着未来的用途。在物质主义层面上,画中的时间也被压缩了,因为艺术家花了很多时间去绘制它们。最终,对于观众而言,时间还具有延展的潜能。观看的过程本身就是一次延展,而当我们面对这些忧郁的“光景”时,可能也会不禁开始问自己:"我们对这个世界做了什么?”
--露丝·诺雅克
Time is, in Li Yiwen’s paintings, watercolours and models, always multi-directional. It stands still, because the objects he paints are planted into illusionary scenarios, and this displacement creates an unsettling absence of reality. It extends into the past, because his objects are generally either man-made (they have a material history) or they came into existence long before man-kind. Time projects into the future, because the objects might suggest a future use. Time is also compressed in the paintings in a materialist sense, because the artist took time to paint them. Finally, for the viewer, time might expand. This is the case not only in the act of viewing, but because, when confronted with these melancholic timescapes, we might start asking ourselves: “What have we done with this world?”
--Ruth Noack
向右滑动查看更多
狮語画廊荣幸地推出李易纹个人画册,该画册精心收录了李易纹近十年创作的作品, 艺术史学者、策展人露丝·诺雅克的文章,青年策展人王澈撰写的展览相关文字,以及展览现场图。画册中的每件作品都以细致入微的呈现方式,带领读者深入探索李易纹独特的艺术世界。此外,展览现场照片生动再现了独具匠心的展陈设计,为未能亲临现场的读者提供了一场深刻的艺术体验。
Leo Gallery is pleased to introduce the catalogue of Li Yiwen, which meticulously compiles Li Yiwen's artworks created over the past decade, exhibition-related texts by art historian / curator Ruth Noack and Wang Che, as well as installation views capturing the artist's exhibition highlights. Each work is presented with exceptional attention to detail, inviting readers to immerse themselves in Li Yiwen's distinctive artistic vision. Additionally, the photographs from the exhibitions showcase their ingenious display arrangements once again, offering a profound artistic experience to those unable to attend in person.
编辑:王澈、李易纹
文章:露丝·诺雅克、王澈
翻译:吴双、臧雨丝
校对:李芷柔、尹诺
设计:Pigao
联合出品:狮語画廊、墨方
Edit by Wang Che & Li Yiwen
Text by Ruth Noack & Wang Che
Translation by Shana Wu & Zang Yusi
Proofreading by Charlize Li & Yin Nuo
Book Design by Pigao
Published by Leo Gallery & Moucube


大自然中废弃的建筑遗址,就算没能引起人们的反思,至少也能引发善意的审思。人类的努力即便失败,也有其讨喜之处。他们没有达到预期的目的,脱离了时间——进入静止状态——因此为观众提供了一种解脱,一个从我们自己的历时性、从我们自己的时间流中逃离的出口。这也创造了一种深度,使我们能更好地审思自身。因为自我审思通常很难深入,更多时候只是粗略地理解我们(或我们的身体)与时间如何关联,这一抹或一丝的理解带来的是一种含糊其辞的温存——人们会说:“你看,那栋楼后来烂尾了……太可惜了!”——或许他们也会悲伤,但不是那种深深的忧伤。
这些联想深埋在李易纹作品的基因里,换言之,它们依托于我们不曾察觉的情感而存在,而非登上画布的舞台中央——它们不是艺术家首要的创作动机。李易纹并非向观众展示远处废墟古朴如画的景色:而是让建筑直接闯入我们的视野,磅礴的气势几乎压制了我们的感官,但又没有压垮。建筑结构几乎将观众团团包围,但又非完全封闭;建筑物的庞大令人震撼,但不至于错愕。这一切或许是因为画中磅礴的气势是人造场景,是毫不掩饰的虚构?故事以非同寻常的方式相互叠加,塑造出凌驾于感觉之上的漩涡,还有鱼眼视角,这些营造出沉浸式的观看效果,类似第一人称视角的射击游戏。
--露丝·诺雅克
Nevertheless, abandonded building sites settled in nature can provoke, if not revery, at least benevolent contemplation in their viewers. There is something endearing about the efforts of human beings, even if they are failed. And because they failed their intended purpose and fell out of time – into stillness - they provide us viewers with a respite from our own diachronicity, our own flow of time. They create the distance we need in order to look at ourselves. Because this is, in most cases, not a very deep look, more a whiff or trace of understanding how we (or how our bodies) relate to time, this results in a warm and fuzzy feeling, or possibly a sadness – “Look at this never built, broken down, attempt at a building… what a waste!” – but not a deep sadness.
Li Yiwen’s paintings carry these associations in their DNA, that is to say, they rely on emotions that we remain unaware of, because they are not in the foreground – they are not the artist’s primary goal. He is not giving us a quaint, picturesque view of a ruin in the distance, no: the building has been propelled right into our field of vision in such a way that it almost, but not quite overwhelms our senses with its monumentality. Almost, but not quite: The viewer is fully enveloped into the building site, but not cowered by its size. Maybe that is, because its monumentality is unashamedly artificial? Take the eccentric way that stories are stacked on top of each other to create a swirling, over the top feeling or take the fish-eye perspective, these are tropes that are used to create an effect of viewer-immersion similar to what we might encounter in an ego-shooter game.
--Ruth Noack


冰山不需要观赏者将注意力集中在它们身上,它们本身就很美。它们很雄伟。也许它们之所以雄伟是因为它们古老的历史?因为它们存在了很久很久?它们属于过去还是属于未来呢?冰山出现的地方,谁还会在乎人类呢?李易纹和几个朋友去北方旅行时爱上了冰山。他画的是这份爱的残影。他作品里的冰山是高度风格化的。它们比生活中的冰山更加绚丽多彩。连艺术家华为手机上的滤镜也无法产生如此绚丽的效果。顺便提一句,李易纹的手机是旅途中唯一没有被严寒冻坏的拍摄工具,这也印证了伟大和平凡总是相偎相依的。
--露丝·诺雅克
Icebergs do not need the viewer’s ability to focus on them in order to be beautiful. They simply are majestic. Maybe they are majestic, because they have been around for eternity? Because they have simply been in existence for so long? Are they of the past or the future? Who cares about humanity, as long as there are icebergs? Li Yiwen took a trip up north with a few friends and fell in love with icebergs. Now he is painting the afterimage of that love. In his versions, icebergs are highly stylized. They are also more colourful than life. Not even a filter on the artist’s Huawei phone would be able to produce such sparkle. Incidentally, Li Yiwei’s phone was the only picture-taking apparatus carried on the journey that did not freeze up in the cold, thus giving evidence to the fact that the heroic and the banal remain close friends.
--Ruth Noack


如您有意购买画册,请后台留言咨询。
Please leave a message for inquiries about purchasing the catalogue.
往期艺博会&展览现场


李易纹个人项目现场,西岸艺博会,2024


李易纹个展,香港狮語画廊展览现场,2024
关于艺术家|About the Artist

李易纹
Li Yiwen
Li Yiwen was born in 1982 in Henan, China. He graduated from the Department of Mural Painting at the Central Academy of Fine Arts, Beijing in 2006 with a Bachelor's degree, and in 2011 with a Master's degree from the same department. He currently lives and works in Beijing, China.
正在展出 Current Exhibitions
上海 Shanghai

香港 Hong Kong








已展示全部
更多功能等你开启...