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新氧艺 O2art｜李关关个人项目｜展位B26｜第十二届艺术深圳

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第十二届艺术深圳（2025）

ART SHENZHEN

新氧艺O2art｜O2art Space

展位 | Booth B26

李关关个人项目

Li Guanguan's Solo Project

展期｜Duration

2025.12.04 - 2025.12.07

贵宾预览｜VIP Preview（仅限邀请）

2025.12.04（周四｜Thu.）14:00 - 20:00

公众开放｜Public Days

2025.12.05（周五｜Fri.） 10:30 - 19:00

2025.12.06（周六｜Sat.） 10:30 - 19:00

2025.12.07（周日｜Sun.） 10:30 - 17:00

地址｜Venue

深圳会展中心6号馆（深圳市福田区福华三路）

Hall 6, Shenzhen Convention &Exhibition Center (No.3 Fuhua Rd, Futian District, Shenzhen)

新氧艺O2art将于2025年12月4日至7日，在艺术深圳荣幸呈现艺术家李关关的个人项目。展览将聚焦于艺术家以“马”为主题的最新创作。

O2art is pleased to present artist Li Guangguan's solo project at ART SHENZHEN 2025, from December 4th to 7th. The exhibition focuses on her latest horse-themed works.

怡 Pleasant

绢本水墨

Ink on silk scroll

120×100cm 2025

我画马，但是我的“马”是马的躯壳，绢本这种材料本身就是很内敛且具有“隐匿性”，某些方面，吸引我的永远是“传统国画”新的可能性，往往我只截取马的局部，或者是把它置身在一个局部的空间里，我认为这种不完整，恰恰构成了一种精神上的完整。也许暗示了生命的有限性和认知的局限性，道家讲的“大成若缺”大抵如此。

我的马脱离了其作为工具、坐骑或象征（如龙马精神）的社会属性，回归到了“马”作为一个独立生命体的本质。是一个个静谧的、自足的生命个体。这接近于海德格尔哲学中的“此在”（Dasein）概念，即关注生命“如何存在”本身，而非它“有什么用”。

我喜欢马的眼睛，它带给我的感觉是温顺、忧郁、深邃甚至带有一丝神性的。我试图将我的作品促使观者与另一个生命体进行“凝视”，在这种跨越物种的凝视中，引发对生命、孤独、内在世界的哲学思考。这是一种对生命本体论的直观呈现。

我常在绢本上进行创作。这些材料本身携带了历史的痕迹和时间的信息。新的马的形象与旧的基底叠加，形成了时间的对话。这探讨了“传统的过去”如何存在于“当下”，以及“永恒”与“瞬间”的关系。马被定格在一种静谧、悬置的状态中，仿佛脱离了时间的线性流动。这使得画面具有了一种“永恒的当下”的质感，引发人们对时间本质的思考。

徊 Linger

绢本水墨

Ink on silk scroll

95×125cm 2025

我喜欢禅意，我喜欢画面极度简洁、空灵，没有背景，没有叙事。使得我个人的情感和意志被最大限度地隐藏，让位于物象本身。这符合禅宗“应无所住而生其心”的思想，即不执着于主观情绪，让万物如其所示地呈现。

由于形象的“不完整”，观者被强烈地邀请进入画面，完成最终的创作。在这个过程中，观看的主体（观者）与被观看的客体（画作）之间的界限变得模糊，从“叙事”转向“凝思”：我的画不作故事讲述，而是创造一个让观者驻足、凝视、并与内在自我及生命本质对话的场域。

我的马兀自独立于世，它们美丽，脆弱，顺从，散漫….我试图呈现出浮躁世风以外的安静情绪，这种情绪被我隐藏在作品里，寻找着世外的某种过渡。

喜空甚于满，好静而非动，始终坚持于走失的状态，因此坚信，总有少数人愿意瞬间凝视于自我的内心，游离在现实世界之外的异度空间…

文：李关关

聆 Hear

绢本水墨

Ink on silk scroll

86×66cm 2025

I paint horses, but my "horses" are merely their shells. The material of silk is inherently restrained and possesses a quality of "concealment." In some ways, what always fascinates me is the new possibilities within "traditional Chinese painting." I often capture only a part of the horse or place it within a confined space. I believe this incompletion constitutes a spiritual wholeness, perhaps hinting at the finitude of life and the limitations of human perception—this aligns with the Daoist idea that "great perfection seems incomplete."

My horses are stripped of their social attributes as tools, mounts, or symbols (such as the "spirit of the dragon-horse") and return to the essence of the "horse" as an independent living being. They are tranquil, self-sufficient individuals, which resonates with the concept of "Dasein" in Heidegger's philosophy—focusing on how life exists in itself, rather than what it is useful for.

I am drawn to the eyes of horses; they evoke in me a sense of gentleness, melancholy, depth, and even a touch of divinity. Through my work, I aim to invite viewers into a "gaze" with another living being. In this cross-species contemplation, it provokes philosophical reflections on life, solitude, and the inner world—a direct manifestation of the ontology of life.

I often work on silk, a material that inherently carries traces of history and the passage of time. The superimposition of new equine imagery onto an old foundation creates a dialogue across time, exploring how the "traditional past" exists in the "present," as well as the relationship between "eternity" and "the moment." The horses are suspended in a state of stillness, as if detached from the linear flow of time, lending the picture a quality of "eternal now" that prompts reflection on the nature of time.

I am fond of Zen; I strive for extreme simplicity and ethereality in my compositions, with no background and no narrative. This allows my personal emotions and intentions to remain largely concealed, giving way to the objects themselves. It corresponds to the Zen teaching, "Let the mind arise without abiding anywhere"—free from attachment to subjective emotions, allowing all things to appear as they are.

Due to the "incompleteness" of the imagery, viewers are strongly invited into the picture to complete the final act of creation. In this process, the boundary between the viewing subject (the viewer) and the viewed object (the painting) becomes blurred, shifting from "narrative" to "contemplation." My paintings do not tell stories; instead, they create a space where viewers can pause, gaze, and engage in a dialogue with their inner selves and the essence of life.

My horses stand alone in the world—beautiful, fragile, submissive, and idle… I seek to convey a quiet sentiment beyond the restlessness of our times, an emotion hidden within my works, searching for a certain transition to a realm beyond.

Preferring emptiness over fullness, stillness over movement, I persistently embrace a state of being lost. Thus, I firmly believe that there will always be a few who are willing, if only for a moment, to gaze into their own hearts and drift into a dimension beyond the reality of this world…

By Li Guanguan

艺术家

Artist

李关关，b.1982，2004 年毕业于中央美术学院中国画学院，现于北京?活?作。

个展经历：2024 “?分之?,李关关个展”（零艺术中?，北京），2020 “逐光：李关关个展"（艺· 凯旋画廊，北京），2017“切?：李关关个展”（艺·凯旋画廊，北京），2013 “关驹：李关关个展”（艺· 凯旋艺术空间，北京）；曾在中国美术馆、江苏省美术馆、今日美术馆、韩国京畿道美术馆、波兰克拉科夫Manggha博物馆、中国妇女儿童博物馆、中国画院美术馆等地参加群展。

Li Guanguan, b.1982, graduated from the School of Chinese Painting, Central Academy of Fine Arts in 2004 and currently lives and works in Beijing.

Solo exhibitions: 2024 "A Half, Li Guankuan's Solo Exhibition" (Zero Art Center, Beijing)， "Chasing Light: Li Guanguan Solo Exhibition" (Triumph Gallery, Beijing) in 2020, "Cutting In: Li Guanguan Solo Exhibition" (Triumph Gallery, Beijing) in 2017, "Guan Ju: Li Guanguan Solo Exhibition" (Triumph Art Space, Beijing) in 2013, has participated in group exhibitions at the National Art Museum of China, Jiangsu Art Museum, Today Art Museum, Gyeonggi Museum of Art (South Korea), Manggha Museum of Japanese Technology and Art (Kraków, Poland), China Women and Children Museum, Chinese Painting Academy Art Museum.

正在展出

陈督兮个展

「欸乃」

2025.11.07-2025.12.06

新氧艺O2art成立于2011年，早期以策划不固定空间的展览项目形式存在，长期代理并运营职业艺术家的当代艺术机构。2018年，在北京顺义创办新的O2art艺术空间，2022年迁至798艺术区。画廊深耕当代艺术领域，在多元化的艺术风格中，寻找与陪伴具研究精神的创作者。我们的理念是通过展览呈现与职业跟随，推出优秀的中国艺术家个案。未来将保持专业与开放，成为融合国际沟通的艺术资源平台，以研究、呈现、参与，成为中国当代艺术生态中不可或缺的成员。

O2art was established in 2011. Initially operating as a project-based exhibition space, it has long been intricately involved in championing and fostering contemporary artists. In 2018, we opened a new space in Shunyi, Beijing, and moved to the 798 Art District in 2022. The gallery has been deeply involved in the contemporary art field, seeking and accompanying artists with a research-driven spirit across diverse artistic styles. Our philosophy is to present exhibitions and support the professional development of artists, introducing outstanding Chinese artists to the art world. Moving forward, we aim to maintain professionalism and openness, becoming a platform that bridges international communication and art resources. Through research, presentation, and participation, we strive to become an indispensable part of the Chinese contemporary art ecosystem.