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李继开个展“不可终日”将于9月12日在南京开幕

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2020年的疫情,让艺术家和所有人一样难以幸免。在武汉生活和工作的李继开接近在封城之下,曾接近60天未出小区。生活中的零碎被最大范围地压缩,他以艺术的方式达成自己我和解,看书、画画、写文章、看电影,他用大众所熟悉的小男孩的形象和隐喻来诠释这一次关于生和死的思考。

艺术家Artist | 李继开

策展人Curator | 严峻峰

学术主持Curator | 孙建春

出品人Producer | 陈赟

展期Duration | 2020.9.12-9.30

开幕Opening | 2020.9.12  15:00

地点Location | 南京南视觉美术馆(南京市鼓楼区中山北路30号43层)

“在我的记忆中,武汉从来没有这么安静过,最近出门,街头空无一人,前些日子里微信在传东湖的野猪都下山了,在二环线上狂奔,也不知是真是假。随着这次疫情的加重,人们也都习惯了很多事情:比如时常满天飞的谣言。这段日子里,武汉时不时会出一下冬日的暖阳,温暖地照在这个世界,仿佛什么坏事情都没有发生过一样。由于人们大都窝在家里,户外活动减少,可以看得到天上的鸟明显多了起来,待在屋子里的人们看着成群的鸟飞过,多少也会想起这个世界也是属于它们的。”

“人便是这个样子,真正明白走投无路时心便开始静了下来,就像这场疫情之初,人们先是由不太在乎到全面恐慌,从最初关在屋里一星期的沉闷和无处发泄,到习惯于自我保护的长时间足不出户……这既是没有办法,也是在限制中的一种适应。同时知道的是,一方面是安安静静待在家里的人们,另一方面是外边儿已经乱了套的世界。这2020年一开头的这个世界就不顺,澳洲大火、美伊冲突、连科比也离奇去世了......像是梦一样。”

“现在每天我只能关门闭户画画,往往在起了一个形后便让自己的习惯与偶然去引领我,走去未知又必然的那个画面的终点,这是我追寻的自由和宿命的限制。不再像往常那样思虑过多,是的,所想的便是什么都不想,这是我在分分秒秒时间劳动堆积成的答案。艺术是否独特已经不再重要,甚至艺术本身都不重要了,人本身的存在就是那个内核,就像地心引力一样,所有的机缘会往内核上去靠近,自然而然地形成个人的艺术面貌。而对于将来而言,这段时间形成的绘画作品就是我个人生命中的特殊地层。”(李继开)

"In my memory, Wuhan has never been so quiet. Recently, when I went out, there was no one on the street. Some days ago, it says that wild boars in Donghu went down the mountain and ran wild on The 2nd Ring Road . I don't know whether it is true or not. With the aggravation of the epidemic, people are also used to a lot of things: for example, rumors exist everywhere. During this period of time, Wuhan occasionally had a warm winter sun shining all over the world as if nothing bad had happened. As most people stay at home and have less outdoor activities, we can see that there are more birds in the sky. People who stay in the house will remember that the world also belongs to the bird when they watch the flocks of birds flying by. " 

"This is what people are like. When they really understand that there is no way out, their hearts begin to calm down. Just like at the beginning of the epidemic, people first turn from indifference to full-scale panic; from the first closed in the house for a week and nowhere to vent, to get accustomed to stay at home for long time to protect themselves……This is not only no way, but also an adaptation in the limitation. At the same time, we know that on the one hand, it is the people who stay at home quietly, and on the other hand, the outside world has been in disorder. The world at the beginning of 2020 is not going so well. The Australian fire, the US Iraq conflict, and even Kobe's strange death, it's like a dream. " 

"Now I can only paint at home everyday. After drawing a general outline, I often let my habits and accidents lead me to the end of the unknown and inevitable picture. This is the seeking of my freedom and the limitation of destiny. I don't think too much as usual. Yes, what I think is nothing. This is the answer accumulated by my labor every minute. Whether art is unique is no longer important. Even art itself is not important. The existence of human beings is the core. Just like gravity, all opportunities will be close to the core, and naturally form a personal artistic appearance. For the future, the paintings formed during this period will be a special part of my personal life. "  (LiJikai)

武汉,李继开的居住地,无数焦躁的心冷泡在一座安静的城市。李继开在窗台前,每天看菜地里的青菜在生长。他搬到了从前的一个工作室,重组了生活和思考了更多。

在疫情面前,群体性的差异(包括国家、种族、阶级、性别、年龄等)瞬即逐一平等,那一刻,大家拥有相似的感受,艺术家也像所有人一样难以幸免:恐惧、痛苦和疲倦。此时,艺术的力量被逐步削弱。而这种强迫性的暂停为艺术家创作出新的作品和尝试新的项目提供了新的可能,显然,应对危机,李继开用艺术的方式达成自我的和解,几支笔、有限的颜料以及空荡的画室,激发了他安静且执著的创作韧性。刻画了许多戴口罩囤货的人的形象,这些被遮藏的面孔意味着他以某种拒绝的方式加强了与外界的隔离,变得更加冷漠与隐忍,疫情看似是集体化被孤立,在很大程度上也是私人事件,需要我们单独遭受。李继开用大众所熟悉的小男孩的形象和隐喻来诠释这一次关于生和死的思考:艺术终将是自我的见证,一以贯之的视觉形象,终将反射回自己。(严峻峰)

Wuhan, where LiJikai lives, countless anxious heart soaking in a quiet city. At the beginning of the year, he wrote in his diary that "In these two days, we often hear loud noises coming from afar, what a special spring festival." This coincides with Eliot's way of describing the end of the world: "not a loud noise, but a sob." Li Jikai stood in front of the window everyday, seeing the growth of vegetables in the field. He moved to a former studio, reorganized his life and thought more. 

In front of the epidemic, the differences(Including country, race, class, gender, age, etc) among groups have been smoothed down one by one.At that moment, everyone had a similar feeling, and artists, like everyone else, were hard to escape:Fear, pain and fatigue.This moment, the power of art was gradually weakened.However,this kind of compulsive pause provided new possibilities for artists to create new works and try new projects.Obviously, in response to the crisis, Li Jikai achieved reconciliation with himself by art.Several pens, limited pigments and empty studio inspired his quiet and persistent creative toughness.He painted many images of people wearing masks and hoarding goods. These hidden faces mean that he strengthened his isolation from the outside world, indifference and forbearance in some way of refusing.The epidemic seems to be a collective isolation of people, and to a large extent,it is also a private event that needs to be suffered by us alone.Li Jikai used the familiar image and metaphor of the little boy to interpret his thinking about life and death: art will eventually be the witness of self, and the consistent visual image will eventually reflect back to himself.  (YanJunfeng)

三个月前,我的一个艺术家朋友走了,跳楼。

我无法想象这之前他经历了什么,毕竟,告别这个世界是需要勇气的。我能想象的画面只是他独自站在楼顶,彷徨无助,最终还是没能说服自己,飞身一跃告别了这个世界。最近的几年里,用各种方式离开的朋友的朋友挺多的,生命的无常时常让人唏嘘。我想起有个朋友曾经略带恶意的玩笑:“我要买整整一橱的黑西装,每个朋友的葬礼上换一件新的,直到把他们全送走......”事实上,今年,2020,那些突然离开的的人们,认识的、不认识的,他们甚至都没有葬礼,当然,也不会有葬礼上的黑西装。

这一年注定是世界格局的一个分水岭,冷战之后逐渐形成的全球化在疫情的冲击下支离破碎,与全球化相关的诸多描述也越来越无法对应。疫情时期的焦虑、无助、隔绝、狭隘、未知、恐慌等等话语特征正在替代全球化时期的各种语汇;世界被疫情腰斩为2020前和2020后。人们已经开始用“后疫情时代”来描述疫情之后的社会形态,所有全球化时期的规则和语境都被强行切换,规则被重新书写。当代艺术也是一样,全球化时期的艺术生态和艺术法则很快都会消散,之前的诸多话语和现场语境都正在偏离,简单点说,经历了剧变的人们不可能无视剧变的影响,2020之后,如何创作?很快就会成为摆在每个艺术家面前的问题。

不管这场剧变如何让人瞠目结舌;不管这场剧变最终演变成什么形态;我们已经能够发现很多人试图对此开始记录与发声。进入互联网之后的世界,其反应和运行都大大地提速了,我最近注意到有很多媒体和艺术展正在试图从各种角度来讨论这次疫情对社会以及个人的改变。宏观的历史往往抽象而晦涩,只有当大的历史背景体现到个体遭遇时,我们对一个历史剧变的感受才更为直观,从局部和个体的视角下看到的风景真实而具体,李继开便是一个特别典型的个例。 

我们尚不能预知这次剧变的结果,更难以预测社会与其他环境对个人的影响,但是当代艺术中的思考方式转换、自我身份转换、对社会政治环境的认识转换,一直都是必不可缺的环节。人类史上的每一次剧变,也往往会是一次文化的革命和突破,那么,这次的剧变会带给我我们什么?我们现在还不得而知,但是起码,我们要能先活着,只有活着,我们才能对这次剧变有感知和反应的可能。(孙建春)

Three months ago, an artist friend of mine passed away, jumping off from the building.

I can't imagine what he had gone through before. After all, it takes courage to say goodbye to the world. What I can imagine is that he stood alone on the top of the building, hesitating and hopeless. Finally, he failed to convince himself and made his farewell to the world by jumping off the building. In recent years, a lot of friends have left the world in various ways. The impermanence of life often makes people sigh. I think of a slightly malicious joke by a friend: "I want to buy a whole wardrobe of black suits, A new one for every friend’s funeral until all of them pass away……" In fact, this year, 2020, those people who suddenly left us, some I know some I don't, didn't even have a funeral, let alone the black suit at the funeral.

This year is destined to be a watershed in the world pattern. Globalization gradually formed after the cold war is fragmented under the impact of the epidemic situation, and many descriptions related to globalization are increasingly unable to correspond. The discourse features of anxiety, helplessness, isolation, narrowness, unknown, panic, etc. during the epidemic period are replacing the various vocabulary in the globalization period; the world is fragmented into before 2020 and after 2020. People have begun to use the "post epidemic era" to describe the social form after the epidemic. All the rules and contexts in the globalization period have been forced to switch, and the rules have been rewritten. The same is true of contemporary art. The art ecology and artistic rules in the era of globalization will soon dissipate, and many previous discourses and scene contexts are being deviated. In short, people who have experienced dramatic changes can not ignore the impact of dramatic changes. After 2020, how to create art? It will soon become a problem for every artist.

No matter how astonishing this upheaval may be, no matter what situation it eventually becomes, we have been able to find many people trying to start recording and speaking about it. In an information-based world, the response and operation of the world have been greatly accelerated. Recently, I have noticed that many media and art exhibitions are trying to discuss the social and personal changes caused by the epidemic from various perspectives. The macro history is often abstract and obscure. Only when the big historical background reflects the individual's encounter, we can feel a historical upheaval more intuitively. From the perspective of local and individual, the landscape is real and concrete. Li Jikai is a typical example.

We can't predict the outcome of this upheaval, let alone the impact of society and other environments on individuals, but the transformation of thinking mode, self-identity and understanding of social and political environment in contemporary art have always been indispensable.  (SunJianchun)

李继开个展:不可终日 

南京南视觉美术馆从2006年开始,曾经连续三年给李继开在上海美术馆、北京今日美术馆、韩国阿拉里奥美术馆做了三场重要的大型个人展览,算是艺术家一个时期的里程碑。李继开作为与南京有千丝万缕关系的艺术家,在疫情之后与南京南视觉美术馆再度重启,是对过去的一种告别,更是对未知的某种警示。因为当下,现实中的我们才是未来,才会有未来。从此刻出发,希冀李继开的个人作品更像是艺术的疗愈者或者救赎者,以一个艺术的视角去梦想并最终能改善这个世界,让我们在路上,不可终日。(严峻峰)

In view of Li Jikai's creation, Nanjing South Visual Art Museum has made three major solo exhibitions for Li Jikai in Shanghai Art Museum, Beijing Today Art Museum and alario, Korea for three consecutive years since 2006.As an artist inextricably linked with Nanjing,he restart with the South visual art museum after the epidemic,it is a farewell to the past and a warning to the unknown.Because we are the future in the present reality. From now on, I hope that Li Jikai's works will be more like a healer, dreaming of new reality and eventually improving the world. On the way,there is no end.  (YanJunfeng)

“一觉醒来,窗外像是进入了夏天。绿树和蓝天,透过厚厚的门帘可以看到一点,阳光打进屋子里,照在我昨天画的大画上,那画仿佛是自己发出了光一样,一切亮了起来,鲜艳的颜色更鲜艳了。而我躺在床上希望自己变成回一个少年,因为那时候就是一个人生命中的夏天,阳光总在透亮,撩人出去玩儿。有些感受在瞬间消除了这几十年的时间,象是一切过往的事情就是一场长梦一样,我又回到了夏天。”(李继开)

After a sound sleep, I feel like summer is coming outside. Through the thick curtain, I can see green trees and blue sky, sunlight shining on the big painting I painted yesterday as if the painting itself is glowing, and everything lit up, the bright color is more luminous. I lay in bed, hoping that I would become a teenager because it was the summer of one’s life, and the sun was always shining, which draw people out to play. Some of these feelings have eliminated these decades in an instant. It seems that everything in the past is a long dream, and I return to the summer.(LiJikai)

艺术家简介

李继开

1975年生于四川成都

2004年毕业于四川美术学院油画系获硕士学位  

2020年毕业于中国艺术研究院获博士学位

现生活于湖北武汉,任教于湖北美术学院

南京南视觉美术馆简介

南京南视觉美术馆 创立于2005年,2008年正式登记为独立的非营利性美术馆。其前身是南京经典艺苑和红色经典艺术馆。

南京南视觉美术馆以独立性、专业性、公益性为主旨,以推动中国当代艺术的本土化进程为目的,通过展览、研究、交流、教育、出版等项目,致力于建立中国本土的当代艺术运行机制,使其成为具有国际水准的民间艺术机构。

南京南视觉美术馆以视觉艺术为展示和研究主体,辐射影视、设计、建筑、音乐等综合领域,强调当代艺术在本土环境下的发生发展以及因此形成的话语体系,通过国际语境下的当代艺术的广泛交流,推动当代艺术的实践与理论机制。

2002年南京南视觉美术馆独资承办了中国第一个三年展——“首届中国艺术三年展”;2005-2008年,先后与国家文化部、江苏省委宣传部、南京市政府成功连办了“未来考古学:第二届中国艺术三年展”和第三届“中国(南京)艺术三年展”;2003-2012年,独立投资并主办了第一届至第九届中国影像年度展;2008年,承办了德国阿迪达斯2008奥运会“运动视界艺术展”(中国站)。

2018年南京南视觉美术馆由南京市北京西路72号搬迁至中山北路30号43层,并对场馆进行了大规模建设改造,当年新馆落成。

南京南视觉美术馆超越了展馆的空间限制以及功能限制,作为一个积极的独立主体,以卓越、独特的艺术眼光,在较高的平台上参与并推动着艺术的发展。改造后的南京南视觉美术馆更加适宜艺术的展示和交流,通过自身的努力逐步成为中国长江三角地区重要的独立艺术空间之一,并不断向更高的水准提升与发展。

编辑 |  Hi艺术公众号·chenyinn

文 | 李继开、孙建春、严峻峰

版式设计 | 乐天

图片提供 | 南京南视觉美术馆

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