2020年7月25日起，黎旭个展“不安之书”（The Book of Disquiet）将在Funspace Gallery线上展厅举行，展览展出他的部分油画作品，由胡凌远担任策展人。展览持续到8月31日。

　　作为艺术家黎旭艺术生涯里的首个意大利个展，策展人胡凌远基于他的绘画语言与艺术哲学，针对性地挑选了16件创作于2008年至2015年的绘画作品。这批作品无疑代表了黎旭艺术生涯里的一个重要时期——其绘画语言的确定。作为一名成熟的艺术家，再次回顾三十多年来的从艺经历与遭遇的艺术困境，不禁有所感慨。就如他所说的，每个艺术家都会经历的西西弗斯式的痛苦。不可避免，创作于这段时间的这批作品也属于这个状态之下。他认为在不断推翻，重构后创作的这批作品所产生截然不同的效果来自于诸多的不确定性。这种不确定性不是来自理性与逻辑，往往是它的反面。

　　艺术家所经历的这种状态与感受也存在于几乎每个普通个体身上。思考与逃避都在一念之间，而一切疑惑与意义都在自我探索之中。黎旭说：“在现实中未知让人恐惧，但似乎绘画的乐趣与秘密却深藏其中”。

From July 25, 2020, Li Xu’s solo exhibition "The Book of Disquiet" will be held in the Funspace Art Gallery online exhibition hall. The exhibition will display some of his oil paintings, with Hu Lingyuan as the curator.

As the first Italian solo exhibition in artist Li Xu’s artistic career, the curator Lingyuan Hu carefully selected 16 works created between 2008 and 2015 based on his painting language and art philosophy. Undoubtedly, these works represent a significant period in Li Xu’s art career—the determination of his painting languages. Once again looking back on the artistic experience and artistic predicament he encountered over the past thirty years, he as a mature artist can’t help feeling deeply. As he says, “every artist will experience the pain of Sisyhus”. Inevitably, this batch of artworks are created under this status. He reckons that the completely different effects of these works created after continuous overthrow and reconstruction come from numerous uncertainly. This uncertainly does not derive from reason and logic, but is often the opposite of it. 

This state and feeling experienced by the artist also exists in almost every ordinary individual. Thinking or escaping are in a single thought, while all doubts and meanings are in the self-exploration. “In reality, the unknowns are frightening, but it seems that the joy and secret of painting are deeply hidden.” Li Xu said. 

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不安之书

The Book of Disquiet

艺术家：黎旭

Artist：Li Xu

策展人：胡凌远

Curator: Lingyuan Hu

黎旭

　　1970年出生于中国内蒙古，目前居住工作于中国北京和美国纽约。1997年毕业于天津美术学院油画系；2004年毕业于中央美术学院油画系第四工作室研究生班；2012 年毕业于中央美术学院，获得油画专业博士学位。博士研究方向：中国油画与传统文化研究 ；博士论文《自由观看 —汉代画像艺术的空间观》 由中国国家图书馆收录 。           

　　黎旭的作品已在国内外不同艺术机构展出，包括中国美术馆、今日美术馆、中央美术学院美术馆、浙江美术馆、中华世纪坛、巴黎大皇宫、国会宫美术馆、开罗国家艺术厅等。目前，他的作品被浙江美术馆、中华世纪坛、元典美术馆、环铁艺术时代美术馆、Vest Agder Museum等艺术机构收藏。

Bio

Li Xu was born in 1970 in Inner Mongolia, China. Now he lives and works in Beijing, China, and New York, USA. Li Xu graduated from Oil Painting Department of Tianjin Academy of Fine Arts in 1997; he graduated from the fourth studio of the Oil Painting Department of the Central Academy of Fine Arts in 2004; he received doctor’s degree in Oil Painting from the Central Academy of Fine Art in 2012. His doctoral research interests are Research on Chinese Oil Painting and Traditional Culture; doctoral thesis Free Viewing: The Space Concept of Portrait Art in Han Dynasty has been collected by National Library of China.

Li Xu’s works have exhibited different art institutes at home and abroad, including National Art Museum of China、Today Art Museum、 CAFA Art Museum、 Zhejiang Art Museum、 China Millennium Monument、Congress Palace Museum、 Cairo and more. Currently, his works have been collected by Zhejiang Art Museum、China Millennium Monument、Yuan Art MuseumGrand Palais、 Huan Tie Times Art Museum、 Vest Agder Museum and other art institutions.

双人像 

布面油画 

100x80cm 

 2014

不安之书

　　侘寂的气息，消失的身体，哀伤的人群… 充斥在画面之中，一如文学家笔下的事物弥漫着难以掩饰的悲伤，环绕着的是群体与个体的孤独。随着倾注的个人情感与体验，画面的整体氛围也愈加深暗，沉重起来。色彩颜料时而凝重，呈现出涂抹、滴淌的视觉效果，时而轻薄，挥洒于画布之上，简明的轮廓勾勒其中,可见黎旭日臻成熟的绘画技法。作为70年代出生的艺术家，黎旭的艺术风格最早受到德国表现主义及美国抽象表现主义的启发。在其《绘画的风景》中，涂抹、叠加的笔触营造出死亡气息的骷髅头，颇有些许弗兰克·奥尔巴赫的厚涂艺术表现手法。当然，黎旭画中大部分的色彩运用是轻薄的，色块之间并置明显。粗犷的笔触、扭曲形态之下所带动的自由、无拘束的风格，使得自我的情感与意象得以完整体现。进一步看，画中主体内容在抽象艺术形式的渲染之下也并未全然淹没其中。相反，单一的人物形象被放置画面之中透露出一种直视黑暗、不安、颓废、死亡的赤裸感。这与观看弗朗西斯·培根的作品所带来的感受是极为相似的：强烈的视觉效果与压抑的情感状态，直击人的内心。哪怕是在暖色的灯光下，人物都始终充满了阴郁。

　　参展的这批作品创作于2008年至2015年期间。它们无疑代表了黎旭艺术生涯里的一个重要时期—其绘画语言的确定。但对于当时的黎旭而言，他一直处于对艺术寻求新的理解与方向的状态。他试图去打破自己所建立的绘画体系。然而，艺术的无限与艺术家的局限横亘在他眼前时，令他陷入更大的迷惑之中。熟练的技巧，丰富的经验，敏锐的感知都成为黎旭在绘画上的新枷锁。他曾说过，所知道的越多反而离真相越远。落在画布上的每一笔都有理，但又无理。艺术家这种内在的矛盾心理也折射出现实社会发展之中的冲突现象，但不同的是艺术家兴许能从自我领域中抗争出一个结果。在这种循环之下，不断推翻，重建自我艺术语言的黎旭就如不断将巨石推向山顶的西西弗斯，最终从不解、痛苦走向明悟之中。从这个层面上说，画面里所看到的个体亦可化身为西西弗斯，也如立于这边广阔土地之上的人类，或是黎旭心中亦幻亦真的事物。他们在搬运属于自己的那块巨石，也在寻求超越本身获得真正存在的可能时，所传递出的那种悲凉、无力感。艺术如同生活有它不可避免的荒诞性与不确定性，但这也证实了存在的真实性与超越性。在反复的打碎、涂抹之后，黎旭的作品呈现出截然不同的视觉效果。这是始料未及的，也是坚持不懈的的艺术欣喜。正如勒内·夏尔所说，“理解得越多，就越痛苦。知道得越多，就越撕裂。但是，他有着同痛苦相对称的清澈，与绝望相均衡的坚韧。”

　　回顾这批作品，其中的部分作品是黎旭于北京环铁艺术城的工作室创作而成。当时这片艺术区面临着随时被拆的风险，身处其中的艺术家们无时无刻紧绷着神经，因为担忧被拆后不知去往何处。不安、孤独、愤怒的情绪萦绕在他们心头，包括当时的黎旭。这种情绪和对当下社会一系列的思考不可避免的参杂入他的画作里。一直以来，“人”这一载体常被作为黎旭艺术创作最鲜明的符号特征，来探索、阐述人自身、人存在、人所面临的困境等一系列研究，这与他受到萨特、海德格尔的哲学影响有关系。生活与社会的变迁席卷而来时，无论是现实处境下的人类还是黎旭画中的抽象人物，仿佛都化身一个个独立的“游牧民族”，除了接受与适应别无他法。2016年，黎旭离开了环铁艺术城，随后2017年，这里被拆除了。

　　生活的继续既是思想的延伸也是作品的延续。而这种个人感受与社会动荡也将持续在每一个人的生命之中。展览名称取自葡萄牙诗人费尔南多?佩索阿的代表作之一《不安之书》，不安与不确定性是它主要的基调。这与黎旭当时的创造感受是极为贴近的。在焦虑、不安之中，寻找安放个人的自由与权利。费尔南多?佩索阿所说：“奇迹或障碍，一切或虚无，途径或问题，任何事物都取决于一个人对它的看法。不断采用新方法去看问题，就是一种重建和续添。这就是为什么爱沉思的人即使从不离开村庄，也能将整个宇宙了然于心的原因。一个背靠岩石而眠的人，那里就是整个宇宙。”

胡凌远写于纽约

2020年7月10日

绘画的风景  布面油画 40x60cm 2015

游戏

布面油画 

120x80cm

2007

The Book of Disquiet

The wabi-sabi breath, the disappeared body, and the mournful crowd are filled in the picture, just as the writer’s words are pervaded by a difficult and undisguised sadness, surrounded by the group and individual’s loneliness. With the pouring of personal feelings and experiences, the overall atmosphere of the picture becomes darker and heavier. Color pigments are sometimes heavy presenting a smeared and dripping visual effect, and sometimes light and thin, splashing on the canvas concise contour outlines. Here is the maturity of Li Xu’s painting techniques. As an artist who was born in 1970s, Li Xu’s artistic style was first inspired by the German expressionism and American abstract expressionism. In his Painting Landscape, the smearing and overlay of brushstrokes create a deathlike skull with a touch of Frank Auerbach’s thick-painted artistic expression. Of course, most of the use of color in Li Xu’s painting is light and thin, with obvious juxtapositions of color blocks. The free and unstrained style driven by the bold brushstrokes and distorted form fully embody the feelings and images of the self. Further, the main content of the panting is not completely submerged under the rendering of abstract art forms. On the contrary, the single character is placed in the picture to reveal a naked sense of looking directly into the darkness, uneasiness, decadence and death. This is similar to the feeling brought by watching Francis Bacon’s works: strong visual effect and repressed emotional states which strike the heart. Even in the warm light, the characters are always gloomy. 

 

黄色灯光  布面油画 40x60cm 

2012

The works for this exhibition was created from 2008 to 2015. Undoubtedly, these works represent a significant period in Li Xu’s art career—the determination of his painting languages. But for Li Xu at that time, he was in a state of looking for new understanding and direction for art. He made an attempt to break away from the painting system he had established. The infiniteness of art and the limitations of artists lay before his eyes, leaving him in a greater confusion. Skilled techniques, rich experiences, and keen perception had become Li Xu’s new shackles in painting. He once said that the more he knew, the farther away he was from the truth. Every stroke that falls on the canvas is reasonable but not reasonable. The artist’s inner ambivalence also reflects the conflicting phenomenona in the development of the real society. But the difference is that the artist may be able to fight out from the ego. In this circle, Li Xu, who constantly overthrew and rebuilt his artistic language, was just like Sisphus, who unceasingly pushed the huge stone to the top of mountain, and finally went from incomprehension and pain to enlightenment. The individual seen in the picture can also be an incarnation of Sisphus, from this perspective, and also like the human being standing on the vast land here, or in-between illusion and reality in Li Xu’s heart. They convey a sense of sadness and powerlessness when they are carrying their own boulder and seek beyond their own limitations to obtain the possibilities of true existence. Art, like life, has its inevitable absurdity and uncertainty, but it also confirms the existence of authenticity and transcendence. After this repeated breaking and daubing, a completely different visual effect is presented in Li Xu’s works. It is still an unexpected and persistent artistic delight. As René Char said, “The more we understand, the more we suffer. The more we know, the more we tear. But he has clarity and tenacity proportional to the pain and despair.”

在那里   

布面油画 

40x60cm 

2012

Looking back on this batch of works, some of them were created by Li Xu from his studio in Huan Tie Times Art City in Beijing. The art district was at risk of being torn down at any time, and the artists in it were nervous all the time because of concerns about demolition and not knowing where to go. Disquiet, loneliness, and angry feelings lingered in their minds, including Li Xu at that time. This sentiment and a series of reflections on current society are inescapably mixed into his paintings. All the time, the carrier of “human” is regarded as the most distinctive characteristic of Li Xu’s artistic creations that explore and elaborate on research about the human itself, human existence and the dilemma faced by humans, all of which are related to the influence of Sartre and Heidegger’s philosophy. When the vicissitude of life and society comes, both the human beings in the real situation and the abstract figures in Li Xu’s painting, seem to transform into “nomads”, who have no choice but to accept. In 2016, Li Xu left the Huan Tie Art City, and then in 2017, it was demolished. 

秋千2   布面油画 40x60cm 2012

The continuation of life is both an extension of thought and a continuation of a work. And this personal feeling and social unrest will continue in everyone’s life. The title of exhibition derives from “The Book of Disquiet”, one of the masterpieces of Portuguese poet Fernando Pessoa. Disquiets and uncertainties are its main tone, which is extremely close to Li Xu’s creative feelings at that time in Beijing. In the midst of anxiety and restlessness, he seeks a place for individual’s freedom and rights. Fernando Pessoa said, “Anything and everything, depending on how one sees it, is a marvel or a hindrance, an all or a nothing, a path or a problem. To see something in constantly new ways is to renew and multiply it. That is why the contemplative person, without ever leaving his village, will nevertheless have the whole universe at his disposal. There’s infinity in a cell or a desert. One can sleep cosmically against a rock.”

By Lingyuan Hu

July 15, 2020 in New York

Special thanks to David Brubaker

漫游8  

布面油画 

200x80cm

2010

两个女孩   

布面油画 

40x60cm 

2012

热带风景   布面油画 40x60cm 2012

四个人体布面油画 40x60cm 2015

 

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