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ISBN 978-3-9523767-1-3

李钢 LI GANG

缓缓而序 A TRANQUIL ORDER


目录 CONTENTS

水色变幻的体验: 试论李钢作品 文: 海因茨-诺贝尔特·约克斯

本画册为李钢个展 “缓缓而序” 而出版 2011年1月14日至4月9日展出于瑞士卢森麦勒画廊 北京-卢森 This catalogue was published on the occasion of Li Gang’s solo exhibition “A Tranquil Order” at Galerie Urs Meile, Beijing-Lucerne, Lucerne, Switzerland, from January 14 to April 9, 2011

致谢 何云昌 (阿昌), Walter Breckner, Margarita Mene Castineiras, Heinz-Norbert Jocks, 毛然, 麦勒画廊 北京-卢森全体工作人员, 以及所有参与协助此项目的朋友。

The Transformation of a Small Stone An Approach to the Works of Li Gang by Heinz-Norbert Jocks

8

作品 Artworks

12

简历 Biography

30

版权 Imprint

32

Acknowledgements He Yunchang (A Chang), Walter Breckner, Margarita Mene Castineiras, Heinz-Norbert Jocks, Mao Ran, the staff at Galerie Urs Meile, Beijing-Lucerne, and to all the people who have participated or assisted in the realisation of this project.


“缓缓而序”, 麦勒画廊 北京-卢森, 瑞士卢森, 2011

“A Tranquil Order”, Galerie Urs Meile Beijing-Lucerne, Lucerne, Switzerland, 2011


“缓缓而序”, 麦勒画廊 北京-卢森, 瑞士卢森, 2011

“A Tranquil Order”, Galerie Urs Meile Beijing-Lucerne, Lucerne, Switzerland, 2011


“缓缓而序”, 麦勒画廊 北京-卢森, 瑞士卢森, 2011

“A Tranquil Order”, Galerie Urs Meile Beijing-Lucerne, Lucerne, Switzerland, 2011


水色变幻的体验: 试论李钢作品

The Transformation of a Small Stone An Approach to the Works of Li Gang

文:海因茨-诺贝尔特·约克斯

by Heinz-Norbert Jocks

一个如此年轻的艺术家已然在形式和内容上开辟出多条道路,这是颇为罕见和意外的。李钢1986 年出生在云南大理,他的创作探寻不同的美学方

It is truly an unexpected rarity — highly unusual, indeed — for a very young artist to pursue several paths at once, on both a formal as well as a conceptual level. Born in 1986 in Dali, Li Gang seems to be searching for answers to aesthetic questions that will, above all, surprise him and thus be convincing; at the same time, he takes each one as far as it will go. And it seems as if he has to aim for something completely different, to move in a new direction each time, to start questioning things as soon as he has realized the visual idea he has imagined. Just avoid inflating it to the point of irritation or obliteration! Don’t repeat it! Because then it loses its desired effect. And then the art is on the wrong track. All of the above is a severely abbreviated way to articulate the maxim that very likely lies behind Li Gang’s art. And behind that are the experiences and thoughts Li had after arriving in Beijing at the age of twenty. As a schoolboy learning the art of painting from a young teacher, his themes had to do with the usual things that happened around him every day — in brief: his everyday life. Dissatisfied with the traditional modes of expression that he used in the beginning, he finally began looking for a different, more personal form, which would not only help him explain the life he saw in front of him, but also provide him with information about understanding art. Pencil drawings were interesting, because he was fascinated by what one could create and achieve with such a simple tool. The artist not only shows what he sees, but also emphasizes what he feels and senses when he sees something, while at the same time, he gains a sense of self-confidence and a new attitude toward the world and other people. All in all, it is a way to balance out one’s own possibilities in terms of how one reacts to one’s own surroundings.

法,要求这些美学方法首先冲击自身的视野,通过这种方式说服自己;同时,他竭力挖掘各种美学方法的可能性,在终极处上下求索。这样一来,每一 次头脑中酝酿的图像实现之后,李钢似乎总是需要从另一个角度审视自身的创作,重新调整方向,质疑自我。既不让图像膨胀到能量耗尽,也非单 纯地重复再现,否则,我们期待的效果就会被掠夺一空。这样的艺术走在海德格尔的“林中路”上,我们只能去推测这微言背后的意义。支撑李钢创 作的是他二十岁迁居北京以来的经验和思考。中学时代的他在一位年轻女老师的影响下开始热爱绘画,当时的创作主题主要以身边的人和事物为 主,因为只有这样,他才能从生活中找到自己。曾经不被承认的他由于自身能力的展现赢得了他人的推崇,但作为画家的李钢却把目光放在越来越复 杂的事物之上,通过将一切复杂化的方式与这种简单的推崇保持了距离。他不满足于传统的表达,而是在寻找一种适合自己的方式来解释生活,解 释艺术。铅笔画这样一种简单的工具创造出的图像让李钢深深着迷,通过铅笔呈现的不仅仅是眼之所见,同时表现出个人的感知,并且通过这种方 式获得另一种自为的肯定和面对世界以及他人的立场。总之,这是艺术家通过投身于周遭环境的方式,衡量自身可能性的实践。 李钢以当年最好的成绩考入云南大理学院,闲极无聊之中,李钢亲手用菜油制作颜料,开始进行绘画创作。之后他来到北京,带着成为艺术家的目标 开始自己的艺术实验。尽管身处学院之内,他还是逐渐形成了这样的观念,即艺术不仅仅是对现实的模仿,更是通过生活经验的感悟进行创作,通过 创作来解释生活。他希望以更高的标准要求自己,试图探索出另一种艺术领悟。比如在画一个玻璃杯的时候,他有意识地放弃了悦目的光色。他限制 自己只使用灰色作画,通过这种方式,不仅强调了日用品的物性,也一并表达了自己当时生存状态的主观性。他在创作中陷入到一种幻乱的境地,似 乎感到自己深处迷雾之中,这恰是因为还无法意识到如何迈过通向艺术的门槛。 在通往图像的途中,李钢并不仅仅使用单一的一种媒介进行创作。他穿梭于各种创作手段之间,问题无疑是在带领我们走上这一旅途后,他如何在 之后的几十年引领我们逡巡其中。欧洲人喜欢将西方视角覆盖于东方之上,在欧洲人看来,他迄今为止的创作似乎触碰到了地景艺术(Land Art)提出 的美好诉求,也与刚而易断的观念艺术有某些相似之处。但中国人不会被这两个角度模糊自己的视线,他们的能产性更多来自于材料和生活境遇,灵 感的袭来更少借助于艺术潮流或者其它艺术家的创作,因此这种中西方的比较、概念和定义的划分由于观看方式不同的限制,会成为我们观看作品 的阻碍。这是一种天然的界限。李钢和我在瑞士卢塞恩有过一次长谈,我们聊到很晚,他用间接的方式鼓励坐在对面的我通过眼睛、心灵和头脑的思 索去接近他的作品。他的不同系列作品之间主题的跳跃一开始看起来非常突兀,似乎没有任何过渡,不同的图像之间没有可以借助的中间媒介,像隔 海相望的大陆。但在他过去和当下的创作之间,的确有着隐秘而间接的关联,从这个不断质疑自身的艺术家头脑中生长出来,我们必须去寻找和发现 它们。在李钢的创作中,显著的时间意识扮演了较为关键的角色。 很难预言李钢在未来岁月中还会探讨什么样的主题,如何将之转化为视觉形式,寻求什么样的材料进行创作。重要的是,在这位即将举办自己第一 个欧洲展览的艺术家身上,不存在无谓的重复带来的危险。他让自己处身于巨大的创作压力之中,用这种残酷催促着自身的发展。但是,他创作的所 有东西却都是从难以置信的举重若轻和自然而然中生发出来,没有什么是勒逼出的产物。一切似乎都脱胎于漠然的时间之流,一步步从瞬间的潜能 中滋长。这一过程缓慢凝滞,如竹节般渐然而起。 本人于两年前第一次在行为艺术家何云昌的家中看到李钢的作品,那天,我们在何的宽大居室中喝了不少茶,抽了太多的烟,一起聊了艺术、存在和 生活的交织;在他家的一面高墙上,挂着一幅 180 x 120 cm 大小的平面作品,这幅作品异常独特,与众不同。我从没有见过这样作品,它的全部构成 都是由光、或者说由指向画面中间的光锥发出的光亮呈现的。作品从整体上显现出一种光源感,好像作品中的光缠绕了起来一样。作品如同天际闪 烁着的一颗孤星,你似乎可以听到宇宙的钟声嘀嗒作响。从黑暗中破发而出的光惊醒了我们的思考,这种效果在李钢说出作品背后隐藏的秘密后而 显得更为强烈。他把如何制作这件作品的方法告诉了我,是利用透明胶带的透明特性在黑色亚克力板上重叠。他把胶带剪成一节节的条状,贴满整 个板面,胶带重叠形成的透明阴影逐步塑造出光的状态,同时也显现出一种具有雕塑感的形象。通过这种方式描绘出的东西很难一下子认清,你需 要一点时间把这个脱胎于黑色、演变为光的所见联想为一种具体的形式。然后你就能慢慢发现,作品中呈现的应该是一块无用的石。若把它放大来 看,就如一座宇宙中由光描画出的星球;尽管很难相信,但我们眼见的真真宛若一件发掘之物。如何将这样一种所见诗化为特殊之物是其中凸显出的 问题,李钢的方法似乎是在手中不断把玩它,以好奇之心鼓弄观察这个对象。他有一组系列作品是以石为主题,这些石作之物承受的光往往来自多 个角度,因此在石本身不规则形态表现出的复杂性之外,我们也可以看到它在光与影的合力下流露出的陌生性。它看起来如同一件带着光晕的珠宝, 因罕见而价值连城。光与影的较量正如实与虚无的对峙,光的强度由于透明胶带的叠置得到增强。 8

Ultimately graduating first in his class from the Yunnan Dali Academy in Dali, Li grew bored with drawing and switched to painting, using paints he himself made out of cooking oil. Having just arrived in Beijing to study experimental art at the Central Academy of Fine Arts with the goal of becoming an artist, he realized that art had to be more than just copying given situations. Setting high standards for himself, he began to look for a different understanding of art, which would go beyond mere imitation, reproduction, or copying. Painting a glass surface, he deliberately ignored the attraction of color. Limiting himself to grays, he not only emphasized the object-like qualities of everyday items, but also managed to express the subjective aspect of the state he found himself in at the time. Aside from the confusion he felt at the time, it seemed as if he were in a fog, because he had not yet figured out how to cross over the threshold to art. On the path to an image, Li works only in one medium. He is at home in several simultaneously, in a way that inevitably makes us wonder where this journey we are taking with him will lead us in the coming decades. For those of us who tend to look at eastern art with the eye of the westerner, some of his previous works of art seem to touch upon the requisites of Land Art, while others bears a certain resemblance to Conceptual Art. However, from the viewpoint of the Chinese artist, whose productivity has been influenced by materials and situations in his life, rather than by art movements and other artists, these kinds of comparisons are more of a hindrance, due to the extreme limitations they place on the visual process. In Lucerne, in our long talk that went on until late into the night, Li also indirectly encouraged his conversation partner to approach his art first with the eye and the heart, and then with the senses and intellect. At first, it seemed as if the leap from one group of works to the next was completely reckless, and so abrupt that there did not appear to be any sort of transition or bridge, nothing to mediate between the diverse visual spheres that collide against each other with an almost continental-sized impact. Nevertheless, between what he produced yesterday and what he is working on today, there are secret relationships stemming from the mind and spirit of an artist who questions himself. However, they first have to be sought and found. Here, Li’s remarkable sense of time plays a relatively large role. All in all, it seems impossible to predict which themes Li will address in the future, how and in what way he will realize them, and what sort of materials he will use in the process. Initially, it seems as if this artist, who has his very first show in Europe, is not in any danger of repeating himself over and over. He must be putting himself under enormous pressure to be creative. Yet, everything that he creates seems to be done with incredible ease and naturalness. Nothing is strained. Everything appears to be wrung from the indifferent river of time, developed step-by-step out of the potential of the moment. A slow process, in which one thing gradually leads to the next. It was two years ago that this author first saw some of Li’s work at the home of performance artist He Yunchang. On the high walls of the spacious living room — where we drank a great deal of tea, smoked far too many cigarettes, and discussed the way that art, existence, and life interweave — hung a 180 x 120 cm painting. It stood out because it was so different. Never before had this author seen anything like it. The painting draws its entire presence from the luminescence or shine of a cone of light at its center. This gives the whole thing a sculptural effect, as if the light has been caught in something, and is now glowing outward from inside of it, like a solitary star in the distant heavens. One can almost hear the ticking of the universal clock here. The strange effect of the light emanating from the darkness causes a sense of amazement in the guest, and it only increases when Li reveals its little secret, telling what the picture is made of, and how he came to create an image on black acrylic with transparent packing tape. By covering the entire surface with short strips of transparent tape, layering it here and there, so that light and shapes gradually formed out of the shadows, he produced another, entirely different, sculptural-looking construct. However, the subject of the picture cannot be immediately identified. It takes a little time before one can connect a specific form to whatever it is that has been released from the darkness and turned into light. Gradually, one realizes that it is nothing more than a useless rock. Enlarged, it resembles a distant planet outlined in light, and it is hard to grasp that we are simply looking at a very small piece of stone that has been picked up somewhere. Apparently, Li turned it around and around in his hand, curiously wondering how the object might possibly be poeticized, made into something special. Taking the stony something, he illuminated it, not just from one side, but from several, creating a series and 9


谈到这个系列作品最终关注什么的时候,李钢把话题拉得很远。有一次,他看到了一条贴在窗户上的胶带,胶带发散出的效果和特性让他大感兴趣, 他观察到,随着胶带的叠加,它的颜色也会发生变化。这让他想起曾经在一个水底不平的湖中游泳的经历,游泳时水的颜色的变化带给了李钢奇妙 的体验。他说试图用量变到质变的方法,来改变路边一块最为普通的小石头。小石头的存在就好比他自己的存在一样平实普通,只有通过积累才能 达到质变的状态。用透明胶带制作作品的方法是来自于日常生活的观察。李钢说,他用的不是胶带的材质,而是它透明的特性,���的特性与水或者空 气的特性相似。随着李钢的阐述,这种观看方式似乎渐渐演变为一种理论形式。他还说道了太阳光,太阳光要穿过和透析多层空气层才能到达我们 的眼睛,光速也在其中起到了一定的延迟作用。 作为观众的我在面对这个作品系列时,感觉到了作品背后隐藏着具体的记忆,即便它并非那么明显。在李钢小时候,有两个朋友想教会他游泳。学的 时候,他紧紧抓住朋友的肩膀,但强劲的水流冲散了三个人,在水中胡乱扑腾的李钢已经无法支持下去。他试着自救,但是不熟水性,加上水的强大 力量,身体开始往下沉。这个溺水的孩子突然之间感受到了之前从未有过的一种莫名的平静,沉浸于这神奇的体验之中。突然,几双手把他从这种状 态中硬拽了出来,拉回了岸边,救了他一命。但对于李钢来说,这次生命获救并非一种脱离绝境的放松,更像是一种被迫接受的暴力行为。他似乎接 触到了永生之境,这显然是他乐于感受到的东西。这种愉悦感与神秘感相联系,沉重的词汇无法描述它,能接近它的也许只有奇异的图像,用图像重 复再现这个只此一次的感知,传达出在无尽的空间中漂浮的不能承受之轻。 李钢不擅于讲述发生在他生活中的故事,但这些故事在他的艺术创作中却起到了明显的作用。我们在卢塞恩的那次长谈一开始,他就绝非偶然地将 我这个听者的注意力引向发生在他童年时代的两件事情。他的父亲曾是位农户,后来做起了木材以及其它买卖。有一次,两个人上街买东西,走累了 的李钢看到一个木凳,想坐下来歇脚,却马上被父亲阻止。回到家后,父亲告诉他那个木凳是棺材板做成的,不能坐[......]。在李钢的家乡,迷信思想 比较盛行,接触死者碰过的东西会带来厄运。李钢不太相信这种解释,他觉得死亡本身并不可怕,可怕的是死亡背后的未知和构成死亡的原由。有时 候死者留下的衣服比死亡更为可怕,因为死者的衣服标志了未知的精神存在。衣服作为某种存在的痕迹,也是他刚到北京不久后,以衣服为单位创 作过的一件作品的主题。在这个远离家乡的陌生城市,失去了家乡熟悉的一切,他感觉到一种无法看清的力量正不知所踪地侵袭着他。为了能清楚的 认识身边的环境,他有目的地选了三个地方,以自己的方式为之命名。他分别在中央美术学院、798 艺术区和一个叫朝阳公园的地方呆上一天,收集 人们在那里扔下的垃圾。他不仅勘察了这些地域,也用这个收集垃圾的方式个人化地认识了他所到之处。他用这些垃圾制作了三件带相应大小帽子 的大夹克和外衣,我们可以将之解读为,为了与这些他不熟悉的物品发生联系,李钢用这种方式把它们写入自己身体,这些物品的残余被李钢转化为 地点的象征。把通过三个地点展现的城市身体化,促发了这种方式的产生。最终呈现的不是可以穿的夹克,而是如照相般真实复制出来的夹克的形 态形成了一件真正的作品,艺术家以自己的方式认识了身边的环境。 作品《流年》呈现给我们李钢应对外部世界的方式。这个作品有很强的观念性,但其中含有的各种关联也非常具体。我们在画中看到了什么?这组用 水搓洗得只剩画布本色的油画,每张画布边上都分别挂着一个小塑料袋,里面装满了搓洗油画后剩下的碎颜料,塑料袋里还各有一张油画搓洗前的 完整图片。有一张图片上,是一个只有脸的男人,男人面前的桌上摆着三把钥匙,未来无法预见,他看起来似乎不知道应该拿起哪一把生命之匙。除 了新唯物论的驱使,艺术家还把社会演变过程中产生的迷茫与困惑放在了考察视野之中。他的画首先要呈现的是中国当下生活中的象征可读性。这 种象征可读性并非具有期望般的强烈效果,因此李钢以自己绘画的方式记录下了当下的现实,最终以时间流逝的观念搓洗了整组系列油画,达到了 更深层次的记录效果。当问到为什么这么做时,他的回答是缘于外祖父的去世。外祖父离开人世之后,李钢开始感到他的重要,感受到他的切身之 近,逝者之思因而愈发强烈。所以他决定用颜色单调而模糊的画布和剩下的碎颜料,让留下的痕迹成为了我们追寻前世的线索。从这一点来说,我们 又可以从李钢的作品中分析出另一条主题线:他曾经制作拍摄过一棵树,树的枝干间由树本身掉落的小树杈搭起填满,像一堵小墙,被时间分隔开 来的树干通过这些枝杈再次联系到了一起。李钢创作的其实是他的生活体验,他在作品中看到了自己和共同长大的哥哥,看到了两人最终各自走上 自己的道路。分离在作品中得到了弥续。这就是这个年轻艺术家的思考出发点,明显地与西方思维区别开来。对他来说,一切都可以归结为不断延宕 的关联和尺度。由此,我们可以理解,他为什么又创作了用皮尺制作的四方型作品。

翻译:苏伟

allowing us to see the complexity of its irregular form, as well as its alien character, oscillating between light and shadow. It looks like a precious gem, charged with an aura of great rarity. Its beauty consists precisely of the fact that it never looks the same, but alters its appearance again and again. The strong light contends with the shadows in the same way that existence competes with the void, and it increases as the layers of transparent packing tape thicken or pile up. Asked what these pieces were ultimately about, Li shares something more. Fascinated by the effects and characteristics of some tape sticking to a window, he observed how its color changed with every added layer. This effect also reminded him of looking at the surface of a lake with an uneven bed, which also involved a fantastic experience of watching the water change colors. Moreover, he was fascinated by the leap from quantity to quality, and the accompanying question of how it is possible, in this kind of a view, for a very ordinary stone to suddenly transform into something entirely different. Here, too, the existence of a small pebble is similar to his own human life: namely, it is very common and in no way extraordinary. It is only by making a leap that it can reach a new phase. Li’s idea to use transparent packing tape to make his picture can be traced back to these kinds of ordinary, everyday observations. According to Li, it is not the material quality of the tape, but its transparency that he is interested in using, because it is this characteristic that makes it seem closer to water and air. As if trying to sum it all up in a visual theory, he finally talks about sunlight, which has to overcome and penetrate several layers of atmosphere before it reaches our eyes. Obviously, even the speed of light can run into delays. Even if it is not immediately obvious, the listener later speculates that these images are based on very specific memories. When he was younger, Li was teaching two friends how to swim; he held tight to their shoulders, but the strong current of the river tore the three of them apart, and Li could not keep his head above water. After fighting to survive, he finally gave in to the strength of the water. As he was drowning, he felt something he had never experienced before: an ineffable, magical sense of calm. But then many strange hands pulled him out from the center of this calm and dragged him up onto the riverbank, saving his life. This, however, did not make him feel as if he had been rescued from the pit of despair, but rather, it felt like an unwelcome act of violence. Clearly, there was something pleasantly enchanting about the encounter with eternity. This sense of well-being, which correlates with the unio mystica, probably cannot be achieved through tons of words, but perhaps it might be done with unusual images, which repeat the unique feeling of this lost sensation. After all, they do convey something of the unbearable lightness of floating in unlimited space. Even though Li tends to hesitate when talking about things that have happened in his life, these stories seem to have left a considerable mark on his art. Right at the beginning of our conversational marathon in Lucerne, he drew the listener’s attention — probably not by accident — by relating two events from his childhood. Once, he went shopping with his father, a former farmer, who dealt in all kinds of things, including wood. On the way, the boy wanted to sit down on a wooden stool, but his father forbade him to touch it at all; later, at home, he told him that the wood came from coffins. In the province where Li grew up, there is a widespread superstition that the negative energy from objects belonging to the dead will be transferred to anyone who touches such items. Doubting the truth of his father’s assertion, Li added that, for him, death itself is less frightening than the unknown, which comes after it, and whatever is at the root of the unknown. He is also afraid of the clothing left behind by the dead, because it manifests the presence of the unknown spirit. Shortly after arriving in Beijing, the unbelieving son took the notion of clothing as a trace of something and used it as a theme in one of his works. As a stranger in the city, far away from the home where he had been familiar with everything since childhood, he felt as if he were being confronted with an impenetrable juggernaut, and had nothing to hold onto at all. In order to familiarize himself with his new surroundings, he selected three sites, which he decided to identify in his own way. He spent an entire day on the campus of the Central Academy of Fine Arts, another day in an arts district called 798, and finally, a third day in Chaoyang Park. In these places, he collected refuse discarded by other people, and thus, he not only learned something about the areas he was exploring, but he also distinguished each site by its garbage. Using the refuse he had collected, he made three large hooded jackets and coats for himself. This act of collecting refuse — which, the artist says, symbolizes these places — and then inscribing it on his own body, so to speak, could be interpreted as Li’s way of appropriating an unfamiliar area. It is a way of assimilating the city through three representative sites. Since, ultimately, he is not really going to wear the garments, photographs of the pieces become the actual work. Li’s work Fleeting Time also clearly shows us how strongly the artist reacts to the external. As conceptual as the work seems at first, the references are nonetheless very specific. What do we see? Canvases that have been washed clean with water, but that still display diffuse traces of paint, and next to each of them a small plastic bag containing bits of dried paint and a small photograph of the painting that was on the canvas before it was erased — a man with a serious expression, and three keys in front of him on a table, for example. He is unsure which of the three keys to life he ought to choose, because he cannot predict what the consequences of his decision will be. Besides the constraints imposed by the new materialism, the painter is also addressing the growing complexity arising from the changes in society. All in all, these pictures are about the symbolic legibility of life today in China. However, because their effect was not as intense as he had hoped for, the artist erased it all again, after having first documented the finished paintings in photographs. By washing the paint off with water, Li seems to express a notion about the passage of time. Asked why, he replies by recalling the death of his grandfather on his mother’s side. It was not until the grandfather was no longer there that Li first realized how important, how close, he had been to him. Things that are absent mobilize much stronger emotions than things that are present. Additionally, they intensify the perception of loss. Therefore, he decided to wash away the images, so that traces of them would remain as references. From here, it is possible to follow a thematic line to a photograph of a tree, in whose fork sawed-off branches have been stacked up to form a wall. They link things that have drifted apart over time. Here, too, Li sees an image from his life. He imagines himself and his brother growing up together, until they finally went their separate ways. The gap left by the separation can be bridged. This is the artist’s way of thinking, which is clearly different from the western way. To him, everything is a matter of relationships and standards, which are constantly shifting. And this is why he created square paintings made of tape measures. Translator: Allison Plath-Moseley

10

11


No. 1

No. 2

No. 5

No. 6

No. 3

No. 4

No. 7

No. 8

《它》(No. 1-No. 8) 2010, 透明胶带, 亚克力板, 各180 x 120 cm “It” (No. 1-No. 8) 2010, transparent packing tape on acrylic board, each 180 x 120 cm


《它》(No. 9) 2010, 局部 “It” (No. 9) 2010, detail

《它》(No. 9) 2010, 透明胶带, 亚克力板, 180 x 120 cm “It” (No. 9) 2010, transparent packing tape on acrylic board, 180 x 120 cm


《羽绒服》2010, 6版, c-print, 58 x 124 cm 李钢用透明塑料袋和他在北京各处收集到的生活垃圾制成的三件外套:朝阳公园(左), 中央美术学院(中)和798艺术区(右)。 “Down Coat” Edition of 6, c-print, 58 x 124 cm Three coats made out of transparent plastic and household garbage collected by Li Gang from three different areas in Beijing: Chaoyang Park (left), Central Academy of Fine Arts (middle) and 798 Art District (right).


《光—— 记》2010, 透明胶带, 12张亚克力板, 每张122 x 60 cm “Recording Light” 2010, transparent packing tape on acrylic board, 12 pcs. each 122 x 60 cm


《流年》2008-2009, 画布, 19幅, 每幅100 x 80 cm; 塑料袋(内装搓洗的碎油画颜料和照片), 19只, 每只19 x 12 cm “Fleeting Time” 2008-2009, canvases, 19 pcs. each 100 x 80 cm; plastic bags (incl. washed off oil paint and photo), 19 pcs. each 19 x 12 cm


《流年》2008-2009, 画布, 19幅, 每幅100 x 80 cm; 塑料袋(内装搓洗的碎油画颜料和照片), 19只, 每只19 x 12 cm “Fleeting Time” 2008-2009, canvases, 19 pcs. each 100 x 80 cm; plastic bags (incl. washed off oil paint and photo), 19 pcs. each 19 x 12 cm


《流年》2008-2009, 局部, 塑料袋(内装搓洗的碎油画颜料和照片), 每只19 x 12 cm “Fleeting Time” 2008-2009, details, plastic bags (incl. washed off oil paint and photo), each 19 x 12 cm


《之间》2010, 6版, c-print, 127 x 64 cm “Between” 2010, Edition of 6, c-print, 127 x 64 cm


《一平米》(No. 1) 2008, 皮尺, 100 x 100 cm “One Square Meter” (No. 1) 2008, measuring tape, 100 x 100 cm

《一平米》(No. 2) 2008, 皮尺, 100 x 100 cm “One Square Meter” (No. 2) 2008, measuring tape, 100 x 100 cm


李钢 1986

生于云南大理 现居住和工作在北京

2007 2009

毕业于云南大理学院油画专业, 中国云南 进修中央美术学院实验艺术专业, 中国北京

个展 2011

“缓缓而序”, 麦勒画廊 北京-卢森, 瑞士卢森

LI GANG 1986

born in Dali, Yunnan Province, China lives and works in Beijing, China

2007 2009

Graduation in Oil Painting from the Yunnan Dali Academy, Yunnan, China Further education in Experimental Art at the Central Academy of Fine Arts, Beijing, China

Solo Exhibition 2011

30

“A Tranquil Order”, Galerie Urs Meile, Beijing-Lucerne, Lucerne, Switzerland


出版:麦勒画廊 北京-卢森 编辑:麦勒画廊 北京-卢森 文章:海因茨-诺贝尔特·约克斯 翻译:Allison Plath-Moseley (英), 苏伟 (中) 设计:李建辉 摄影:Eric Gregory Powell, Jean-Pierre Grüter, Patrick Bussmann © 2011 麦勒画廊 ���京-卢森, 李钢 未经出版人的书面许可, 本书所有内容不可用于任何形式及目的, 包括但不限于图片复印、抄录或其他信息存储及文字转换的复制及传播。 印刷:中国北京

Publisher: Galerie Urs Meile, Beijing-Lucerne Editor: Galerie Urs Meile, Beijing-Lucerne Text: Heinz-Norbert Jocks Translator: Allison Plath-Moseley (E), Su Wei (C) Designer: Li Jianhui Photography: Eric Gregory Powell, Jean-Pierre Grüter, Patrick Bussmann © 2011 Galerie Urs Meile, Beijing-Lucerne, Li Gang All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, including but not limited to photocopying, transcribing or by any information storage and retrieval system, without written permission from the publisher. ISBN-13: 978-3-9523767-1-3 Printed in China

麦勒画廊, 北京市朝阳区草场地104号, 邮编 100015, 电话 +86 10 643 333 93 Galerie Urs Meile, No. 104, Caochangdi, Chaoyang District, Beijing, PRC 100015, T +86 10 643 333 93 Galerie Urs Meile, Rosenberghöhe 4, 6004 Lucerne, Switzerland, T +41 41 420 33 18 galerie@galerieursmeile.com, www.galerieursmeile.com


Li Gang_Tranquil Order