展期 Period：
2024.2.25—2024.4.10
艺术家 Artist：
地点 Venue：
新闻稿 Press Release：
可以画廊欣然宣布合肥空间将于2月25日举办黎勤斌、许佳琛双个展「银色战车镇魂曲」与「彩虹快速路」，呈现两位艺术家的各十余件画作。此次展览，我们以“双个展”和“联展”的方式将两位艺术家作品共融，寻找激烈碰撞后的平衡。展览将持续至4月10日。
银色战车镇魂曲
“银色战车镇魂曲”取自于日本漫画《JOJO的奇妙冒险：黄金之风》。银色战车镇魂曲具有支配所有“灵魂”及“精神”的力量，其能力的第一阶段能够使邻近生物的灵魂相互对调，为的就是将大自然花了45亿年进化演变才创造出来的生物转变为其他生物。
黎勤斌作品中呈现的那些生物的形象似乎就正处于这种对调与转变之中。同时在画面中，非生物也具有了生命，被呈放在“祭祀台”上，但隐匿其中的是哪种灵魂呢？我们如同身处一首银色战车镇魂曲的前奏：灵魂在物体与生物之间穿梭，加速着一切的转变，人造物被转化为有生命有灵魂的生物，而生物则被转化为另一种生物。
艺术家在这个系列中所探索的，正是形象的可变性，以及这个可变性中所带出的灵魂的冷颤。这个过程由心灵与算法共同完成，我们或许无法获知哪种智能或感觉更占上风。嬗变的形象超出了它们原有的界限，同时也呼唤着神的名字——普罗米修斯、洛基、齐天大圣、奥德修斯……类似于一种请灵的活动，这些人造物因而活动起来。
以银色战车镇魂曲为引，我们步入一个艺术家所设想的新的生物纪元：在此并不存在生态的丛林法则，而是一切在活动中的物体、生物的置换、映射与变幻——动物盛开出花，海螺睁开眼睛，人造物拥有灵魂。
——李科
彩虹快速路
“彩虹快速路”是艺术家工作室旁的一条城市快速路，它通向城市中心方向。此系列作品对于“在路上”的这种处境的构建，让我们当下具体的位置消失了，并以一种实验剧场的方式去承载时空蒙太奇的发生。在这些单镜头的蒙太奇中，组接的图像与表意冲突、混淆的文本，使得意识形态的生产是非条件反射式的。符号间因它们的这种对峙又共栖的关系，搅动成了意义的螺旋景深，它们迸现、嵌入、闪回、完形，从而完成对于一种间离情景的塑造。
在情景的构建当中，载具与载具的元素时常出现在画面中心的位置，或者将画面包裹起来。艺术家将我们与载具之间的关系视为一种对于现状的隐喻，它作为技术，是我们肉身器官的衍生，是普罗米修斯对于我们生存本能缺陷的弥补。我们依赖着这些非肉身器官生存的同时，也承担着它们所可能带来的那些排异效果的反噬。排异的效果与非肉身器官的出现同时发生，这是关于知识无产阶级化的过程，记忆随之外化，肉身器官被逐渐搁置。同时在此系列作品当中，作为驾驶者的那个个性化主体通常是躲藏起来的，或者被消失了。从而一切的情景都看似是一篇意识流神话。
作品关切着，这场肉身器官与非肉身器官间的对话、谈判和博弈。这发生在作品中符号间对话的方式中。它们透露出具有进攻性、揶揄性的视觉，以一种温柔的暴力美学的方式，进行着一场展示具有歧感与非常规情节的表演。这场表演是关于意义的杂耍，发生在“他想”的空间之中，这种由独特符号、机制、物质性所构建出的空间，是艺术家希望可以与观者其主体性时刻邂逅的场所。作者以这样一种既“神圣”又“亵渎”的方式和社会建立链接，低空滑行，紧张相遇。
KeYi Gallery is pleased to announce that the Hefei Space will host Li Qinbin and Xu Jiachen's double solo exhibitions "Silver Chariot Requiem" and "Rainbow Expressway" on February 25, presenting more than ten paintings by each artist. In this exhibition, we integrate the works of the two artists in the form of a "double solo exhibition" and a "group exhibition" to find the balance after the fierce collision. The exhibition runs until April 10.
Silver Chariot Requiem
"Silver Chariot Requiem" is based on the Japanese manga JOJO's Wonderful Adventures: Wind of Gold. The Silver Chariot Requiem has the power to dominate all "souls" and "spirits", and the first stage of its ability is to switch the souls of neighbouring creatures with each other in order to transform the creatures that nature has taken 4.5 billion years of evolution to create into other beings.
The images of those creatures presented in Li Qinbin's works seem to be in the midst of this exchange and transformation. At the same time, in the picture, non-living things also have life and are presented on the "altar", but what kind of soul is hidden in it? We are in the prelude to a Silver Chariot Requiem: Spirits travel between objects and creatures, accelerating the transformation of everything, as artifacts are transformed into living beings with souls, and living beings are transformed into other living beings.
What the artist is exploring in this series is the variability of the image, and the chills of the soul that this variability brings out. This process is done by both the mind and the algorithm, and we may not know which intelligence or feeling is more dominant. The images of transmutation go beyond their original limits and at the same time call upon the names of the gods - Prometheus, Loki, the Great Saint, Odysseus... As a kind of spiritual activity, these artifacts come into action.
With the introduction of the Silver Chariot Requiem, we enter a new biological era as envisioned by the artist: there are no ecological jungle laws, but the replacement, mapping and transformation of all objects and creatures in action - animals bloom, conches open their eyes, artificial creatures have souls.
-- Li Ke
Rainbow Expressway
The Rainbow Expressway is an urban expressway next to the artist's studio, which leads towards the city center. The construction of this situation of "on the road" in this series of works makes our current specific position disappear, and carries the occurrence of space-time montage in a way of experimental theatre. In these montage of single lenses, the juxtaposed images with conflicting and confusing texts make the production of ideology non-reflexive. Because of their confrontation and symbiosis, the symbols stir up the spiral depth of field of meaning, and they burst, embed, flash back and gestalt, thus completing the shaping of an isolated scene.
In the construction of the scene, vehicles and vehicle elements often appear in the center of the picture, or wrap the picture. The artist sees our relationship with our vehicles as a metaphor for the present, as technology, as a derivative of our physical organs, as Prometheus's remedy for the shortcomings of our survival instincts. While we depend on these non-physical organs for survival, we also bear the counterbite of those rejection effects they may bring. The effect of rejection coincides with the emergence of non-physical organs, which is a process of proletarianization of knowledge, with the subsequent externalization of memory and the gradual shelving of physical organs. At the same time, in this series, the individual subject who is the driver is usually hidden or disappeared. Thus everything seems to be a stream of consciousness myth.
The works are concerned with the dialogue, negotiation and game between the physical and non-physical organs. These happen in the form of a dialogue between symbols in the works.They reveal an aggressive, teasing vision, a performance that presents a discordant and unconventional plot in a gentle, violent aesthetic. This performance is a juggling of meanings, taking place in the space of "he thinks", a space constructed by unique symbols, mechanisms and materiality, a place where the artist hopes to encounter the viewer's subjective moments. The author establishes a link with society in such a way that is both "sacred" and "blasphemous", gliding at low altitudes and tense encounters.
