展期 Period：
2024.3.28—2024.5.8
艺术家 Artist：
地点 Venue：
狮語画廊 Leo Gallery（香港）
新闻稿 Press Release：
狮語画廊于2024年3月28日欣然呈献李易纹于香港的第二次个人展览《刹那》，包括艺术家近年来创作的最新同名系列作品。
展览主题「刹那」源自于佛教对时间跨度的描写「一弹指六十刹那，一刹那九百生灭」。 同名作品系列起初源于艺术家站在西北旅途间遇到的巨大冰山面前，所产生的对时间永恒的敬畏，及对比社会生活中时间的转瞬流逝所生的感伤。 李易纹的艺术创作绘画始终贯穿着对于时间、空间与时空的思索与兴趣，记忆中的经验和当下的体验彼此渗透、不断堆积成为灵感和表达的源头。
在李易纹的绘画创作中，时间总是多向流动的。 时间是静止的，因为他笔下的物体被植入了虚幻的场景，这种移位造成了一种现实的缺失，令人隐隐不安；时间又向过去延展，因为他笔下的物体通常是人造的（它们有一段物质历史），或是在人类诞生之前很久就已存在了；时间也投射到未来，因为这些物品可能暗示着它们未来的用途。 最终，对于观众而言，时间可能会延展。 这不仅体现在欣赏作品的过程中，还在于，当我们面对这些忧郁的时间景观时，或许会开始自我诘问：“我们究竟对这个世界做了些什么？”
如同在前作系列中游走于真实与虚幻、日常与荒谬间的废弃空间与工业残景与它们所隐隐指向城市化过程中个人复杂的心理体验，《刹那》也并不是某种现实主义的化现 。 不同于艺术家描绘中崇高的姿态，现实中冰山则在加速消融的过程中成为了世界终局的物质预兆。 某种层面上而言，李易纹笔下的冰山亦如他的断垣残壁和水泥管道，书写着一种现世警示，激发着对自身存在诘问的回荡。
“对于李易纹而言，「人类应该如何处理我们所面临的问题」是一个物质性的问题，同样具有一个物质性的答案。事物在其物质性中才能被认知。世界、自然、感觉和 主体性在其物质性中被认识，随后转译成图像和符号。很可能，这种被称为艺术的转译行为本身并不有益于解决我们的任何实际问题，甚至无助于我们找到『我们 究竟对这个世界做了什么』、『我们又该如何存续下去』的答案。目前，这些冰山的创作只是真实事物的回声；目前，它们是一位艺术家行为活动的物质沉积。它们存在着，就 像这位艺术家存在着。这并不是一个对未来的解决方案，但或许，它是一个开始。”
—— 部分节选自德国策展人、艺术史学者
露丝·诺雅克 (Ruth Noack)《李易纹的时间风景》
Leo Gallery is pleased to present “The Moment”, Li Yiwen’s second solo exhibition with us in Hong Kong on 28th March, 2024. The exhibition showcases the artist's latest series of works of the same title, which he has created in recent years.
The exhibition title, "The Moment" is derived from the description of time span in Buddhism, "In the time it takes to snap one's fingers, there are sixty moments; in one moment, there are nine hundred births and deaths." The inspiration for this theme comes from the artist's awe of eternal time, which he experienced while standing in front of a massive iceberg during his journey in the northwest. It also reflects his melancholy perception of the rapid passage of time in social life. Li's artistic creation and paintings always revolve around his contemplation and interest in time and space. Experiences from memory and present moments accumulate as the sources of inspiration and expression.
In Li's artistic creation, time always flows in multiple directions. Time is static because the objects in his paintings are placed in surreal settings, causing a sense of the absence of reality and subtle unease. Time also extends to the past because the objects he portrays are often man-made, with a history of material existence predating human birth. Time also projects into the future as these objects may imply their future purpose. Ultimately, for the viewers, time may expand. This is reflected not only in the process of appreciating the artworks but also in the introspection that arises when facing these melancholic time landscapes, prompting our self-questioning: "What have we done to this world?"
Similar to the previous series that traversed between reality and illusion, the abandoned spaces and industrial remnants pointing to the complex psychological experiences in the process of urbanization, "The Moment" is not a manifestation of realism. Unlike the sublime portrayal by the artist, the melting icebergs in reality become material harbingers of the world's ultimate fate. In a sense, the icebergs depicted by Li, just like his crumbling walls and concrete pipelines, inscribe a warning of the present world, provoking echoes of self-existential questioning.
"To Li, the question of “How shall we, humankind, handle the problems we are confronted with?" is a material question that has a materialistic answer. Things are recognized and understood through their materiality. The world / nature / sensation / subjectivity are recognized through their materiality and subsequently translated into images and symbols. It is highly likely that this translational act called art itself does not contribute to solving any practical problems we have, nor does it help us find answers to "what have we done to this world" or "how should we continue to exist." Currently, these iceberg creations are only echoes of real objects; currently, they are material deposits of an artist's behavioral activities. They exist, just as the artist exists. It is not a solution for the future, but perhaps, it is a beginning."
—— excerpt from German curator and art historian
Ruth Noack's "Li Yiwen's Timescapes"
