展期 Period：
2024.6.7—2024.7.7
艺术家 Artist：
学术主持 Academic Advisor：
策展人 Curator：
展览顾问 Consultant：
地点 Venue：
前言 Foreword：
本次展览所呈现的李飒作品，是艺术家系列绘画的新作，那是一些身体与面孔的集合，是一个个狂乱的、被色彩与线条刺穿了轮廓边界的身体，是充满爱欲之力、不断处在运动与变化之中的身体，或者说，这些身体就是“爱欲迷狂”本身。而且，他们是一些没有姓名的人，他们拥有模糊的性别与非人的、无个性的特征，这些身体虽然赤裸，但他们毫不性感，或者说，他们只是在展示自己赤裸的生命，展示贯穿于这样的身体中的生命之流。因此，我们便无法从再现的角度去辨认他们的现实来源，反过来说，模特的面容也在这样暴风般的运动中失去了五官，失去了规整的秩序与模仿的余地，作品让观众正面遭遇到一种力量的关系，一种力量的斗争，一种相互碰撞、吸引与倾轧的多重动势，而这样显赫与惨烈的冲突，却隐秘地在我们脆弱的肉身上沉默展开。
“爱欲”（Eros）在古希腊的神话中，根据赫西俄德的记载，是鸿蒙未开的远古之神，它随混沌而生，它远远早于奥林匹斯山的诸神和更加年轻的基督，或者可以说，爱欲正是在神明统治我们之前，在权力的理性塑造社会的个体之前，属于身体与生命的本性，一个身体不可能没有爱欲，或者说，一旦丧失爱欲我们也便丧失了身体，丧失了拥有一具物质性肉身的必要。而在当代理论中，我们也同时看到两种爱欲，一种是精神分析式的，在弗洛伊德和拉康那里，爱欲意味着匮乏，它总是欲求一个可以依附的对象；另一种则是在尼采与德勒兹那里，爱欲对于自身与世界的无限肯定，对于我们而言，重要的便不是为爱去找一个对象，重要的是思考如何能够发挥出爱欲的力量，如何意识到身体内部充沛的潜能。
可以说，在李飒的作品中，在这些形形色色的身体里，我们同时看到了这两种爱欲，我们既看到爱而不可得的痛苦，看到身体徒劳的挣扎与无声的呐喊，也看到在这些挣扎与呐喊的背后，对于身体形象的自省、自信与重新肯定，看到它们重又起身战斗、投身到永恒轮回的宿命。这样，两种爱欲纠缠在绘画的混乱身体里面，或者说，两种爱欲的结合才是对于真实身体的表现，爱欲在两个极点之间的摇摆与相互转换，才是属于爱的秘密与每个人的真相。因此，这样的作品来自艺术家说真话的勇气，爱欲的力量也穿越理论的界线，同时扰乱了时间的维度，不同形态、来自不同时期的爱欲，自相矛盾地组成了我们悖论的身体与不安的生命。
张晨
Li Sa's works in this exhibition consist of the artist's latest paintings, conjuring bodies and faces, bodies in a frenzy whose color and lines pierce the boundaries of their outlines, bodies empowered by love and desire, bodies constantly in motion and flux. In other words, these bodies embody “Eros and Madness.” Moreover, they are anonymous, androgynous with inhuman and impersonal features. Although these bodies are naked, they are not sensual, or rather; they are only exposing their naked lives and the fluidity of life that runs through such bodies. Hence, we cannot identify their actual source from their representations. On the other hand, the faces of the models may have lost their facial features in this stormy movement, losing order and possible reproduction. The works allow their spectators to confront power relations, struggle, collision, attraction, and tilting. And such a remarkable and tragic conflict discretely unfolds in our fragile flesh.
“Eros” in ancient Greek mythology, was, according to Hesiod, the ancient god of the uncharted sky, born into chaos, dating much earlier than the gods of Olympus and the even younger Christ, or it could be said that Eros predates the gods who ruled upon us and the reasons of power that shape individuals in society; it belongs to the nature of the body and life, a body is replete of Eros, without which we would lose the sense of the body; losing the necessity of possessing a physical body. In contemporary theory, there are two types of Eros: the psychoanalytic one, exemplified by Freud and Lacan, where Eros implies scarcity and always seeks to cling to an object, and the other, supported by Nietzsche and Deleuze, who conceived Eros to affirm the infinity of the self and the world, and where it is essential for us to not to look for an object of love, but rather to think about how to exercise the power of Eros, and to be conscious of the full potential in the body.
It’s fair to claim that the multifarious bodies in Li Sa's works allow us to perceive these two types of Eros, where suffering from nonreciprocal love, the wanton struggle of the body, and silent cries, co-exist with the introspection, self-confidence, and re-affirmation behind the bodily forms amid struggles and cries; and their destiny to rise up, fight and throw themselves into the eternal cycle of reincarnation again. As such, these two types of Eros entangle in the chaotic bodies in these paintings, in other words, integrating these two types truly manifest the real body. Swaying and mutual transformation of Eros between these two polarities mark the secret of love and individual truth. In this sense, such works of art come from the artist's courage to speak the truth, while the power of Eros transcends theoretical limits, disrupting the temporal dimensions. The various forms of Eros come from different periods, paradoxically shape our bodies in conflict and restless life.
Zhang Chen
