展期 Period：
2023.11.19—2024.1.2
艺术家 Artist：
策展人 Curator：
支持 Support：
地点 Venue：
Simple One
⇨展品清单 Works List
新闻稿 Press Release：
SIMPLE ONE 荣幸呈现中国艺术家梁莉的首个国内个展“尘世”，展出艺术家近十余年的37幅摄影作品，及相关文献影像。自2013年以来，梁莉不断前往喜马拉雅山脉区域和南亚地区，大量拍摄记录了生活在这些多样宗教文明汇聚区域人们的日常生活和精神面貌。相比以物理距离来界定遥远与否，因为这些区域的自然环境、宗教与民族复杂性，它更应被称之为一种现代性力量的不易抵达。梁莉的摄影创作聚焦的是宗教世俗化下人们的朴素生活，去传递一种暂未被现代主义惊扰而自然流露的坚定力量。
梁莉的摄影创作以人物肖像为主，多以日常生活、民俗和特定仪式为主要场景。因为地理环境和独特的文化属性，佛教、印度教、伊斯兰教等多种宗教与世俗生活交融。不同的民族特性和生活习惯，使得这些被拍摄对象在日常生活中天然地具有对古老文明的延续和精神力量的探寻。梁莉的早期摄影具有一定的纪实性色彩，或者说是对于某种瞬间性的强调。随着对这些区域的深入探访，梁莉也不断地在创作者和客观性视角之间进行校正，并试图去思考我们应如何去理解精神生活的自由和栖居之地。她的作品逐渐转变为更具有日常化和亲密无间的特质，主体与客体之间的差异也随之消弭：僧人、少年、少女，还有那些街上、船上的人……纯净无戒备的眼神，劳作和仪式中渗透的是朴素如常。与此同时，她依然坚持以抓拍的方式来捕捉这些人物和场景，其摄影语言模糊了表演性和日常性的界限，以此去探索一种更为普世意义的感知。
在梁莉的作品中，我们不会感受到对宗教和民俗的景观化，或是对苦难和落后的他者化。在她的创作中，宗教和差异并不是前提，而是一种现实既定的存在，一种主体无差别的视角。尽管我们可以通过这些人物的面容、服饰和场景辨识出其不同的信仰和习俗，但他们的眼神和身体姿态是松弛和生活化的。梁莉的创作试图捕捉的是差异之下亲近和可被共享的生活与精神依托。这是一种对宗教或神性世俗化的生活体验，同时也是对理想之地、精神之所如何在差异中显现的追寻和诘问。
SIMPLE ONE is delighted to present Mortal Beings, the first solo exhibition of Chinese artist Liang Li, which contains her 37 photos and many related archival images in the past ten years. Since 2013, Liang Li has been traveling to the Himalayan region and South Asia to take records of the local people’s life, where diverse religious civilizations exist. Instead of being defined by physical distance, these areas are remote for the force of modernity to reach because of their natural environment, religion, and complex ethnicity. Liang Li’s works focus on the simple and mundane life of religious people, in order to convey a firm strength that has not been disturbed by modernism.
Liang Li’s works are mainly portraits with scenes of daily life, folk customs and specific rituals. Because of the geographical environment and specific culture, Buddhism, Hinduism, Islam and other religions blend with secular life. In their daily life, the subjects naturally present the continuation and search for the spiritual power of ancient civilization. Liang Li’s early works are rather documentary with the emphasis on a certain instant. With further exploration, she constantly adjusted between the role of creator and observer, and tried to rethink how to understand the freedom and habitat of spiritual life. Gradually her works became more quotidian and intimate, and the difference between subject and object disappeared. She was there with them, the monks, boys and girls, people on the streets and boats. Their eyes were pure and unguarded. Their life was simple and serene. At the same time, she insisted on capturing people and scenes, which blurred the line between performativity and daily life, so as to explore a universal perception of the world.
In Liang Li's works, we will not see the spectacle of religion and folklore, or the otherization of suffering and underdevelopment. In her works, religion and difference are a given existence and objective perspective instead of the precondition. Although we can recognize the different beliefs and customs by people’s faces, clothes and scenes, their eyes and body gestures are relaxed and natural. Liang Li's works attempt to capture the life and spiritual support that can be shared under the difference. This is a life experience of religious secularization as well as the search and inquiry for the ideal spiritual place in the world.
