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隐匿的风景-李拥军作品展

HIDDEN SCENERY- Li Yongjun's Works Exhibition

策展人：李裕君

Curator：Li Yujun

开幕 Opening：2023.08.05  15:00

展期 Duration：2023.08.05-08.27

主办机构：海河美术馆、棉3创意街区

Organizers: Haihe Art Museum, Mian 3 Creative Blocks

地址：天津市河东区富民路西台大街38号棉三创意街区2-7   海河美术馆

ADD: Mian3 Creative Block 2-7，Xitai Street, No.38 Fumin Road, Hedong District, Tianjin   Haihe Art Museum

前言

FOREWORD

海河美术馆荣幸地宣布，将于2023年8月5日至8月27日推出新展“隐匿的风景-李拥军作品展”。此次展览以四川籍艺术家李拥军近年来创作的五十余件油画、水彩作品作为主线，结合部分还原时代背景下隐匿的矿区“风景”艺术现场，有意趣地呈现上世纪六七十年代四川二峨山下的时代景观。

河东系列之东风一号|布面油画|100×150cm|2019

艺术家李拥军在近十年来的绘画创作中，尤为深刻地表现了与他个人成长经历交织的“三线工业”矿区，在时代变革中被废弃或被私有改制的历史变迁。二峨山，在当时“三线厂矿人”眼里就是大矿山，可以源源不断开采，利用的宝库，当年国家对“三线厂矿”在选址和建设方向上有明确指示：“靠山，隐蔽，分散”。李拥军的创作的一系列素材和心理动机也多数来自对大矿山的记忆…作为曾经几度想“逃离”厂矿的子弟，现在他创作的题材和对象却离不开曾经那些所经历和最为熟悉的，与父母工作和生活有关的工业痕迹。

河东风景——再建|布面油画|40×50cm|2019

从绘画语言上讲，尽管这几年李拥军也在尝试着调整，反复探索画面中一些新的变化和突破，但所表现的景观也始终是在被时代所裹挟的“工业风景”中纠结与往返。或许，这就是艺术家李拥军在视觉表现中沉迷“工业风景”的无声能量，也是他个人成长境遇和时代变迁在生命经验中留下的不可抹灭地创伤和痛感，更是他艺术创作背后的温度与共情！

因此，这不仅是一个展览，也是一个时代的掠影，更是一代人生命经历中潜存的特殊触感…...希望观者能透过李拥军绘画作品背后的“工业风景”叙事，反思当下社会发展进程中隐匿的人与人，人与自然之间存在的共生关系，从而更好的去创造未来新的可能。

文/李裕君

2023年7月

Haihe Art Museum is delighted to announce the upcoming exhibition "HIDDEN SCENERY - Li Yongjun's Works Exhibition" from August 5 to August 27, 2023. This exhibition will showcase over fifty oil paintings and watercolor works created by Sichuan artist Li Yongjun in recent years, intending to recreate the historical landscape of the Era of the 1960s and 1970s in the Emei Mountain Mining Area of Sichuan.

In his painting creations in the past decade, artist Li Yongjun has profoundly depicted the historical changes of the "Third-line Industry" mining areas intertwined with his personal growth experience. In the eyes of the workers in the 1960s and 1970s, Emei Mountain was a large mine that could be continuously mined, a treasure trove of resources. The location and construction guidance for "Third-line Industry" factories and mines at that time were clear: "Close to the mountains, concealed, and dispersed." The inspiration and motivation for Li Yongjun's creations mostly come from memories of the large mines. As a child who had thought of "escaping" from the factory and mine several times, his themes and subjects in his current creations are inseparable from the traces of industry related to his parents' work and life.

无名山之七|布面油画|60×80cm|2021

From the language of painting, although Li Yongjun has been trying to adjust and explore new changes and breakthroughs in the composition in recent years, the landscapes he portrays have always been entangled and intertwined within the "industrial scenery" carried by the era. Perhaps this is the silent energy of artist Li Yongjun's obsession with "industrial landscapes" in his visual expressions, and it is also the indelible trauma and pain left by his personal growth experience and the changes of the times in his life, as well as the warmth and empathy behind his art creations!

Therefore, this is not only an exhibition but also a glimpse of an era, a hidden touch in the life experiences of a generation. We hope that through Li Yongjun's narrative of "industrial scenery" in his painting works' historical background, viewers can reflect on the hidden relationships between people and people, as well as the symbiotic relationship between people and nature and the future possibilities in the progress of society today.

By Li Yujun, July 2023

《河东系列》作品自述

从1988年中专毕业后进厂工作到1992年考入四川美术学院离开厂矿，在那里工作近四年时间，这个厂也是我母亲的工作单位，实际上从7岁到高中毕业大部分时间都在这里度过，所以是典型的“厂矿子弟”，同时也见证了这个厂矿的兴衰……

老路|纸本水彩|39×54cm|2019

乐山地区是60年代“三线建设”厂矿较为集中的地方，附近有不少以数字代号为名的单位：308、605、585、525、739……等，长达二十年的建设改变了这里的环境，也塑造了一个特殊群体-厂矿人，因当初建厂受中央统一指示“靠山，隐蔽，分散”的原因，大部分单位都在靠山偏僻之地；我从高中毕业后有了要离开那里的强烈愿望，直到考入美术学院有了彻底逃离的喜悦，大学毕业后去了深圳，曾经以为自己再也不会回到这里了、然十年后又决然选择回家乡生活，而父母仍旧在老厂家属区生活 、逃了近二十年之后终究还是要面对这一切，虽然已物是人非，再次面对时还是有了一种逃离无望后的无奈与平静，绘画也变成了日常自我表达的表达。

工人村|纸本水彩|39×54cm|2016

这个系列已画了七八年了，人与景相处由来已久，有记忆和情绪的风景对我是有莫名的诱惑，当面对这些习以为常的景致时，与其说是对绘画的痴迷不如说是对景色和记忆的沉浸与对话，反复的涂抹与修正像是在提醒白己的来处，这种短暂而自娱的乐趣对他人并不讨喜，但每一幅寄托着当时的情绪和执着，它们是被反复否定重塑的风景和心境，正是有与自己以及父辈记忆情感相关而不易忘却的东西，才让这些画具有了某种 意义，至少对我而言是这样；

每个人都有自己的来处，这也是作为艺术家独立个体的底色，仅管呈现出来还是风景画的样子，但它已承载了自己的过往生活和碎片化的个人史，通过这批作品也是企图呈现出自己对过去的重构和回望。

文/李拥军

2023年7月

"East River" Series Self-Narrative

From graduating from vocational school in 1988 and working in a factory until entering Sichuan Fine Arts Institute and leaving the factory in 1992, I spent nearly four years working in a factory where my mother also worked. In fact, I spent most of my time there from the age of 7 to high school graduation, so I am a typical "factory child," also witnessing the rise and fall of this factory.

The Leshan area is where the "Third-line Construction" factories and mines were concentrated in the 1960s. There are many units nearby named with numerical codes: 308, 605, 585, 525, 739, etc. The 20 years of construction have changed the environment here and shaped a special group of people - the factory workers. Due to the instructions of the central government for the location and construction of the factory, "close to the mountains, concealed, and dispersed," most of the units were located in remote areas near the mountains. After graduating from high school, I had a strong desire to leave there and felt the joy of completely escaping when I was admitted to the fine arts institute. After graduating from university, I went to Shenzhen and once thought I would never return here again. However, ten years later, I decisively chose to return to my hometown to live. My parents still live in the old factory residential area, and after nearly twenty years of escape, I eventually have to face everything again. Although it has changed, there is still a sense of helplessness and tranquility after the hopeless escape when faced with it again. Painting has also become a daily expression of myself.

无名山之九|布面油画|90×120cm|2021

I have been working on this series for seven or eight years. I have a long history of interaction with people and landscapes. Landscapes with memories and emotions have an inexplicable attraction to me. When facing these familiar scenery, it is more like immersing and dialoguing with the scenery and memories rather than being obsessed with painting. The repeated smearing and revision remind me of my origins. This short-lived and self-amusing pleasure may not be pleasing to others, but each painting represents the emotions and persistence at that time. They are landscapes and emotions that have been repeatedly denied and reshaped. It is something related to my own memories and emotions and not easily forgotten, which gives these paintings a certain significance, at least for me.

Everyone has their own origins, which is also the background color of being an independent artist. Although they still look like landscape paintings, they have carried their past lives and fragmented personal history. Through this series of works, I also attempt to present my own reconstruction and reflection on the past.

By Li Yongjun, July 2023

艺术家

ARTIST

李拥军 | LI YONGJUN

四川乐山市人。1994年毕业于四川美术学院，成都理工大学工程技术学院艺术设计系特聘教师，四川省美术家协会会员，四川油画学会会员，乐山市美术家协会秘书长。作品先后被重庆江山美术馆，北京宋庄树美术馆等机构和私人收藏。