策展人/Curator：殷双喜 Yin Shuangxi

　　特邀评论/Invited Scholars：孙振华Sun Zhenhua、唐尧Tang Yao、刘礼宾Liu  Libin、何桂彦He Guiyan、黄海鸣Huang Haiming

　　展览时间/ Date：2014.11.8 - 2015.03.15

　　开幕式/ Opening：2014.11.15(Sat) 3:00pm

　　展览地点/ Venue:：亚洲艺术中心（北京） Asia Art Center (Beijing)

　　100015 中国北京市朝阳区酒仙桥路2号大山子798艺术区（周一休馆）

　　100015 No.2, Jiuxianqiao Rd., Dashanzi 798 Art District, Chaoyang District, Beijing, China

　　电话/ Tel:+86-10-5978-9709/10

　　传真/ Fax:+86-10-5978-9708

　　网址/ Website: www.asiaartcenter.org

　　邮箱/ E-mail:beijing@asiaartcenter.org

　　微博/ Weibo: weibo.com/asiaartcenter@亚洲艺术中心

　　微信/WeChat:Asiaartcenter亚洲艺术中心

　　李真作品中的人物，在天堂与地狱之间沉浮，如同歌德的《浮士德》，在神与魔之间纠缠拷问，对人类心性迷失在现代社会的物欲洪流中进行了严峻的审视与反思。

　　——殷双喜

　　熟悉了李真作品的墨黑外表和既重又轻的创作理念之后，观看李真雕塑同他一起追求精神愉悦，已经变成一种惯性。这次发表的【凡夫】系列，李真转而勾勒众生相，是为面对现实之 “重”，李真乐在【大气神游】的同时，仍回归到最接近原始的状态挖掘 “根气” 的原点，体验虚境的同时，也审视实境。

　　近年，李真花费大部分的时间将人性的思考落实在创作中，2010年开启【凡夫】系列，展现艺术家多元的精神面向。殷双喜，中央美术学院教授与中国雕塑学会副会长，亦是此展览之策展人，即观察到“李真毅然超越自我已经成功的雕塑风格，超越形式审美，关注当代人的精神状态，将时间与变化引入雕塑，将永恒与瞬间凝为一体……将万物的辉煌与消逝同时呈现给我们，让我们的目光在现实之物上盘桓，思绪跨越过千年，看到千古兴亡悠悠万事，皆化为微尘。”这个系列的第一件作品就是本展首度曝光的《吞吐洪荒》，此作品长度超过七米，夸张地呈现欲望蚕食的力量。

　　【凡夫】系列呈现人性的不完美，它不单是一种 “沉重”，其巧妙的龟裂表现出心识的复杂。这褐黄的泥土展现尘埃的归途，这崩裂是岁月、烦恼、思索产生的伤痕，而生命最终还是要在一个人的荒芜中总结。这正说明了李真身为一位艺术家，除了关注雕塑的本体语言之外，更关心的是如何传达内心的感悟。随着政策与科技的递变，西方现代雕塑深刻地影响了华人雕塑界，“雕塑” 与精神连结的可能性被重新思考，而李真正是当代雕塑从形式-空间-观念转型的代表人物。

　　然而，所谓的转型绝非为变而变，或许正因为追求更高的精神境界，才能面对自己的伤痕；只有当批判者本身保持批判的距离又同时产生了矛盾，才凸显他忽内忽外的游移立场。对此，殷双喜表示：“在我看来，李真20多年来的雕塑创作，越过尘世的浮光，守护一缕心香，既直面底层赤裸的真实，也充满云端的理想。李真的作品，是一种矛盾的交织物，其中贯穿着梦想与现实的冲突，清醒认识与执着理念的混杂。”

　　毕竟，无论人性是否进化、无论仍否有着良善或暗黑，李真自己也是尘沙世界的行者，艺术家说：“我们走在‘知识与迷悟’中，生命真是信息淹留，心识难磨”，因此以 “荒徒”为名。

　　Characters in Li's works wander between the heaven and the hell, which resembles the obsessed interrogations of the God and the Devil in Johann Wolfgang von Goethe's The Tragic History of Doctor Faustus. In this way, they examine and reflect critically on the loss of the soul and morality in the current of material desires in contemporary society.

　　─ Curator, Yin Shuangxi

　　Once we are familiar with the dark black surface and the creative idea of lightness and weight in Li Chen's works, viewing Li's sculptures while pursing spiritual pleasure will become a kind of habitual response. In Ordinary People series exhibited this time, Li turned to characterize all walks of life, which sought to face the weight of reality. While Li takes pleasure in Spiritual Journey Through the Great Ether, he still returned to the most primitive mode of exploring the foundation of human nature, experiencing the virtual and inspecting the real at the same time.

　　In the near decades, Li has spent most of the time carrying out his reflections on human nature in his creative works, thus started the Ordinary People series in 2010 that further reflected the artist's extensive spiritual contemplation. Yin Shuangxi, Professor of Central Academy of Fine Arts and Vice Chair of China Sculpture Institute, also the curator of this exhibition, remarked, "in this exhibition, we shall see Li's resolution to transcend the self and the success of the style of his sculptures. His works move beyond formalistic beauty, devotes itself to the concerns with the mental state of contemporary people, and thus, Li introduces time and change into his sculptures, and creates the simultaneousness of the permanent and the transitory…He makes us look longer at the reality of things and think over the long thousands of years to see that the rise and fall of all the things in the ancient time will turn out to be dusts and ashes." The premiere piece of sculpture in the Ordinary People series was "Boundless Desire", which measures seven meters and exaggerates the presentation of an aggressive and forceful power of desire.

　　Ordinary People series presented the imperfection of human nature, which is not only a sense of "weight"; rather, the tricky artistry lies in the arranged cracks that express the complexity of the mind. This yellowish brown clay demonstrates a homeward journey of the dusts and ashes. As for the crumpling and cracking, they are the scars of years, troubles, and contemplations. After all, the cessation of being does not end in termination but in the totality of one's barrenness. This explains Li Chen, as an artist, in addition to paying attention to the sculptural language, is even more concerned with the expressiveness of inner world. In this new generation, the modern sculpture from the West has influenced profoundly the history of Chinese sculpture. The possibility of sculptural art of being closely connected to the mental life of human life is reevaluated, and Li Chen can be rightfully named the representative figure of contemporary transformation of sculptures from concept to form, and then space.

　　More importantly, these transformations never stray away from Li Chen's central character. Perhaps pursuing a more elevated spirituality enables man to face his own scars. Only when the critic keeps a critical distance from things with a simultaneous sense of contradiction can he exposes his wavering stance. According to Yin, "in my opinion, for more than twenty years, Li's sculptural creations has moved beyond the transience of the mundane world and guarded the lasting burning of man's passion. Those works not only confronted the very essence of reality but also abounded in lofty ideals."

　　After all, Li is himself a traveler in the mundane world as well, so, "in this journey about knowledge and knowing," Li said, "we are drown in the 'sluggishness' of information while our souls remain unrefined," and thus naming the exhibition "Journey of Solitary Existence ".