艺术家李关关近期在798艺术区艺·凯旋画廊举办个展「逐光」（Chasing the Light），这是自2013年以来，艺·凯旋为其举办的第三次个展。
Artist Li Guanguan recently held a solo exhibition "Chasing the Light" at Triumph Gallery in 798 Art District. This is the third solo exhibition held by Triumph since 2013 when they represented Li Guanguan.
「李关关：逐光｜Li Guanguan：Chasing the Light」
此次个展除了马和植物系列以外，还展出了她和艺术家卜云军共同合作的「黑色-花儿」系列。在其他作品里，可见的是李关关日臻成熟的身为艺术家的感知力和表现力。而在这个黑色系列里，值得回味的是她对水墨这一中国传统艺术媒材表现宽度的思考。In addition to the horse and plant series, this solo exhibition also displays the "Black-Flower" series that she and artist Bu Yunjun collaborated with. In other works, what can be seen is Li Guanguan's increasingly mature perception and expressiveness as an artist. In this black series, what is worth rehearsing is her thinking about the breadth of expression of ink, a traditional Chinese art medium.苏东坡云：“世人论墨，多贵其黑而不取其光。光而不黑，固为弃物；黑而不光，索然无神采，亦复无用。要使其光清而不浮，湛湛小儿目睛，乃为佳也。” 苏东坡反世人之道而重墨光的论点暗合了艺术家的观念，在这个体系的创作中，他们共同用墨料勾染这些折枝花卉，而后用水清洗积墨，反复数次，最后使墨在绢上呈现流沙般质感细腻的视觉效果。在光线的反射下，墨花本身及其反光，和光线穿透绢面形成的投影，三者合一，形成一个超越二维平面的综合视觉效果。对于李关关来说，借助艺术这种形式，她试图追逐的是表象之外的精神性的存在。这种存在正如光之于我们的肉眼，缺少物质性的实体而无法被捕捉。Su Dongpo, a well-known calligrapher of the Song dynasty, once said that the blackness of ink was valued more than its luster. He believed if the ink was lustrous but not black, it would be discarded; if the ink was black but not lustrous, it was also useless because it had no spirit. Su Dongpo’s idea coincides with the artist’s concept. In their creation, Li Guanguan and Bu Yunjun jointly dyed these broken branches with ink, and then washed the accumulated ink with water. This process was repeated several times, and finally the visual effect equal to the texture of quicksand is achieved. Under the reflection of the light, the ink flower itself, its reflection, and the projection formed by the light penetrating the silk surface, are combined into one, forming a comprehensive visual effect that transcends the two-dimensional plane. Li Guanguan, with the help of this form of art, tried to chase the spiritual existence beyond the appearance. This kind of existence is like the light to our naked eyes, which lacks a physical entity and cannot be captured.「李关关：逐光｜Li Guanguan：Chasing the Light」令人好奇的是，李关关的艺术创作缘何从二维平面走向了三维空间表现？她和卜云军又是如何构想、完成共同的艺术理想？就此，艺术家与艺·凯旋画廊就这些问题展开了对谈。
Curiously, how did Li Guanguan’s artistic creation move from a two-dimensional plane to a three-dimensional expression? How did she and Bu Yunjun conceive and complete their common artistic ideal? In this regard, the artist and Triumph Gallery started a dialogue on these issues.「李关关：逐光｜Li Guanguan：Chasing the Light」Q: 这次展出的《黑色-花儿》系列，从形式的角度，比如说色调的运用，还有对投影、光线的综合考量，和以往的作品不太一样，看起来像是一种新的尝试。A: 对，这是我和小卜（艺术家卜云军）一起合作的。这个系列的作品我们想呈现的是，画面本身、画面上墨块的反光以及光线穿过绢面留下的投影，这样三个在一起的综合呈现。Q: From a formal point of view, such as the use of tone, as well as a comprehensive consideration of projection and light, the exhibition's "Black-flower" series is quite different from previous works and looks like a new attempt.A：Yes, I worked with Artist Bu Yunjun). In this series of works, we want to present the combined effect of the picture itself, the reflection of the ink block on the picture and the projection of the light through the silk surface.李关关｜无题-花儿 No.8｜绢本水墨｜90x70cm｜2020Li Guanguan｜Untitled-Flowers No.8｜Ink on SilkA: 这个系列蛮费功夫的，必须长时间一层一层地不停地画。Q: What is the specific creative process?A: This series is quite laborious, it must be painted layer by layer for a long time.李关关｜无题-花儿 No.3｜绢本水墨｜130x99cm｜2020Li Guanguan｜Untitled-Flowers No.3｜Ink on SilkQ: 这些作品你们还特意用了空绷的形式，想要突出投影，这些都是一开始创作的时候就构想好的吗？A: 其实当时画的时候没有说刻意要怎么样，最后放到墙上看的时候，刚好有那个影子在，我觉得那个还东西还挺重要的，感觉像是作品的一部分，所以希望把他保留下来。但是展出的时候有可能你会遇到一些特殊情况，就没办法去展现这个效果。我们现在所能看到的是因为在自己的工作室，工作室里的灯光造成了这样的效果，以后如果去不同的展览地点，有不同的灯光条件，未必能像现在这样了。Q: I can see you specifically mounted those works without paper pasting on the back of paintings to highlight the effect of shadows. Are these all conceived at the beginning of creation?A：Actually, when I started drawing, I didn't think it would end up like this. When I finally put the finished artwork on the wall and watched it, there happened to be the shadow. I think it’s quite important as it feels like part of the work, so I hope the shadow can be saved. But during the exhibition, you may encounter some special situations, and there is no way to show this artwork with reflectives of ink and shadows at all. What we are seeing now is in our own studio. The lighting in the studio creates this effect. If we go to different exhibition locations and have different lighting conditions in the future, it may not be the same as it is now.李关关｜无题-花儿 No.5｜绢本水墨｜62x46cm｜2020Li Guanguan｜Untitled-Flowers No.5｜Ink on SilkQ：这是二位第一次尝试合作吗？除了《黑色-花儿》系列，你们二人还有合作的作品吗？A：是第一次，没有其它合作的了。我们觉得和做不同方向艺术家合作蛮有意思的。两个不同领域的艺术家相互接触自己所不熟悉的另一种艺术状态，用已有的经验和技术去用另外不熟悉的材料或方式去做我们觉得会带来不一样的东西。Q: Is this the first time you two are trying to work together? In addition to the B series, do you two collaborate on anything else?A: Yes, it is the first time. We thought it would be interesting to work with artists from different directions. Two artists from different fields contact with another art state that they are not familiar with, and use the existing experience and technology to do with another unfamiliar material or way, which we think will bring different things.Q：这一系列的画是两个人合作的，可以谈谈两个人是具体如何分工的吗？A：我们觉得这个不是特别重要。“怎么分工？”，这对所有的组合都是同样的问题。大家都好奇组合里面谁具体负责哪部分，但最终输出的仍然是一个整合的作品，两个人的工作就是一个整体，成果也是一个整体，所以我们觉得谁干什么这个问题不是很重要。Q: This series of paintings are about cooperation between two people. Could you talk about the specific division of labor between them?A: We think this is not particularly important. "How to divide labor?" This is the same problem for all combinations. Everyone is curious about who is responsible for which part of the combination, but the final output is still an integrated work. The work of two people is a whole, and the result is also a whole, so we think the question of who does what is not very important.李关关｜无题-花儿 No.2｜绢本水墨｜99x131cm｜2020Li Guanguan｜Untitled-Flowers No.2｜Ink on SilkA：我们俩一直都喜欢中国传统艺术，想通过自己作为当代人的一些认知，来重新挖掘这些传统体裁的精神内核。艺术有一种最精髓的东西，这难以用语言去描述出来具体是什么。这像一种精神性的存在，一直都在那里，这种“精髓”在古代作品里可能比较明显，但并不是说到现在就消失了。一幅宋代山水画，比如范宽《溪山行旅图》，有什么观念可讲呢？它就是一幅画。但是这种“精髓”和作品是不是在古代，是不是在当代都没有关系。我们想通过自己的方式，用当代人的方法去实现这种我们感觉到的精神性的存在。传统的“精髓”我们肯定学不来了，我们不是古人，但是我们想把我们在古代传统作品里认识到的一些经验，比如“如何看待山水？比如说你怎么看待，我怎么看待？我希望自己怎么来认识山水？”这些问题的认知，可以体现在作品上面。Q: Why did two people think of creating such a batch of works?A: Both of us have always liked Chinese traditional art. We want to re-excavate the spiritual core of these traditional genres through our cognition as contemporary people. The traditional Chinese paintings that we can see in art history books are all good works, so we feel that the art of the past is particularly good. But we feel that there is one of the most essential things in art, which is difficult to describe in words. This is like a spiritual existence. It has always been there. This "essence" may be more obvious in ancient works, but it does not mean that it has disappeared now. A landscape painting from the Song Dynasty, such as Fan Kuan’s Travelers Among Mountains and Streams. What are the concepts of such a landscape painting? It is a painting. Who can tell the concepts of such a landscape painting? It is just a painting. But this "essence" has nothing to do with whether it was in ancient times or in contemporary times. We just want to show this spiritual existence that we feel through our own contemporary methods.范宽｜溪山行旅图｜北宋｜206.3x103.3cm｜绢本Fan Kuan｜Travelers Among Mountains and Streams｜Song dynasty逐光：李关关个展
Chasing the Light: Li Guanguan Solo Exhibition
艺术家：李关关｜Artist: Li Guanguan
展览时间：2020.7.18 — 2020.8.17
Duration：18 July, 2020 — 17 August, 2020
地点：北京798艺术区 艺·凯旋画廊
Venue：Triumph Gallery, 798 Art District, Beijing
根据新型冠状病毒防控工作需要，为避免人员聚集造成的交叉传染，本次展览只接受预约观展，进入展厅时请配合工作人员登记参观者信息及测量体温，感谢您的理解与配合！According to the needs of the new coronavirus prevention and control work, in order to avoid cross-contamination caused by the gathering of people, please make appointment with us before your visit. When entering the exhibition hall, please cooperate with the staff to register visitor information and measure body temperature. Thank you for your understanding and cooperation!预约方式一 Appointment Option One ：请您扫描下方艺·凯旋画廊公众号二维码并关注，进入后台回复关键字“预约”，我们的工作人员将在官方微信号后台与您取得联系。Please scan the QR code of Triumph Gallery below and follow it. Enter the background to reply to the keyword "Appointment", and our staff will contact you at the official WeChat background.预约方式二 Appointment Option Two ：若扫码预约不成功，可通过邮件或拨打画廊座机（+86）10-57623012直接联系我们。
If the scan code reservation is unsuccessful, you can contact us directly by email or by calling the gallery landline (+86) 10-57623012.联系人| Contact Person：张先生 Mr. Zhang邮 箱|E-mail：zenocheung@triumphart.com.cn联系人| Contact Person：顾女士 Ms. Gu邮 箱/E-mail：judy@triumphart.com.cn联系人| Contact Person：冯女士 Ms. Feng（媒体预约｜Media Visit）邮 箱/E-mail：fengyang@triumphart.com.cn
作者：艺·凯旋艺术空间
特别声明：本文为艺术头条自媒体平台“艺术号”作者上传并发布，仅代表该作者观点。艺术头条仅提供信息发布平台。
