艺术家 | Artist：李天琦 Li Tianqi

策展人 | Curator：宋玮秋 Song Weiqiu

画廊 | Gallery：纽约 TIME ARTS

开幕 | Opening：2020.1.9  6-8pm

时间 | Dates：2020.1.9-2.13

Venue：178 Bleecker Street 2nd floor New York, NY 10012

我们荣幸的宣布，Time Arts将在1月9日展出李天琦的个人项目“错误的形状”。 

2014年，李天琦将一排盆景悬置于潮白河上，把人工改造的植物与自然和野生的景象并置在一起。在他2019年的作品《美国树》中，他在美国购买了一棵小树，用工具和金属丝将其以盆景的形式捆绑起来，使这棵树以他预设的形状生长。在中国语境中，美国是自由的象征 ，而李天琦以一种规训的美学样式改变了这棵树的形状。 

李天琦对意志、自由及规训等概念的探究与他在中国接受的学院派教育有关。在学院中，学习绘画的学生都会接受严格并繁复的写实技巧训练。在一次画石膏像的课上，他将石膏像的照片投影在纸上，画出了它的轮廓。然而，这件“素描”仍被老师认为“不准确”。这场戏谑的实验揭示了学院对“正确”的艺术作品的固有定义。在这次展览里，李天琦用透明材料将那张石膏像的照片和它的“素描”对应形成镜像，将这两幅图像固定在追求绝对“正确”的循环往复中。 

Manuscript- Flesh 手稿-肉 Paper, acrylic, ink, wood 22×18cm, 2019

在最近的作品里，李天琦重返绘画媒介并继续着他对“正确性”的质疑。他将手画的轮廓与物件的精确轮廓重叠。两个形状之间的差异形成了“错误”的区域。他用这些错误的形状作为结构和形象的来源，由此建立了他的绘画中的形象系统。在他的绘画中，他将手稿中正确的部分消除，使其在画面中完全消失。而错误的形状作为唯一留下的形象，被施以各式绘画技巧，这些本该被消除的部分以极其光鲜的样貌出现，这似乎也是一种合法性的申明。

到底是什么支配了正确、错误、高低优劣的序位？错误的形式是否能为创作提供土壤？对这些问题的探讨贯穿于李天琦的创作之中。

关于艺术家

李天琦生于1991年，2012年毕业于清华大学美术学院，获学士学位。2017年毕业于中央美术学院，获硕士学位。现生活与工作于北京、纽约。李天琦的艺术实践围绕“意志”与“规训”展开，探讨人在日常生活中的权力与冲突，作品媒介涉猎绘画、装置、出版物等，是一位跨媒介艺术家，也是 ON SPACE 艺术空间的创始人之一。曾策划“夏威夷南岸社区艺术计划”与“全世界的未来”等艺术项目。曾参加过中国美术馆、德国波茨坦艺术空间、中央美术学院美术馆、今日美术馆 等国内外多个艺术机构展览。作品在《芭莎艺术》、《艺术与财富》、《当代艺术》等多本艺术期刊发表。

时代艺术（Time Arts ）2017年成立于纽约，作为国际间艺术品领域的参与者，其设立的画廊旨在包容呈现独特思维与创意的多功能艺术空间，致力于探索多元文化背景下艺术创作的影响力，携手具有世界公民意识的艺术家参与全球艺术的发展进程。

时代艺术（Time Arts ）2017年成立于纽约，作为国际间艺术品领域的参与者，其设立的画廊旨在包容呈现独特思维与创意的多功能艺术空间，致力于探索多元文化背景下艺术创作的影响力，携手具有世界公民意识的艺术家参与全球艺术的发展进程。

We are honored to present Incorrect Shape, a project by artist Li Tianqi on January 9th at Time Arts, New York.

In 2014, Li suspended a row of bonsai plants on the Chaobai river in Beijing to stage a juxtaposition between the artificially cultivated with nature and the wild. In his 2019 work American Tree, the artist practiced the process of cultivation himself by using tools and metal wires to “tame” a tree he purchased in the USA. In this charged gesture, the symbol of freedom, namely America, confronts its contortion by an aesthetic ideal rooted in the art form of another culture.

 The preoccupation with cultivation is rooted in Li’s education in a traditional art academy in China. Questioning the purpose of repetitive technique training in figure drawing lessons, the artist projected an image of a sculptural figure on paper and traced its outlines to produce a “sketch”. Yet this drawing was still deemed “inaccurate” by the teacher. The irony reveals arbitrary standards produced by dogged insistence on accuracy. In this exhibition, Li uses a transparent tube that fixes the two images--a photograph of the plaster figure and its sketch--in a mirror image with one another, signaling the perpetual loop of pursuing the absolute.

 In recent works, Li returns to painting and continues his queries of incorrectness. He overlaps the exact silhouettes of objects with the contours that he traced by hand. The difference between the two shapes designate areas of incorrectness. Rather than disavowing these shapes, the artist incorporates them as forms and structures for his paintings, establishing a formal system to create abstract paintings vivid with motion.

 What are the forces regulating the hierarchies of correct and superior standards? When is incorrectness productive? These are the ongoing questions that continue to occupy Li’s practice. 

About Artist 

Li Tianqi, born in 1991, holds degrees from Tsinghua University (BFA, 2012) and Central Academy of Fine arts (MFA, 2017). Li’s artistic practice centered on "will" and “discipline.” Throughout his art practices, Li indulged himself in exploring the power and conflicts in daily life. His works involved painting, installation, publication, etc. Li is a cross-media artist and a co-founder of ON SPACE, an independent art space based in the suburb of Beijing. His notable projects and curations include the “Hawaiian South Shore Community Art Project" and “Future of the World."  His work has been exhibited in both domestic and international art institutions such as the National Art Museum of China, Art Museum of Central Academy of Fine Arts,Today Art Museum, and Potsdam Art Space of Germany. His works have also been published in multiple art journals such as Bazaar Art (China), Art and Fortune (Beijing), Contemporary Art (Beijing) and more. Li now lives and works in Beijing and New York.

Established in 2017, as a participant of international artistic community, Time Arts is a multi-functional space built uniquely to accommodate creativity and imagination. Time Arts which bases in New York is dedicated to artistic creation, residencies, exhibitions, and community exchanges. Time Arts is committed to exploring the influence of artistic creation under the multicultural background and developing the progress if global art together with artists.

NewYork Time Arts

178 Bleecker Street 2nd floor New York, NY 10012

NewYork@timeartsus.com

www.timeartsus.com