白盒子青年艺术项目：李可政首展“边镜”开幕

首页

白盒子青年艺术项目：李可政首展“边镜”开幕 | 漫 · 讯

漫艺术

2017-11-07

导读：白盒子青年艺术项目边镜——李可政个展艺术家：李可政策展人：戴卓群展期：2017年11月4日至11月21日

点击标题下「蓝色微信名」可快速关注

白盒子青年艺术项目边镜——李可政个展

艺术家：李可政

策展人：戴卓群

展期：2017年11月4日至11月21日

开放时间：星期二至星期日10点至18点

白盒子2017年度青年艺术项目：“边镜——李可政个展”于2017年11月4日16:00，在白盒子艺术馆开幕。本次展览是艺术家李可政的首次个展，由戴卓群策划，展出李可政最近创作的20余件抽象绘画作品。展览主题“边镜”中的“边”是源自李可政作品中渐变色块之间的形成的锋利边界，“镜”是作品之间方形图案层层延伸所建立的镜像空间，边镜指向了抽象绘画中穿越平面媒介所能感知到的精神视界。

李可政的抽象绘画在一种非具象表达的空间里，能够感受到他对细微处的敏锐感受，没有赘述，没有对意义的迷恋，更多的是节制的美感和特有的视觉特质。其画面使用极简的硬边直线，在构建的镜像图案中，通过对称或者穿插，色彩的渐变或反差，随着同心方块内向或外向的延伸，引申出视幻觉空间。既不代表什么，也不具体指向什么，让观看者排除对具象内容的依赖，通过自己的感受来获得心理和生理上对艺术的体验和回应，引领观者进入一种精神性的空间。

前言

1958年，弗兰克·斯特拉还是普林斯顿大学四年级学生时，他在里奥·卡斯特里画廊看到贾斯珀·琼斯的展览，斯特拉后来解释说：“对我最有影响的事是琼斯坚持处理图案的方式，条纹的节奏和间隔以及重复的概念，我开始思考了很多有关重复的东西。”

In 1958, Frank Stella was a fourth year student at Princeton University when he saw the works of Jasper Johns for the first time at the Leo Castelli gallery. Stella later explained about his experience, “What impacted me the most was Johns’ execution of motifs, lines, rhythmic space and his notions of repetition, I began to ponder upon the various complexities pertinent to these components of painting.”

2006年，天津美术学院美术馆举办了伊门多夫画展，为还在美院接受现实主义写实性绘画训练的李可政带来了破除惯性意识形态的契机，经过数年的练习和尝试，李可政开始了硬边、极简的抽象风格绘画的创作。

In 2006, Tianjin Art Academy held an exhibition of Jorg Immendorf. Artist Li Kezheng was at the time receiving training on realist painting from the academy. The exhibition provided him an opportunity to debunk his preconceived ideology about art, with years of training and experiment, Li Kezheng began to paint works of abstraction with hard edge in a minimalist approach.

2010年，李可政和尚一心联展“时间的边界”在北京XI艺术机构举办，首次展出了他的极简抽象绘画作品，在这次展览中，李可政已然将模仿和再现性的艺术形式从自我的艺术经验中剔除，也将其后颇受影响的表现主义、日常和偶发性观念决绝摒弃。他执迷于纯净的单一色块，色彩之间的微差，用不同色块组成画面，切面的几何形体占据画面的中心。这一时期，李可政亦受到禅学家铃木大拙的影响，期冀在作品中注入纯粹精神性的极致禅境。

In 2010, Li Kezheng and Shang Yixin presented their exhibition, “The Edge of Time” at the Beijing XI Art Institute, where Li showed his minimal abstract paintings for the first time. It is apparent with these works to infer that Li Kezheng had eliminated appropriation and representational components of art forms from his practice, whose practice was equally resolute about rejecting expressionism, the everyday and the coincidental encounters that were once popular elements of artistic practice. By then, he had already become infatuated with monochromatic schemes, the subtle differences between the colors, with which he rendered images of variegated color blocks, with the geometric forms occupy the center of the image. This was also the periodthe Zen Master, Teitaro Daisetz Suzuki’s teaching had a great impact on Li Kezheng, with which the artist aimed to infuse the ultimate realm of Zen into the purity of spirituality.

马列维奇在《非客观的世界》一书中写道“客观世界的视觉现象本身是无意义的，有意义的东西是感觉，因而是与环境完全隔绝的，要使之唤起感觉。”李可政最新近的作品，进一步取消了之前的几何形体或者说将形进一步过渡到了幻觉空间，不同于斯泰拉著名的“同心方块”那种平行离散的平面形式，在李可政同样完全使用硬边直线构建的尺幅巨大的镜像图案中，通过对称或穿插式的条纹，色彩的渐变或反差，随着同心方块内向或外向的延伸，在边缘处形成平缓的曲线，并进而引申出视幻觉的空间，一种视觉的物理空间，更是一种感觉和精神性的空间。

In the book “Non-Objective World”, Kazimir Malevitch wrote, “The visual phenomenon of the objective world is essentially meaningless, only feelings in the contrary, have meaning as they are entirely isolated from the environment, by which to provoke emotions.” Li Kezheng’s most recent works further obscures the former geometric forms, in other words, they are transitions into an illusory space. Unlike the parallel and dispersive surfaces in Stella’s “Concentric squares”, Li adopts symmetry and interjecting lines, colorful gradations and contrasts, extending them either inwardly or outward from the concentric squares, allowing cursive lines to form beyond these edges in order to generate spaces of visual illusions – a physical visual space, as well as emotional and spiritual.

戴卓群 Dai Zhuoqun

2017/10/24

展览现场作品展示：