亚洲艺术家 | 李真：任真而境外——青烟记
棉麻 194.12
Cotton and Linen 194.12
80x33cm / 33x80cm
棉麻、墨
Ink on Cotton and Linen
2019
（此作为一相四观
Four directions for viewing the work)
李真：任真而境外——青烟记
亚洲艺术中心于2019台北国际艺术博览会特别策划呈现“新东方精神－任真而境外”。展出李真十九件2019年最新平面创作“银黑”、“棉麻”及“水墨”等各系列作品，体现东方新写意的当代抽象表现。
棉麻 194.7 Cotton and Linen 194.7
32x32cm 棉麻、墨 Ink on Cotton and Linen 2019
（此作为一相四观 Four directions for viewing the work)
在画作中层迭交错的笔墨手绘旧棉麻及银色、黑色线条，产生无穷变幻的生命体；在水墨的视觉上，如游纱般的魔幻，展现出全新的独特视觉观感。李真的平面绘画在精神层面的“轻”，孕育在每个观者的语意中：如艺术家所言：“若问此帖，应如斯，一切就绪是自己。”这是没有答案的，观者看它是什么，就是什么。故“一相四观”就是这几个系列共有的独特视点，画作可任意旋转观看，不论任何角度，皆自成一体、不着天地。
银黑素描 197.22-3 Silver Black Drawing 197.22-3
53.2x38.2cm / 38.2x53.2cm
纸本综合媒材 Mixed Media on Paper 2019
（此作为一相四观 Four directions for viewing the work)
而于2018年创作的雕塑作品《神之弃物・璎珞》、《神之弃物・云簪一》、《万壑争空・亢1号》、《日藏・月风》，自然地延展脉络，也让观赏者从中发现，李真雕塑与平面创作的关系。
神之弃物・璎珞
Forsaken Relic·Keyūra
36x30.5x63.5cm
铜雕 Bronze 2018
神之弃物・云簪一
Forsaken Relic·Hairpin (I)71x20.5x123cm
铜雕 Bronze 2018
为此展览特别呈现李真早期作品： 2008年的平面黑卡素描、书法、两件创作于1997年的水墨卷轴及1993年《普陀山》雕塑作品（此作从未于公开展览中曝光），让观者了解李真如何深入传统的底蕴，也是一种探讨的线索。然而，这些新作，确实给我们洞若飞石、奇字怪形或云气锣光的感受，其物质的诡谲多变犹如灵魂自由地漂动，应运而生的“无意”；李真曾说：“青烟一切既是有意，但却是‘写意’中的‘无意’。”
↑ 水墨 1910.14 Ink 1910.14
53.2x38.2cm / 38.2x50.2cm
水墨纸本 Ink on Paper
2019
← 水墨 1910.13-5 Ink 1910.13-5
（局部 Detail）
53.2x38.2cm / 38.2x50.2cm
水墨纸本 Ink on Paper
2019
（以上两件作品为一相四观 Four directions for viewing the two works)
亚洲艺术中心于2019台北艺术博览会展览现场
On-site picture of the Booth of Asia Art Center at 2019 Art Taipei
·
关于艺术家
李真，1963年生于中国台湾云林，目前创作于台中、上海两地，以其兼融东方气韵及西方美学的雕塑作品，获得国际关注。
李真早期涉猎佛学道家等，在自由创作的精神中融入自我摄心之情感，吸收东方传统与西方雕塑及原始非洲大洋洲等艺术养分，更结合当代思维，作品不受单一传统束缚，呈现既重又轻、浑然天成的效果。李真透过艺术进行个人的“精神疗伤”，在俗世中寻找乐土，在作品中创造灵性空间，用幽默诙谐的方式暗喻世事，希望欣赏者能察觉其中的精神元素。
1999年于台北举办首次个展，也是首位在威尼斯双年展举办个展的华人艺术家。其作品相继于中国美术馆（北京）、震旦博物馆（上海）、苏州博物馆（苏州）、新加坡美术馆（新加坡）、中正纪念堂广场（台北）、弗莱伊美术馆（西雅图）、旺多姆广场（巴黎）、台北当代艺术馆（台北）进行展出。
Li Chen: Genuine and Otherworldly
- Ethereal Cloud Series
Asia Art Center showed “A New Eastern Spirit: Genuine and Otherworldly” in 2019 Art Taipei, adopting an unprecedented creative approach so the presentation better suits the atmosphere that the works give. This exhibition shows 19 works by Li Chen, including the most recent paintings “Silver and Black,” “Cotton and Linen” and “Ink” which showcase the modern abstract expressionism of the New Eastern freehand work.
银黑素描 197.16-1 Silver Black Drawing 197.16-1
53.2x38.2cm / 38.2x53.2cm
纸本综合媒材 Mixed Media on Paper 2019
（此作为一相四观 Four directions for viewing the work)
In these works, the layer upon layer of brushstrokes, hand painted old cotton and linen, together with the silver and black lines create a living organism of boundless changeability. Visually, the ink creates lines and shapes akin to semi-transparent gauze-like floating images and displays a brand new and unique visual sensation. It can also be seen the “lightness” of the spiritual layer entrusted to each individual observer. For example, Li Chen has said: “If you ask the artist what these works and patterns mean, the answer is: the shapes are what they are, all the styles exist in the artist’s thoughts and mind.” In other words, there is no answer; it is whatever we see it to be. Indeed, the unique perspective shared by these works is that they appear different depending on the perspective from which they are seen. In other words, the paintings can be spun around and irrespective of the angle from which they are viewed still constitute an integral whole.
银黑素描 197.15-4 Silver Black Drawing 197.15-4 （局部 Detail）
53.2x38.2cm / 38.2x53.2cm
纸本综合媒材 Mixed Media on Paper 2019
（此作为一相四观 Four directions for viewing the work)
The display also shows Li's sculptures from 2018, including “Forsaken Relic·Keyūra,” “Forsaken Relic·Hairpin (I),” “Multitude of Altitudes·Uprising(I)” and “Eclipse·Twilight Breeze.” This mixture of creative works creates a natural resonance and allows viewers to discover for themselves the relationship between the sculptures and paintings of Li Chen.
日藏・月风 Eclips·Twilight Breeze
65x30x63cm 铜雕 Bronze 2016
万壑争空・亢1号 Multitude of Altitudes·Uprising (I)
52x78.5x88cm
铜雕 Bronze 2018
万壑争空・亢1号 Multitude of Altitudes·Uprising (I)
53x33.7cm
纸本水墨 Ink on Paper 2018
This exhibition also included some of Li’s earlier works. Examples include graphic black card sketches and calligraphy from 2008 and two pieces from even earlier, an ink painting scroll from 1997 and the sculpture “Pu-Tuo Mountain” created in 1993 (which has never before been shown at a public exhibition). This is intended to give viewers a more in depth understanding of Li Chen’s use of tradition and as such hints at a broader discussion. However, these new works are also akin to caves, strangely shaped stones or bizarrely contorted Chinese characters, with others resembling floating clouds or shiny metallic luster. The strange changes in material allude to a free-floating soul and the nonexistence of consciousness to which that gives rise. Indeed, Li Chen has said: “The Ethereal Cloud series as a whole is deliberate, but also expression without intent, a nonexistence of consciousness.”
银黑卡 196.11 Silver and Black on Carboard 196.11
53.2x38.2cm / 38.2x53.2cm
纸本综合媒材 Mixed Media on Paper 2019
（此作为一相四观 Four directions for viewing the work)
银黑卡 197.13-2 Silver and Black on Carboard 197.13-2
（局部 Detail）
53.2x38.2cm / 38.2x53.2cm
纸本综合媒材 Mixed Media on Paper 2019
（此作为一相四观 Four directions for viewing the work)
亚洲艺术中心于2019台北艺术博览会展览现场
On-site picture of the Booth of Asia Art Center at 2019 Art Taipei
·
关于艺术家
Li Chen was born in 1963, and currently works in Taichung and Shanghai.
Li Chen accomplished a style which has fully liberated itself from the confines of tradition by incorporating feelings of self-mindfulness and interpretations of Chinese classics from the Buddhist and Taoist traditions, blended with contemporary thought, evincing a remarkably refreshing and natural effect of appearing both heavy and light. The underlying aesthetic principles in Li’s sculpture are based not only on a “dual composition” of Eastern traditions and Western sculptural language but also on an ongoing dialogue with the spiritual and material cultures of Africa and Oceania. Furthermore, Li Chen’s art work aspires to a spiritual arts therapy, uncovering a wealth of joy amidst the simple life’s pleasures, innovating a spiritual space through the pieces, as humor embellishes a metaphorical engagement with the world.
Since his works first appeared to the public in 1999 in Taipei, Li Chen has been an active figure both domestic and abroad. Li participated in the 52nd Venice Biennale, the first artist of Chinese descent to be invited as an individual to arrange a solo exhibition in the event. Li Chen has presented solo exhibitions at National Art Museum of China (Beijing), Aurora Museum (Shanghai), Suzhou Museum (Suzhou), Singapore Art Museum (Singapore), Chiang Kai-shek Memorial Hall (Taipei), Frye Art Museum (Seattle), Place Vendôme (Paris), Taipei MoCA (Taipei) and so on.
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