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亚洲现场 | 李玉双同名个展
展名 / Title: 李玉双同名个展
Li Yushuang Solo Exhibition
策展人 / Curator: 方志凌 Fang Zhiling
艺术家 / Artist: 李玉双 Li Yushuang
展览时间 / Duration: 2020.5.16 (Sat）- 7.5 (Sun)
开幕式 / Opening: 2020.5.16 (Sat) 3:00pm
展览地点 / Venue: 亚洲艺术中心（北京）
Asia Art Center (Beijing)
北京市朝阳区酒仙桥路2号大山子798艺术区（周一休馆）
Dashanzi 798 Art District, No.2, Jiuxianqiao Rd., Chaoyang District, Beijing
“李玉双同名个展”于2020年5月16日在亚洲艺术中心（北京）正式开幕，呈现艺术家李玉双先生最新作品以及早期代表作。本次展览由方志凌策划，全面梳理李玉双先生从艺迄今六十余年的艺术探索成果，展出涵盖油画、水彩、水墨、素描、手稿等形式在内数十余件作品。
李玉双先生是国画大师李可染的长子，自幼就显示出良好的绘画天赋，虽然在建国初期高涨的“建设”热情中选择了科学事业，但绘画却是他一生的挚爱。作为八十五岁高龄的老一辈艺术家，李玉双先生是美术界鲜有的坚持以自然为题材、坚持在自然中创作的艺术家。他将写生视为生活的一部分，理工科的知识结构背景促使他在写生时融入自然科学的视角，从而形成一套独特的观察方法和绘画体系，李玉双称之为“光编码”画法。他以超脱于世俗之外的目光看世间千山万水，下笔色彩斑斓间，时间从他的画面掠过，而不留任何痕迹。他笔下的风景有着中国水墨的自然韵味，既有光影变幻的色彩，也有灵动洒脱的笔触，天真烂漫，自成一派。
展览现场
我研究的内容，是绘画的根本原理。
平面绘画其实很早就存在，早在人类出现之前，对于我来说，必须去寻找二维的光密码，然后去绘画。发现了自然界的这种光编码，就能反映自然界更多的美，和它微妙的地方。
当进入了自然界的光的二维世界，重新解码三维世界，产生一个新的宇宙，就产生新的一种自由。——李玉双
六十余年投身于自然，绘画者与变幻的景色两两相望。李玉双用创作验证着他所致力的追寻：绘画与宇宙的秘密法则。
山沟田野中的生活“挺有意思，景好，空气也好。徜徉其中，物我两忘，心旷神怡，飘然惚然，不知有人间也，此上帝所赐也。”李玉双早期的水彩创作敏感动人，于阳光、质朴中，更有着超脱于时代的自由心灵诉说。观看，也是倾听，李玉双开始了光信息研究的油画视象纷呈，连绵不绝的语句也似雨，敲击为大自然界的原始声音，与画象中回响。
进入笔触的律动与光芒的组合，进入一种心神的漫游。在不断突破的探索者身上，苍劲与率真，突变与圆融，毫不冲突地生长交织。更大的容纳，产生更大的自由。“自然界的未知永远大于人类的已知，自然界的密码永远大于译码，所以说，艺术家对自然界的探索，对自然密码的探索应是永无止境的。”
观宇宙
1971 年，理工出身的李玉双在河南开始了独立的视觉研究和绘画试验。从丢勒的透视实验，到自己制作模型进行大脑研究、人眼视觉实验，他尝试探索绘画的基本原理。在李玉双看来，绘画是一个完整的人如何反映宇宙万物的课题。
“用我的新方法观察自然，尽量表现自然界的原生态密码信息。” 严谨的科学研究催生了新的观察方法，李玉双看见了一个超越日常经验的世界，他双眼接收到的，是未经曲解的大自然原始信息——“光编码”。
到了画画的地方，先坐下来，看着风景，把“小我”放下，接着还要把“大我”也放下，最后达到“无我”了才开始画起来。无我状态中，我和自然界融合在一起了，这时候画就不一样了。最后达到不是我在画，是人体细胞在画，是自然界那些粒子在画。
——李玉双
B展厅展陈规划：李新天、李冬梅、韩昊
关于策展人
About Curator
方志凌，1970年出生于湖北，副教授，湖北美术学院学士、武汉理工大学硕士、中央美术学院访问学者。 2007年以后介入当代艺术批评以来，在《美术》、《世界美术》、《当代艺术》、《国家美术》等各类专业杂志、书籍上发表艺术批评文章50余篇；并于威尼斯、曼谷、香港、北京、杭州、厦门等地主办过一系列展览。 重要策展项目：“疏离之境 - 尹朝辉、尹朝宇作品展” （亚洲艺术中心，北京，2018）、“群贤·白露文慧 - 中国当代艺术邀请展”（华中农业大学艺术馆，武汉，2018）、“群贤·狮山夏至 - 中国当代艺术邀请展”（华中农业大学艺术馆，武汉，2018）、“另一个阿莱夫 - 中德当代艺术对话展暨德美术馆开幕展”（德·美术馆，厦门，2018）、“诗性的共同体 - 厦门自贸区成立一周年国际当代艺术展”（厦门国际邮轮城博乐德艺术空间，厦门，2016）、“不一不异 - 中国青年艺术家试验展”（中国美术学院美术馆，杭州，2013）、“风物纪 - 中意青年艺术家对话展”（威内托科技艺术馆，威尼斯，2011）、“70后艺术的十个个案”（香港展览中心，香港，2010）等。 重要编辑出版画册：《纸象 - 尹朝阳的纸上绘画》（四川美术出版社，2015）、《王劼音》（安徽美术出版社，2014）、《木兰溪》（中国美术学院出版社，2012）、《70后艺术的十个个案》（中国经济出版社，2010）等当代艺术画册。
Fang Zhiling was born in 1970, associate professor, bachelor of arts in Hubei Institute of Fine Arts, master of arts in Wuhan University of Technology, he is also the visiting scholar of Central Academy of Fine Arts. When he involved in contemporary art criticism since 2007, he has published more than 50 art criticism articles in various academical journals and books such as Art, World Art, Contemporary Art and National Arts. As a curator, he has curated a series of exhibitions in Venice, Bangkok, Hong Kong, Beijing, Hangzhou, Xiamen and other places.
Significant Curatorial Programs: "The Distant Landscape - Exhibition of Yin Zhaohui & Yin Zhaoyu" (Asia Art Center, Beijing, 2018), "Gathering of Masters · South Lake · The White Dew - Contemporary Chinese Exhibition" (The Art Museum of HZAU, Wuhan, 2018), "Gathering of Masters · Lion Hill · Summer Solstice - Contemporary Chinese Exhibition" (The Art Museum of HZAU, Wuhan, 2018), "Another Aleph - Chinese and German Contemporary Art Exhibition & DE Gallery Opening Exhibition" (DE Gallery, Xiamen, 2018), "The Poetic Community – First Anniversary of Xiamen Pilot Free Trade Zone International Contemporary Art Exhibition of Xiamen" (Blanc Art Space of Xiamen International Cruise Center, Xiamen, 2016), "Bu yi Bu yi - Experimental Exhibition of Young Chinese Artists" (Art Museum of China Academy of Fine Art, Hangzhou, 2013), "Fengwu Ji - An Exhibition of Dialogue between Chinese and Italian Young Artists" (The Veneto Museum of Technology, Venice, 2011), "Ten Cases Studies of Post-70s Artist" (Hong Kong Exhibition Center, Hong Kong, 2010). Significant Edited and Published Catalogues: Images on Paper - Yin Zhaoyang's Works on Paper (Sichuan Fine Arts Publishing, 2015), Wang Jieyin (Anhui Fine Arts Publishing, 2014), Mulan River (China Academy of Art Press, 2012), Ten Cases Studies of Post-70s Art (China Economic Publishing House, 2010) and other contemporary arts catalogues.
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关于艺术家 About Artist
李玉双，1935年出生于江苏徐州，是国画大师李可染的长子，母亲苏娥为沪上戏曲名家苏少卿长女，少年在家学熏陶下开始了创作之路。1956年，毕业于北京机械制造学校的李玉双赴上海交通大学造船学院进修，之后分配到郑州机器制造学校教授工程力学，在工作之余坚持艺术创作，这一时期以水彩画创作为主，多为描绘学校及周边村庄的景色，创作了大量以自然风景为题材的水彩画和速写作品。1969年，开始常赴河南鲁山、平顶山等地写生。1971年，李玉双开始研究人类视觉与艺术的关系，制作相关模型并尝试视觉试验，逐步形成一套独特的观察方法和绘画体系。李玉双称之为“光编码”画法。1986年返回北京，逐渐开始探索水墨、丙烯等综合材料的运用，探索中国材料对色彩的表现力，并坚持写生创作从未间断。2010年，工作室建好，不过所有写生依然在室外完成。他开始大幅面的作品创作，使用综合材料，尝试西方材料与中国传统纸张的结合。2015年，今日美术馆举办六十年艺术个展，共展出作品60余幅。2017年，前往日本、台湾、新西兰等地写生；2018年5月，中国国家大剧院举办个人绘画展，被专家誉为 “东方的莫奈”。 艺术理念：李玉双先生认为绘画系统与认知系统是同一个系统，作画的过程就是对世界，对生活的认知，而他的画就是他的生活本身。六十余年埋首于科学研究与绘画艺术，并近于朝圣般地热爱着自然。李玉双先生六十余年如一日以自然为唯一主题进行写生创作和独立研究。在李玉双看来，“光编码”是上帝传递给人类的最初信息，他只是忠实地将这些信息呈现出来，并无丝毫增减。而他能看到“光编码”，则是他基于视觉研究、长期不懈的观察训练的结果。他的绘画既非机械的“画物本体”，也非主观的“画心像”。他的眼光已经超越了绘画的光影色彩，而触及到宇宙自然、天地万物的本质。在探索“光编码”奥秘的艺术之旅中，李玉双看到的是一个无穷尽的世界。作为一位八十五岁高龄的中国当代艺术家，他是中国艺术领域罕有的坚持以自然为题材、坚持在自然中创作的艺术家；他有工程学背景和科学知识背景，以系统化的科学方法进行艺术创作，又在科学之眼的帮助下，用艺术表达他对宇宙和自然的理解。
重要展览："李玉双同名个展“ （亚洲艺术中心，北京，2020）、“玉双的写生 - 2018年越洋行走写生展”（白盒子之家，北京，2018）、“田野的色彩 - 李玉双艺术巡回展美国站”（世界粮食奖总部，艾奥瓦州得梅因，2018）、“画我眼中所见 - 李玉双绘画艺术展”（国家大剧院，北京，2018）、“自然 - 李玉双艺术·展览·雅集”（圣之空间，北京，2018）、“自然而来：光编码观照下的风景 - 李玉双写生创作六十年艺术展”（今日美术馆，北京，2015）等。
Li Yushuang, born in Xuzhou, Jiangsu in 1935, is the eldest son of Chinese painting master Li Keran. His mother, Su'e, was the eldest daughter of the Shanghai opera master Su Shaoqing. The specific artistic atmosphere started to impress Li Yushuang since his childhood. In 1956, Li Yushuang, who graduated from Beijing Mechanical Manufacturing School, went to the Shipbuilding Institute of Shanghai Jiao Tong University for further studies. Afterwards, he was assigned to Zhengzhou Machine Manufacturing School to teach engineering mechanics, meanwhile he insisted on artistic creation during his spare time. At this period, he mainly focused on watercolor painting, mostly depicted the scenery of schools and surrounding villages, and created a large number of watercolor paintings and sketches based on the subject of natural scenery. In 1969, he went to Lushan, Pingdingshan in Henan Province and other places for outdoors sketch, and began to paint mountain scenery, river beaches and folk customs with xuan paper and ink. In 1971, Li Yushuang started researching the relationship between art and visual sight. He operated relative models and visual experiments, and gradually formed a unique set of observation methods and painting systems, which is so called as "light coding method". Li Yushuang returned to Beijing in 1986, afterwards he gradually began to explore the comprehensive use of ink, acrylic and other materials, persisting in the creation of sketches. His studio was built in 2010, however since then all the sketching was still finished outdoors. He began to create large-scale works, using comprehensive materials, intending to combine Western materials with the traditional materials of Chinese paper. In 2015, Today Art Museum held Li Yushuang's solo exhibition, displaying more than 60 artworks. In 2017, he visited Japan, Taiwan, New Zealand and other places for sketching. In May 2018, National Centre for the Performing Arts of China held a solo art exhibition for Li Yushuang, which was praised by experts as "Monet of the East".
Artistic Theory: Li Yushuang believes that the painting system and the cognitive system are comparable. He regards the process of painting as the recognition towards the world and life, thus his painting faithfully represents his life. He has been immersed in scientific research and art creations for more than 60 years, pursuing nature almost like a pilgrimage. Li Yushuang believes that "light coding" is the first message God sent to mankind, thus he faithfully presented these messages without any increase or decrease. The system of "light coding" triggers his presentation of long-term tireless observation training based on visual research. His paintings neither depicted mechanical "artificial objects" nor subjective "painting images". His vision has surpassed the color of light and shadow in painting, touching the nature of the universe which consists of all mundane objects in the world. In this regard, through the artistic journey of exploring the mystery of "light coding", Li Yushuang witnessed an endless world. As an 85-year-old Chinese contemporary artist, Li Yushuang insists in drawing from nature and creating in nature, which is quite rare in Chinese art field; with a science and engineering background, he creates art in a systematic and scientific way and expresses his understanding of the universe and nature through his "science eyes". Significant Exhibitions: “Li Yushuang Solo Exhibition” (Asia Art Center, Beijing, 2020),"Yushuang's Sketches - 2018 Transoceanic Travelling Sketches Exhibition" (Whitebox Choice, Beijing, 2018), "Colors in the Field - Solo Exhibition of Li Yushuang" (World Food Prize Hall of Laureates, Des Moines, Lowa, 2018), "Draw what I see - Li Yushuang Painting Solo Exhibitions" (National Centre for the Performing Arts, Beijing, 2018), "The Nature Showed by my eyes Li Yushuang " (SZ Art Center, Beijing, 2018), "From and For Nature: Landscape in the perspective of Light-Code Art Exhibition of Li Yushuang's six decades on sketches and paintings" (Today Art Museum, Beijing, 2015).
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