南京国际艺术博览会
Nanjing Art Fair International
李舜个人项目：天上大风
Personal Project of Li Shun
Strong Wind In The Sky
展位 BOOTH B14
尊贵藏家预览 VIP Preview
12/23 14:00 - 18:00
12/24 11:00 - 14:00
公众日 Public Days
12/24 14:00 - 18:00
12/25 11:00 - 17:00
地址 Adress
南京国际展览中心 A/B馆
Nanjing International Exhibition Centre,Hall A&B
逸空间欣然宣布参加2022年南京国际艺术博览会并呈现艺术家 李舜 的个人项目「天上大风」，展览现场我们将看到李舜近年来对“光”的持续探索。
East Gallery will present Li Shun's personal project Strong Wind In the Sky at Nanjing Art Fair International. We will see Li Shun's continuous exploration of ‘light’ in recent years.
Photography Giclee Print on photographic paperShadowless — About Li Shun's ‘Light Writing’某个秋日，李舜与我泛舟西湖，谈及久居杭州20载，时常远眺湖心小岛，却从未登陆涉足。忽然间，小岛成了悬浮于我们现实的隐喻——终日所见之物，从未被见。于是当即请船夫调转船头，而在那往返岛间的谈笑风生，便成了此次展览最初的缘起。
A day in autumn, Shun and I were boating on the West Lake. We were talking about how we have never landed on the island in the middle of the lake even when we saw it all the time for the past 20 years living in Hangzhou. All of a sudden, the island became a metaphor which mirrored the reality — something we have seen all the time but have never really see it. In the end, we turned the bow and headed to the island. The conversation during the trip became the initial inspiration of this exhibition.
Photography Giclee Print on photographic paper看与看见，这似乎是进入李舜一系列作品的轻便捷径。他的作品总是直观的，视觉的，却又因为隐藏或叠加着多重观念而变得暧昧不明。他的摄影与其说是摄影，不如说是一种近乎“后制品”的“图像汇编”。他不借助相机收集世界，而是直接将一种经验实体化，从而重建全新的系统体验。“一张照片不只是一幅图像、一种对真实的记录和诠释，它也是自成真实的痕迹。”李舜无意将镜头瞄准具象之物，而是拍摄无处不在却总被视而不见的光之碎片——他将带有时间和空间跨度的光，转换成近似墨痕的笔迹，让各种连接着独特经验的主体性时刻汇聚一起，进而“书写”可被阅读的精神文本。至此，他不仅实现了摄影的“以光绘画”，还以“光的影子”延展着书法的边界。他从两者之间游刃而过，同时放大了对立于日常和熟悉节奏的时延。
Photography Giclee Print on handmade rice paper‘Seeing and observation’ seem to be an easy way to enter Li Shun's series of works. His works are always intuitive and visual, however, they are ambiguous because of the hidden or superimposed multiple concepts. Instead of understanding his works as ‘photography,' they are more of ‘image compilation’ which are almost ‘post-production’. He doesn’t collect the scenes with his camera. He directly materializes an experience, thus reconstructing a new system. "A photo is not just an image, a record and interpretation of reality, but also a trace of its own reality." Li Shun has no intention of aiming his lens at concrete objects, but photographing the ubiquitous, yet ignorable fragments of light—he translates the light with the span of time and space into calligraphy similar to ink marks, connecting subjective moments with unique experiences, in order to ‘write’ spiritual readable texts. Thus, not only has he emphasized the ‘painting with light’ in photography, he pushed the boundary of calligraphy with the ‘shadow of light’. He creates in between while amplifying time-delays against everyday life and familiar rhythms.The Wonders of Natural Beauty are Boundless Photography Giclee Print on photographic paper我们在湖心亭泊船上岸，伫足于昔日乾隆皇帝题写的“虫二”碑前，品味其中“风月无边”之趣。忽然一阵莫名疾风，顿时波澜四起，直让人念及禅僧良宽那有名的“天上大风”。风、水、光，全然是流动的虚空，而李舜的“书写”正是酝酿于其间的无中生有，是聚合了虚无碎片却又让人有所共鸣的“动情与知觉的团块”。他那捕捉空无的行动，以及长时间孤寂的枯坐、拼写、重复，本身就带有参禅的意味。他本可以沿着熟悉的创作路径安然前行，却又总不断从内部冲破已经建立的秩序。他在“笔触”中抛置暧昧图像，使文本悬而未决于似是而非之间，成为介于可读和不可读的“感觉的混合”，直至建立具有跨文化意义的关系美学。Study on the nature of things - Moon over the Peaceful Lake in AutumnPhotography Giclee Print on handmade rice paperWe moored at the mid-lake pavilion, stood in front of ‘Chong Er’, the monument inscribed by Emperor Qianlong, and experienced the fun of ‘boundless wind and moon’. Suddenly there was a blow of inexplicable wind, while the waves agitated. At the moment it reminded us of Zen monk Liangkuan's famous calligraphy ‘Strong Wind in the Sky’. Wind, water, and light are all flowing emptiness, and Li Shun's ‘writing’ as well is a creation out of nothingness. It’s a ‘mass of emotion and perception’ that aggregates fragments of the void, nevertheless resonates with people. His action of catching emptiness, as well as his long hours of solitary sitting, spelling, and repetition, are inherently forms of Zen meditation. He could have followed the familiar path of creation peacefully, yet he kept breaking the established structures from within. He throws ambiguous images in his ‘strokes’, leaving the text unsettled between plausibility and falsehood, becoming a ‘mixture of senses’ between readable and unreadable, until he establishes a relational aesthetics with cross-cultural significance.We survive on nothing but a fading realityDual-screen HD 4K video recording Black and White
人们总以为看见就是获取，然而目之所及不过是熟悉的经验。李舜作品的意义，正是不断提示我们再度思考观看与所知。尽管他在作品中开放了丰富的可能，让人几乎不能判断其何时又将开启新的尝试，然而无论往何处延展，他始终未曾抛弃几条清晰却带有悖论的线索。望着船尾不断消散的波纹，我们感受着些许“看见即失去”的惘然，这惘然指向的是更深层的时间——看见某物，就是感受它不可避免地远去，正如李舜为自己一系列作品所做的命名：“我们生存的立足点除了不断消逝的现实之外，别无其他”。我们生存的立足点除了不断消逝的现实之外，别无其他 1~2We survive on nothing but a fading reality 1-2Photography Giclee Print on photographic paper
People understand ‘seeing’ as ‘achievement’. However, what they see is only a familiar experience. The significance of Li Shun's works is to constantly remind us to rethink what we saw and what we knew. Although he has offered a wealth of possibilities in his works, it’s barely impossible to know when and where will he start a new attempt. Yet, no matter where his works extend to, he has never abandoned these clear and paradoxical clues. Seeing the dissipating ripples at the stern, we felt the disappointment of ‘seeing is losing’. The answer points to a deeper space of time - seeing something is to feel its inevitable passing away. Just as how Li Shun named his series of works: ‘We survive on nothing but a fading reality’.
李舜，1988年出生于江苏徐州，先后获得中国美术学院跨媒体艺术学院学士及硕士学位，现工作生活于杭州。
李舜的创作灵感来源于摄影，光，是其中的绝对主角，而正负像画面之间的转换，又成为他作品的逻辑根源。他的创作呈现出多样性的状态，尤其注重各种媒材的表现力。其作品内涵密集，对他而言，摄影艺术的目的，始终是如何专注于作为某种体验或感受的图像，为此应该去进行意念的生成和领悟的喻示，由接受性视觉印象走向积极性视觉表现。
部分奖项包括：入选2020年中国摄影年度排行榜，2021、2017年TOP20中国当代摄影新锐摄影师，2020集美·阿尔勒发现奖提名，2015北京民生现代美术馆开馆展银奖等。
部分个展：“美丽新世界”，飞地艺术空间，（深圳，2022）；卧游，北京现在画廊，（北京，2019）；Chinglish，Make Room，（洛杉矶，2019）；海面，北京现在画廊，（北京，2018）；巴塞尔艺术博览会（香港）李舜-个人项目，香港会议展览中心，（香港，2018）；“李舜”同名个展，北京现在画廊，（北京，2016）等。
部分群展：In Virtual Bodies: Absence/Presence in Media，东京艺术大学美术馆，（东京，2022）；TOP20 十周年学术回顾展，浙江美术馆，（杭州，2021）；过去的未来主义，北京展览馆，（北京，2021）；后笔墨时代:中国式风景，广东美术馆、浙江美术馆，（广州，杭州，2018）；“时空书写：抽象艺术在中国”，上海当代艺术博物馆，（上海，2015）等。
机构收藏：白兔美术馆，澳大利亚；昊美术馆，上海；知美术馆，成都；广东美术馆、广州当代艺术中心，广州；丽水摄影博物馆，丽水；Foundation Tichy Ocean，瑞士；HL Art Collection，美国等。