「拟像新展预告」吕连涛个展：跳进泥沼
“我们将曳尾于涂中。”
"We will drag our tails in the mud. "
跳进泥沼
Jumping Into The Mire
开幕时间 Opening Time：
2021.09.12，15：00
展览时间 Exhibition Dates：
2021.09.12-10.27
展览“跳进泥沼”是艺术家吕连涛第一次个人展览，同时也是艺术家2021年度的全新创作形成的展览。本次展览展出了艺术家8件（组）最新的作品，作品延续了艺术家以往强烈的作品风格：从身体出发，以机械装置的方式呈现自己对身体与权力、个体与集体、重复与诗意、肉身与异化、秩序与混乱等关系的思考。
“跳进泥沼”作为展览主题含蓄的表达出三种挣扎：首先，展览空间和作品对于参与其中的观众而言像是参与者的泥沼，本次展览作品的互动性宛如泥沼对于观众肉身的纠缠；其次，艺术创作对于艺术家而言像是创作者的泥沼，作品的诞生过程伴随着艺术家的自我肯定和否定，不断的更迭方案，艺术家借此无限靠近自己的理想之境；再次，从作品主题出发，权力的游戏与欲望的诱惑对于现实中人的处境来讲宛如泥沼，梁漱溟先生所描述的人生三境：追逐，厌离，郑重，这三者呈现的正是人与现实的三种关系，这三种关系恰恰也描述出本次吕连涛作品中隐含的人与现实的三种关系，这三者纠缠递进未尝不是一场泥淖中的人间游戏。
泥沼是诱惑，泥沼是纠缠，泥沼是挣扎，泥沼是较量，泥沼是悲观主义的积极行动派，泥沼是欲说还休，泥沼是欲言又止，泥沼是失落的诗意，泥沼是焦灼的现代生活，泥沼是一群猪飞上了天，泥沼是历史的灰烬，泥沼是烂摊子，泥沼是雷芬斯塔尔的美学，泥沼是《铁皮鼓》中长不大的孩子，泥沼是童话，泥沼是悲剧。身陷泥沼是艺术家的处境，呈现泥沼是艺术家的本能，跳进泥沼则是艺术家与参与者的勇气。
在本次展览的户外空间艺术家呈现了三件作品，一件为艺术家在2020年创作的作品《2020》，这件作品将艺术家的脚和腿用黄铜材质复原，呈现出一个不断踢向画廊外部墙面的场景，每一次撞击都把“SORRY”这个英文单词深深的烙印在砖墙上，另外一件是放置在宛如古典雕塑台上的动态装置作品《戏》，呈现了不断运动中的椅子，此外在画廊橱窗部分呈现出《我愿意我不愿意》（室外部分）这件动态装置作品，这三件户外作品各自拥有的秩序和声音同时又制造了一个混乱的场景，有序和无序，肯定与否定，动态与静止形成户外空间作品之间的矛盾性。走入展厅部分，艺术家在本次展览中将空间用灰白色鲜明的切割成为两部分，展览空间变身成为象征意象的泥沼，走进展厅即步入到艺术家制造的泥沼之中。第一个展厅中主要呈现了《WHERE ARE YOU》，《I AM HERE》，《不要离开我》，《我愿意我不愿意》（室内部分）四件作品，这四件作品以光，镜面，机械等为元素，呈现出观看和被观看的纠缠，在展览介绍折页摆放的平台上艺术家巧妙的植入了自己的作品《嘘！》，进入到第二个展厅中艺术家完整的呈现了大型动态装置《临时关系》，与其说是临时关系，不如说艺术家在这个空间建立了一个权力的游戏空间，所谓游戏包含拿起和放下，看和被看等动作，呈现游戏的同时表现诱惑和荒诞，这一切发生在一个完整的展厅中宛如荒诞剧场，荒诞在于权杖自身的荒诞形态，以及围绕权杖的目光的荒诞形态，同时还有现实中真实的人与象征化的肉身共处的荒诞形态。
吕连涛的作品所形成的展览也可视为一件整体作品——一个艺术家的剧场而不仅仅是展览，当代艺术家的剧场中优秀者如罗杰拜伦和肯特里奇，吕连涛的个展无意营造剧场却形成了一个主题鲜明的剧场排演空间，三层空间关系宛如三幕剧层层递进，现在泥沼的剧场已经形成，观众的参与无疑也成为排演的一部分，参与即成为作品的一部分，正是参与性成为本次展览作品成立的一部分，所以在本次展览中观众同时也是隐含的表演者，而艺术家某一刻是导演。欢迎来到这个本意不是剧场却成为了剧场的参与性的展览。
欢迎你“跳进泥沼”，“我们将曳尾于涂中”。
—段少锋
吕连涛
1987出生于河北，2013 年于中央美术学院版画系获学士学位 ，2019 年于中央美术学院版画系获硕士学位，现工作生活于北京。
吕连涛持续关注机械与互动装置的创作，不断寻找用机器来阐释人与社会复杂关系的可能性，追问“人是机器”的古老命题在当今的特殊含义。艺术家以机械为媒介，力图展现不易被察觉的人类意识与行为，以此揭示设备之“义肢”性与赛博时代的数字控制之间的荒诞辩证。在他的作品中，人（不论是自然的人类器官还是抽象的社会符号）往往被转化为机器，在重复、笨拙、滑稽的机械运动中，人与社会的本质与真相得以显现。他的作品传达出一种冷静克制而又倔强执拗的风格，并以一种诡谲的姿势吸引着观众，邀请人们一起对作品呈现的问题进行思考与回答。
部分展览：“Good News & Bad News”,798艺术中心，北京(2020);“未来艺术学”，深圳光明文化艺术中心，深圳(2020);“机器·人·艺术·时代”，华美术馆，深圳(2020);“开合未来”，合美术馆，武汉(2019);“叹气计划”个人艺术项目，PLATE-SPACE，北京(2019);“黑暗中可见”，金陵美术馆，南京(2019);“人机合一（2）”，北京当代艺术馆，北京(2019);“国际雕塑展”，深圳(坪山),(2018);“艺术北京”，中国农业展览馆，北京(2017);“人机合一” ，NO SPACE，北京(2017);“常青藤计划 2016 年中国青年艺术家年展”，天津美术馆，天津(2016);“这是一句谎话”，NO SPACE，北京(2015);“一见青年”，西五画廊，北京(2014)
段少锋
策展人，自由撰稿人，现工作生活于北京。曾担任2014年AAC艺术中国评委，2020年获SAP艺术推动人物奖。长期以来从事展览和论坛策划，编辑和写作工作。
迄今为止策划的部分展览有：“发现：新青年影像展”(中央美术学院、今日美术馆、中央美术学院美术馆、星空间，2012)，“后沙峪时代看不见的影像” (炎黄艺术馆，2014)，“出柜：一次驱魔仪式”(东京画廊，2014)，“吃瓜吃瓜：花家地双年展”（北京，花家地小区），“观世界·世界观：漳州国际当代艺术展”(漳州博物馆，2017)，“徐冰和他的学生们：雁渡寒潭不留影”(苏州，诚品生活，2017)，“开合未来：Undefined Future”，(武汉，合美术馆，2019)，“Andy’s Joke”（北京，AC Gallery），“好消息&坏消息”（北京，798艺术中心，2020），“第四代：图像与媒介”（北京，亚洲艺术中心）等展览。
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The exhibition "Jump into the Mire" is the first solo exhibition of the artist Lv Liantao, and it is also an exhibition of the artist's new creation in 2021. This exhibition presents eight of the artist's latest works, which continue the artist's strong style of previous works: starting from the body and presenting his thoughts on the relationship between body and power, individual and collective, repetition and poetry, incarnation and alienation, order and chaos, etc. in the form of mechanical installations.
"Jumping into the Mire" as the theme of the exhibition implicitly expresses three kinds of struggles: firstly, the exhibition space and the works are like a mire for the participating audience, and the interactivity of the works in this exhibition is like the mire's entanglement with the audience's flesh; secondly, the art creation is like a mire for the creator, and the birth of the works is accompanied by the artist's self-affirmation and the process of the artist's work. The process of creation is accompanied by the self-affirmation and denial of the artist, and the constant change of the program, through which the artist leans infinitely on his own ideal situation; again, from the theme of the work, the game of power and the temptation of desire are like a quagmire for the real human situation. These three relationships precisely describe the three relationships between human beings and reality implied in this work of Lv Liantao, and these three are entangled and progressive.
The mire is temptation, the mire is entanglement, the mire is struggle, the mire is contest, the mire is the pessimistic activist, the mire is the desire to talk, the mire is the desire to speak, the mire is the lost poetry, the mire is the anxious modern life, the mire is a group of pigs flying into the sky, the mire is the ashes of history, the mire is the mess, the mire is the aesthetics of Reifenstahl, the mire is the child who never grew up in The Tin Drum, the mire is a fairy tale, the mire is a tragedy. Being in the mire is the artist's situation, presenting the mire is the artist's instinct, and jumping into the mire is the courage of the artist and the participants.
In the outdoor space of this exhibition, the artist presents three works, one is the artist's work "2020" created in 2020, this work restores the artist's feet and legs with brass material, presenting a scene of constantly kicking against the exterior wall of the gallery, each impact deeply imprinting the English word "SORRY" on the brick wall. The other is a dynamic installation "Play" placed on a classical sculpture table, presenting a chair in constant motion. The order and disorder, affirmation and negation, dynamics and stillness form the contradiction between the outdoor works. Walking into the exhibition hall, the artist has cut the space into two distinct parts in gray and white, and the exhibition space has been transformed into a mire of symbolic imagery, and walking into the exhibition hall means stepping into the mire created by the artist. The first exhibition hall mainly presents four works: "WHERE ARE YOU", "I AM HERE", "Don't Leave Me" and "I Will / I Won't" (indoor part), which present the entanglement of watching and being watched with the elements of light, mirror and machinery. In the second exhibition hall, the artist presents the large dynamic installation "Temporary Relationship", rather than temporary relationship, the artist establishes a power game space in this space, the so-called game includes the action of picking up and putting down, looking and being looked at, etc., presenting the game while expressing temptation and absurdity, all this happens in a complete exhibition hall like a theater of absurdity. The absurdity lies in the absurd form of the scepter itself and the absurd form of the gaze around it, as well as the absurd form of the real human being living with the symbolized flesh in reality.
The exhibition formed by Lv Liantao's works can also be regarded as a whole work - an artist's theater rather than just an exhibition. Now that the theater of the mire has been formed, the audience's participation has undoubtedly become a part of the rehearsal, and participation has become a part of the work. Welcome to this participatory exhibition that is not meant to be a theater but has become one.
You are welcome to "jump into the mire" and "we will drag our tails in the mud".
—Duan Shaofeng
Lv Liantao
Born in Hebei in 1987, Lv received his B.F.A. degree from the Printmaking Department of the Central Academy of Fine Arts in 2013 and his M.F.A. degree from the Printmaking Department of the Central Academy of Fine Arts in 2019, and now lives and works in Beijing.
Lv Liantao continues to focus on the creation of mechanical and interactive installations, constantly searching for the possibility of using machines to explain the complex relationship between man and society, and asking the contemporary meaning of the old proposition "Man a Machine". Using machinery as a medium, the artist seeks to reveal the imperceptible human consciousness and behaviour, thus revealing the absurd dialectic between the "prosthetic" nature of equipment and the digital control of the Cyber Age. In his works, human beings (whether natural human organs or abstract social symbols) are often transformed into machines, and in the repetitive, clumsy and comical mechanical movements, the nature and truth of human beings and society are revealed. His works convey a calm and restrained, yet stubborn and obstinate style, and draw the viewer in with a treacherous pose, inviting people together to think and answer the questions presented in the works.
Some of his exhibitions：“Good News & Bad News”,798 Art Center，Beijing(2020);“Futurology of Art”，Art Gallery of Guangming Culture and Art Center，Shenzhen(2020);“The Epoch Of Robo-Sapiens Art”，OCT Art&Design Gallery，Shenzhen(2020);“Undefined Future”，United Art Museum，Wuhan(2019);“QI Project”Lv Liantao Project，PLATE-SPACE，Beijing(2019);“Man-Machine Art Plan（2）”，Beijing Contemporary Art Museum，Beijing(2019);“International Sculpture Exhibition”，Shenzhen (Pingshan),(2018);“Art Beijing”，China Agricultural Exhibition Hall，Beijing(2017);“Man-Machine Art Plan” ，NO SPACE，Beijing(2017);“Ivy Art Project 2016 China Young Artists' Exhibition”，Tianjin Art Museum，Tianjin(2016);“This is a lie”，NO SPACE，Beijing(2015);“Once Meet”，C5 Art，Beijing(2014)
Duan Shaofeng
Curator, freelance writer, currently living and working in Beijing. He was a member of the AAC Art China jury in 2014 and received the SAP Art Driving People Award in 2020. He has long been involved in exhibition and forum planning, editing and writing.
Some of the exhibitions he has curated so far are：“Discovery: New Youth Video Exhibition”CAFA、Today Art Museum、CAFA Art Museum、Star Gallery，(2012);“Hou Sha Yu Era The Hidden Moving Image” Yan Huang Art Museum，(2014);“Coming out of the closet：One Exorcism Ceremony”BTAP，(2014);“Look!Look!：Hua Jiadi Biennale”,Hua Jiadi Community , Beijing;“The Model of The World：Zhangzhou International Contemporary Art Exhibition”Zhangzhou Museum，(2017);“Unspoken Understanding”eslite spectrum suzhou，Suzhou, (2017);“Undefined Future”，United Art Museum，Wuhan(2019);“Andy’s Joke”，AC Gallery, Beijing ;“Good News & Bad News”798 Art Center，Beijing(2020);“The Fourth Generation Image&Medium, ect.