【SPURS 新展】李怒：一片和平

SPURS画廊荣幸地宣布，将于2021年3月13日迎来辛丑牛年的首场大展“一片和平”，以Gallery I & II双层空间呈现艺术家李怒全新创作的13件作品，这也是SPURS画廊与李怒的首次展览合作。中英文名“一片和平”与“Peace Piece”在辞与义间互为补充，是克己陈述也是低沉呼喊。艺术家对这一主题的提出依然根植于全人类正共同面临的处境，以呈现当代世界一片喧嚣背后的洪荒地貌。 

展览将在艺术家过往实施的项目基础上进行梳理，其中既涵盖自发地对其重要作品的折返与推演，同时将从李怒看似庞杂的艺术系统中，凝练其从未歇止的生命议题——土地、身体和意志；不同意识形态如何形塑个体生存的状貌；不同制度下如何伸张个体的自由，以及艺术家回到本源对于“艺术为何/艺术何为”的叩问。李怒从未回避那些令人感到艰深、困难，却极为重要、无可逃遁的问题，在其不断出发的行为表演中，在体量撼人的雕塑材料上，在坚硬的结构与节制的抒情、戏谑的语言之间，将自身置身于更大的现实图景中，与我们所处的时代共振。

Gallery I展出的作品《G弦上的咏叹调》名称来自巴赫（Johann Sebastian Bach）的同名代表作，横亘于展厅前端与入口处对峙。这一向外张开的巨型“人”字雕塑，跨过中蒙边境线指向更为辽阔的疆域。2019年12月31日，李怒在中蒙边境线上呈现其作品《铁幕》，在克鲁伦河流经中蒙边境线的河段抽取冰下河水，河面上冻结的冰墙将河流一分为二，也将土地一分为二。构成《G弦上的咏叹调》的宽阔铁壁立面前后分别烙刻着德文“Wenn meine seele zum tränen änfangt （当我的灵魂在哭泣）”以及俄文“Что делать （怎么办？）”，语出翻越柏林墙的东德士兵汉斯·康拉德·舒曼及著名的马克思主义者列宁。由椅子和自行车改装的轮椅置于雕塑前，数吨羊脂填充“看不见的”雕塑内部，将潜在的爆发力挤压进巨大的隐忍之中。雕塑《裂缝》《燃烧的河流》借由不同意向继续援引着《铁幕》的行动，在画廊空间内不断通过对于“边界”的提示，构筑具有更宏大尺度的疆域及对于历史想象。

Gallery II更多地聚焦个体生存的不安与身份的焦虑，解剖“雕塑”与“被形塑”正在如何真切的发生。《一生要走多远的路》旨在重新讨论雕塑，挖掘雕塑语言新的可能性，以及身体、雕塑、行为和影像之间的延展性，“我将它们之间的边界模糊化来应对今天的复杂性”（李怒）。李怒既指出了具体的现实困境，又不断对其发起迅速而猛烈的回击。

展览将展至4月18日。

李怒：一片和平 2021.3.13 - 4.18 SPURS画廊 | Gallery I & II  

李怒，《人流》，2021，铸铝、尼龙布、油墨、铁板烤漆，140×110×25cm | Li Nu, Flow'er, 2021, Aluminum, nylon, ink, paint iron, 110×140×25cm © SPURS Gallery

SPURS Gallery is honored to announce its first major exhibition “Peace Piece” in the year of the Bull, on March 13th, by Chinese artist Li Nu. “Peace Piece” will present 13 new works by Li across both galleries I and II of SPURS Gallery. This also marks the inaugural collaboration between the gallery with Li Nu. The title, “Peace Piece,” is a play on sound and semantics, and stands as both a restrained recounting and a muted call. The artist’s coinage of this title is rooted in the situation facing humanity today, and outlines the primordial landscape that lies concealed behind the clamor of the contemporary world.

The exhibition sifts through the artist’s past projects as a foundation, with spontaneous returns to and derivations on his important works, while refining the living themes that have been a constant in his practice: the probing of the meaning of the land, the body and the will, how different ideologies shape individual existence, how to maximize individual freedom under different systems, and the artist’s tracing of the origins of the whys and what-fors of art. Li has never shied away from those thorny, difficult, yet essential, unavoidable questions. In his constant performance actions, shockingly massive sculptural materials, study structures and constrained, cathartic and satirical language, he places himself within a broader spectacle of reality to seek resonance with our era.

In Gallery I, the work Air on the G String takes its title from the celebrated composition by Johann Sebastian Bach, and straddles the front and entrance of the exhibition hall. This massive wishbone sculpture straddles the China–Mongolia border to reference a much broader territory. On December 31, 2019, the artist presented his work Iron Curtain on the China-Mongolia border, drawing water from beneath the ice on the Kherlen River at the border to form a frozen wall dividing the river and the land, in two parts. The face of the wide bronze sculpture is inscribed with the phrases “Wenn meine seele zum tränen änfangt（When the spirit cries）” and “Что делать (What do we do?)” in German and Russian. These words come from Hans Konrad Schumann, the East German soldier who leapt from the Berlin wall, and from famous Marxist Vladimir Lenin. A wheelchair made from a chair and a bicycle is placed in front of the sculpture, while the body of the sculpture has been filled with tons of lamb fat, squeezing a powerful explosive potential into great patience. The sculptures Rift and Burning River pick up the thread of Iron Curtain and carry it in different directions. The constant references to “borders” throughout the gallery space construct a more sweeping range of territory and historical imagination. 

Gallery II takes on a deeper focus on individual existential unease and identity anxiety, dissecting the ways in which “sculpture” and “shaping” truly occur. Beat is aimed at revisiting the discussion of sculpture to uncover new possibilities in sculptural language, and extensions into and between the body, sculpture, performance and film:, which in Li’s word is to “blur the boundaries between them to respond to the complexity of the day”. He has thus pointed out a dilemma of reality, while striking back at it with great ferocity. 

The exhibition will be on view until April 18.

Li Nu: Peace Piece2021.3.13- 4.18SPURS Gallery | Gallery I

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