新展预告丨李明昌香港个展「章回」

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｜章回 / 李明昌｜

展期 Exhibition Period

2023.02.10 - 03.09

开幕 Opening

2023.02.10 6pm

地点 Venue

iisuArt Space 香港上环荷李活道233号201室

201, 2/F, No.233 Hollywood Rd, Sheung Wan, Hong Kong

开放时间 Opening hours

星期二至日 Tue-Sun 12-9pm

章 回

维基百科对“章回”的注解——“章回小说是明清以来中国长篇小说的主要形式，渊源自说书传统、宋代话本及元代杂剧，在魏晋南北朝始有具体形式，而于明清两代发展。”

从上可见，章回是一种源于传统小说文学的结构铺陈方式，以此命名李明昌的个展，意在建立文学艺术的体例建构与其绘画实践之间的互文与转译关系。而“章回小说”所倚重的叙述性，从被李明昌选作展览海报底图的画作《越南渔民》就清晰可见。

这幅创作于2022年的布面油画，从左下方犹若酒旗的鱼及其右侧头带尖顶帽的渔民剪影，可以让人快速辨识画作母题的地域特性。此外，画中的其他形象均难以明辨，这种介于叙事物象与抽象表现之间的模糊性，构成了李明昌绘画艺术的一大特点。

了解李明昌的人都知道，他的每幅画都有命题的来源。具体的说，就是李明昌的每张画的母题都与我们所经历的历史事件之间，存在一层灵光起动般的互为触发与观照。这一点，我们可从艺术家为自己所写的个人简介得到印证。

他说自己“从事以架上绘画为主和以绘画展开的一系列相关工作，包括近现代微观历史的视觉与文本探究。”这足以作为理解李明昌作品背后隐含的现实关怀的提引。从《越南渔民》一画，我们甚至能部分透析他的工作方法论，以及他对近现代历史中纠缠的身份政治与人性幽微的辩证思虑和情感投注。越南在这段历史中所经历的帝国殖民、地缘政治角力的残酷，及其近年在政治转型上所展现的活力，想必引起了来自与其接壤的广西地区，长期关注文明消长的李明昌的兴趣乃至痛感。

难得的是，李明昌把这种兴趣和痛感转译成了一幅近于宋人山水平沙落雁般的诗意图绘。以全景式的构图布局，同时巧妙的糅合了传统绘画平远高远深远的复合视点。画作除指涉了越南渔民（作为香港的国际新闻中并不陌生的议题，也是香港移民人口的来源之一）这一具体身份，却不停留在对表象的复述与单纯的情感代入上，而是在转化升华后，延异成为兼具美学通感之唤醒和共情力之激发的艺术语言。至此，作品内在的能量与“褶皱”（出于德勒兹的空间美学理论）已无需赘言。

李明昌曾在过往的访谈中说：“事实上，现实的荒诞感总让我重回到历史的案发现场去印证某些事情。对于历史图片，非画它们不可，画完了，内心的博弈似乎达成了谅解。”

虽然我只选取李明昌的一幅画作进行了解读的尝试，若从一幅画延及整个展览“章回”，刚从2022年的寒冬匍匐而过的我们，在现实的交迫与现世的因果中体味的“章回”早已爆满，2023年作为新的“章回”已然起始，如果能从某幅画而推及整个展览，让人领略慰藉，进而在各自的精神自觉与肉身证悟中有所助力，就是一个不错的楔子了。

文/李耀

● 出海口  70×60cm  布面油画  2023年  李明昌

Episode & Reflection

According to Wikipedia, Zhanghui novels have been the main form of Chinese novels since the Ming and Qing Dynasties. They originated from the storytelling tradition, Song Dynasty scripts, and Yuan Dynasty Zaju. It began to have specific forms in the Wei, Jin, Southern, and Northern Dynasties and developed in the Ming and Qing dynasties. 

From the above, it can be seen that Zhang Hui is the traditional way of structural elaboration in traditional novel. We use this to name Li Mingchang’s solo exhibition, aiming at establishing the intertextuality and translation between style construction and painting practice in literature and art. We can tell the the narrative character from "Vietnamese Fisherman" that was selected by Li Mingchang as the exhibition poster in ‘Zhang Hui’. This oil painting on canvas, created in 2022, is a silhouette of a fish with a wine flag on the lower left and a fisherman with a pointed hat on the right, which can help people quickly identify the regional characteristics of the painting. While other features in the painting are difficult to distinguish clearly, and this ambiguity between narrative signs and abstract expressions constitutes the major feature of Li Mingchang's art.

Anyone acquainted with Li Mingchang knows that each of his paintings has a source of proposition. Specifically, there is a layer of inspirational interaction between the motif of each painting and the historical events we have experienced. This can be confirmed by the artist through his personal profile. He said that he was "engaged in the painting and the work related, including visual and text exploration of modern micro-history." This is understand the society concern behind his works.

From the painting "Vietnamese Fisherman", we can partially analyze his methodology, as well as his dialectical thinking and emotional devotion to the entangled identity politics and subtlety of human nature in modern history. During this period in history, Vietnam experienced colonization, color revolution and the cruelty of great powers colliding. And its vitality in political transformation in recent years must have aroused the interest and even pain of Li Mingchang, who is from Guangxi, a region bordering Vietnam, and he has always focused on the civilization evolution.

Li Mingchang translated this kind of interest and pain into a poetic picture of landscape and swan similar to the style of Song dynasty. He skillfully combines the complex viewpoints of traditional painting with a panoramic composition layout at the same time. In addition to the specific identity of Vietnamese fishermen (a normal topic in Hong Kong's international news, but also one of the sources of Hong Kong's immigration), the painting does not stop at the retelling of appearances and simple emotional substitution, while it becomes an artistic language with both aesthetic synaesthesia awakening and empathy stimulation after transformation and sublimation. At this point, the inner energy and "wrinkle" of the work (from Deleuze's space aesthetics theory) need not be said.

Li Mingchang once said in an interview: "In fact, the absurdity of reality always helps me return to the historical scene to prove something. For historical pictures, you have to draw them, and can get the release from the inner fight after that."

Although I only choose one painting for the interpretation, we can extend it to the whole 'Episode & Reflection'. We just crept through the piercingly freezing winter of 2022, and the episode has overwhelmed itself in the mingling of cause and effect of the reality. The year 2023 has already begun as a new "Episode". It is a good start if people can grasp some comfort from the whole exhibition extended from a certain painting, then get the spiritual and physical energy from it.

Li Yao

 艺术家 

李明昌

1980 年生于广西钦州，现居广州。从事以架上绘画为主和以绘画展开的一系列相关工作，包括近现代微观历史的视觉与文本探究。

个展：

“冷河渡”，里想空间，珠海，中国（2022）；

“在社会文本之外”，坪山美术馆，深圳，中国（2021）；

“地表”，广州画廊，广州，中国（2021）；

北京画廊周“李明昌 肖武聪”双个展，798艺术中心，北京，中国（2021）；

“边境线：李明昌 "，TongGallery + Project, 北京，中国（2018）；

“李明昌”，釜山国际艺术博览会，釜山，韩国（2018）；

“草蛇灰”，5 楼空间，广州，中国 （2017）；

“隐秘的感召 "，L+SPACE 机构，上海，中国（2016）

部分群展：

“横山书艺双年展”，桃园美术馆横山馆，台湾（2023）；

“思想与践行”，湖北美术馆，武汉，中国（2021）；

西岸艺术与设计博览会，上海，中国（2021）；

“打尖”，太古美术馆，广州，中国（2020）；

“青年力量 "，广东美术馆，广州，中国（2020）；

西岸艺术与设计博览会，上海，中国（2020）“低复线叙事 "

21 空间美术馆，东莞，中国（2018）；

“上海廿一当代艺术博览会 "，兀维间，上海，中国（2017）；

“第二届广州美术学院青年教师提名展”，广州美术学院美术馆，广州，中国（2017）；

“ISGO 广州首展 "，ISGO 画廊，广州，中国（2017）；

“视觉生产：艺术 劳作见证时代变迁学术提名展 "，广东美术馆 , 广州，中国（2016）；

“石出其土”广州美院造型学院教师联展，广州美院大学城美术馆，广州，中国（2015）；

“第五届油画艺术展”，广东美术馆，广州，中国（2014）；

“定格21 瞬间“当代艺术展，广州南美术馆，广州，中国（2013）等

博览会：

西岸艺术与设计博览会，上海，中国（2021）；

西岸艺术与设计博览会，上海，中国（2020）；

“上海廿一当代艺术博览会 "，五楼空间，上海，中国（2017）等

公共收藏：

广东美术馆，广州美术学院美术馆，坪山美术馆，广西博物馆等

Li Mingchang

Born in Qinzhou, Guangxi province in 1980, now lives in Guangzhou. He mainly works on painting and related area, including visual and text exploration of modern micro-history.

Solo Exhibitions:

"Ferrying Across A Cold River", Reflection Space, Zhuhai China (2022)

“Beyond Social Text” Pingshan Art Museum, Shenzhen, China (2021)

“Ground Surface” Canton Gallery, Guangzhou, China (2021)

Gallery Weekend Beijing “Li Mingchang, Xiao Wucong” Dual Exhibition, ArtDis, Beijing, China (2021)

“Edge Site Line: Li Mingchang”, TongGallery + Project, Beijing, China (2018)

“Li Mingchang”, ART BUSAN – International Art Fair, Busan, Korea

“Floating as Latent, 5 Art Space, Guangzhou, China (2017),

“Conceal Inspiration”, L+Space, Shanghai, China (2016),

Group Exhibitions:

“2023 Hengshan Calligraphy Biennial” Taoyuan Museum of Fine Arts, Taiwan (2023)

West Bund Art & Design, Shanghai, China (2021)

“Da Jian”, Taigu Art Museum, Guangzhou, China (2020)

“Young Power”, Gaungdong Museum of Art, Guangzhou, China (2020)

West Bund Art & Design, Shanghai, China （2020）”The Low Bifurcated Narative”, 21 Space Art Museum, Dongguan, China (2018)

“ART021 Shanghai” , π Diemension, Shanghai, China (2017)

“The Second Young Teachers’ Nomination Exhibition of Guangzhou Academy of Fine Arts”, Art Museum of Guangzhou Academy of Fine Arts, Guangzhou, China (2017)

“ISGO Guangzhou Debut”, iSGO Gallery, Guangzhou, China (2017)

Art Fair：

West Bund Art & Design, Shanghai, China (2021)

West Bund Art & Design, shanghai, China (2020)

“ART021 Shanghai” , 5art, Shanghai, China (2017), etc.

Public Collection:

Guangdong Museum of Art, Art Museum of Guangzhou Academy of Fine Arts, Pingshan Art Museum, The Museum of Guangxi Zhuang Autonomous Region, etc.

 学术顾问 

李 耀

常驻深圳的策展人、艺评人和艺术机构实践者，现任深圳坪山美术馆副馆长。

曾策划与主持过的展览与公共论坛有：“时光机”“为何关闭黄边站？”“投石问路”“艺术公园”“机构生产——广州青年当代艺术生态考察”“继续生活”“像钻石一样闪耀”“万家灯火”和“乌托邦与当代艺术的参与性”“鳌湖艺术微论坛——从大芬村、双年展到博览会时代的深圳艺术发生学”及“当代症候与法律实践”等。

Li Yao

Li Yao, based in Shenzhen, is the curator, art critic and practitioner of art institutions. Currently, he is the Deputy Director of Pingshan Art Museum in Shenzhen.

He has curated and hosted exhibitions and public forums such as “Time Machine”, “Why did you close down HB Station?”, “Testing of The Waters”, “Art Park”, “Institution Production -- Ecology Investigation of Contemporary Art of Young Guangzhou Artists”, “Move On”, “Shine Bright Like a Diamond”, “A Myriad Twinkling of a City” and “ Utopia and Contemporary art's Participation”, “Ao Lake Art Micro Forum -- Shenzhen Art Genesis from Dafen, Biennale to Expo Era”, and “Contemporary Symptoms and Legal Practice”.

 About iisuArt Space 

iisuArt Space （—束空间）是香港崭新的多元当代艺术中心，是一个与艺术家、藏家共同成长的艺术空间，是艺术与生活的践行者。

透过展览、艺术活动及生活方式创意项目等多维度内容，搭建一个聚集艺术爱好者的社区聚落，促进艺术与大众的交流互动；同时，以开放和国际化的视野，发掘传播青年艺术新力量，于香港打造一座海内外双向影响的桥梁。

香港上环荷李活道233号201室

Shop 201, 233 Hollywood Rd, Sheung Wan, HK

www.iisuart.com

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