登高取珠
Reaching For the Highest Pearl
 
李超作品展 
LiChao Solo Exhibition
 
开   展:  2012年3月16日, 15:00 – 22:00
Opening:  2012.3.16, 15:00-22:00 
展览时间: 2012年3月16日—2012年5月16
         (周二至周日 10:30-18:00 )
Duration: 2012.3.16-2012.5.16 (Fri.-Wed. 10:30am-6pm )
展览地点: 广州市天河区天河路365号天俊阁5层
Venue: 5F, No. 365 Tianhe Rd., Tianhe Dist., Guangzhou, Guangdong
策展人:刘佳一 
Curator: Liu Jiayi  
策划 / 主办:5 楼艺术空间
Curated / Hosted by: 5 Art Space
 
李超_海报0218
 
李超
1983  出生于江苏南京
2003  毕业于鲁迅美术学院附中
2007  毕业于中央美术学院壁画系 
 
个展
2010  仨位异体 Intrinity,伊比利亚当代艺术中心,北京,中国 
群展
2011 
 “伊比利亚春季特展”  , 伊比利亚当代艺术中心,北京,中国
“微生活”当代艺术展,索卡当代艺术中心,北京,中国  “新美苑——70’80新青年艺术展”,白空间,北京,中国
 “时间的形状–当代中国艺术的多重历史”, 伊比利亚当代艺术中心,北京,中国
“微•观:小型架上作品展”, 伊比利亚当代艺术中心,北京,中国
“七种”--图像的制造与不安,时代美术馆,北京,中国 
2010  
 “制动2”,XI艺术空间,北京,中国
798大山子艺术节,北京,中国首届大山子多媒体艺术节,北京,中国
“被城市”当代艺术展,中央美术学院美术馆,北京,中国
 2009
工作坊:艺术家是如何工作的”,伊比利亚当代艺术中心,北京,中国;
布拉格双年展,布拉格,捷克
存我:崔洁、李超、王远铮作品展,玛吉画廊,北京/马德里,中国/西班牙 
   
 
Li Chao 
1983 Born in Nanjing, Jiangsu Province, China
2003 Graduated from the high school attached to Lu Xun Fine Arts Institute
2007 Graduated from Department of Murals (B. A.), Central Academy of Fine Arts, Beijing, China  
 
Solo Exhibition: 
2010   IntrinitySolo Exhibition of Li Chao, Iberia Center for Contemporary Art, Beijing, China  
Group Exhibitions: 
2011   
Spring Temporary Expo in Iberia, Iberia Center for Contemporary Art, Beijing,China
Exposition o Contemporary Art “Life-Miniature”, Soka Art Center, Beijing, ChinaNew Beauty – Expo of Art for Young Artists, White Space, Beijing, ChiaThe Shape of Time — The Multi-Narrative History in Contemporary Chinese Art,   Iberia Center for Contemporary Art, Beijing, China
Crosshairs – Expo of small scale works on easel, Iberia Center for Contemporary Art, Beijing, ChinaSeven Ways–Image-Making and its Discontents,Times Art Museum,Beijing, China 
2010   
Brake 2, XI Art Space, Beijing, China
Art Festival 798-Da Shan Zi, Beijing, ChinaThe First Multimedia Art Festival, Beijing, China“Be Urbanized”, Museum of Central Academy of Fine Arts(CAFA), Beijing, China
2009   
Biennial Prague, Prague, Czech Republic
Self-preservation: Painting Exhibition of Cui Jie, Li Chao and Wang Yuanzheng, Magee Art Gallery, Beijing/Madrid, China/Spain
 
 
五楼空间访谈
 
吴:5Art艺术总监吴洁   唐:5Art运营总监唐尧  刘:策展人刘佳一  李:李超  小乔:评论家李树乔
 
唐:你这一组作品是怎么出来的、怎么考虑的?
李: 实际上没有特别明确地考虑某一个系列或怎么怎么着。我觉得一旦知道我自己在画什么,这个时候,意思就终结掉了。谈到这个,要从我最朴素的工作开始讲起,为什么在一个空白画布上反复涂抹,因为我不知道我自己要画什么。这些画面的背景实际上就是一种最原始的涂抹状态。我最害怕的事是去思考一张画,这张画应该构思成什么样子、应该画成什么样子或是说我的工作应该是什么样子……这样做会让我觉得我的工作变得毫无意义,我希望从无意中找到作品的意义。我兴趣比较广泛。也愿意去思考,我曾画过一堆静物,“静物画”是文艺复兴之后比较流行的一个画种,在当代它似乎已经失去了意义了,但我有时候喜欢作一些自我挑战,就是这么一个在当代语境下已经没有意义的东西,我如何去赋予一个新的命题,让它变得有意义、有趣。我不会去拒绝任何一个题材、任何一个思考的方向。
我很讨厌所谓的“系列化”,因为“系列化”是一种不需要思考的东西,比如说“系列一”“系列二”“荷花系列”等等这些符号化的东西,我不喜欢被那样子局限,我觉得艺术家的思路应该广阔一点。
 
吴:你从小就学画画,能否谈谈你的这种艺术创作观念是怎么样形成的?在这些创作的背后,你自己是否有比较清晰的一种意识?
李:最早开始是画国画,当时觉得山水画比较牛逼,刚开始是临摹陆俨少的画风,后来因为考附中,于是就把国画给放弃掉了。后来遇到个老师比较反对绘画,当时他说“现在谁还画画啊?牛逼的都拍录像去了,都玩纪录片了,动态图像。”于是那时候我就没再好好学国画了,改拍录像去了。过了段时间,那老师说“现在谁还拍录像啊?牛逼应该当策展人!”,于是我又恍然大悟似的,改去做艺术独立策展人,一上大学我就开始策展,策录像展,折腾了一番,慢慢又发觉这些东西不能吸引我,于是我又回归到绘画当中去,我发觉自己还是适合沉浸在画布里面。
 
吴:我当时看你的画册的时候,有一个疑问,我发觉你涉猎的题材非常广泛,但是你所选择的题材之间不一定有什么必定的联系,你是怎么看待这个问题的?
李:这个问题,或许这是最好的解释:你看博伊斯(Joseph Beuys)的作品,他能跟死兔子解释艺术,他也能画一张画,你觉得这之间有联系么?没有;你看达明·赫斯特(Damien Hirst)的作品,他可以把鲨鱼泡在福尔马林里,他也可以把自己绑着一根绳子吊在墙壁上去画画。我觉得他们的思维是广阔的,我认为艺术家最基本的一点就是要具备发散思维。我觉得不断反复、重复的东西,有三到五张就ok了,再继续下去就毫无意义了。我觉得艺术家应该有突破自己的勇气,不断地重复既有的东西,那样子就会沦为工匠,而不再是艺术家了。这就是艺术家与工匠之间的区别。
 
唐:我想知道这次广州五楼空间的展览在你的个展生涯当中处于一个什么样的地位?或是什么样的一种状态?
李:这种状态就是一种“登高取珠”的状态。我觉得现在是一个往上爬的过程,“取珠”的一个过程。
唐:对于你来说,什么是“珠”?
李:就是不断地释放我的个人能力。我希望我的想法和思路能够被别人接受、得到别人的认可,但是不要被局限在某一种固定的图像里。
唐:在我看来,你一直在尝试建立一个属于你自己的秩序,比如说这个秩序可能会包括“我本来就是不受任何限制,在任何层面上我都可以进行创作”,实际上这都是你的“秩序”。你希望大家去认同作品本身的画面感,要比认同这种秩序更让你可喜。但实际上这种秩序是不需要被认同的。它存在的意义就是“我做出来了”,它在你创作的过程当中就自然而然地发生了。你怕别人拿条条框框来界定你,所以你每次都很顽皮,要突破这种框限。
吴:其实李超给我的感觉是带着一种少年人的反叛性,这种反叛性是一直存在着的,所以他作品的画面呈现出一种很有趣的反叛,它不是那种冲撞式的反叛,而是很有趣的一种反叛。我觉得这跟李超的性格有很大的关系。他这一路走来有意无意中形成了一种有距离的对抗。
唐:严格上来讲,在他这种年纪,能把这种调皮和调侃呈现得这么舒服,是很难得的。在他们这拨年轻人中看到,很多人的作品就是自己,但是李超是非常否定这个东西的,就是说这作品本身不是他自己,但他也不是旁观和描述,他作品画面里的“我”并不是他自己,但是他有一种参与感在里面。
刘:就是画面中有他的个性以及他思想的高度,他把二者结合得比较精巧。同时我觉得他的油画视角是结合了国画视角。从传统来说,油画视角是客观的,而国画视角是散点透视——自己置身在山水中间的一种悠游态度。李超的油画结合了国画山水的这种体会。
 
唐:我觉得你现在这批小画更丰富、更突出。很多人都说你的小画比较有意思,对于这现象你是怎么看的?
李:我很赞同别人这么说,我也很理解别人这么说,我并不为此而感到沮丧,别人觉得我大画没有小画有趣,但是我觉得很正常,比如说达芬奇画小画你会觉得很好玩,你是觉得他的西斯廷圣母好玩呢,还是觉得他画的那些攻城武器好玩呢?我觉得小画的尺幅小,这样艺术家更容易掌控,而且因为时间的缩短,它在创作、表达意图的时候更集中、更有效,它能更快速地把要表达的东西表示出来。
 
唐:小乔你是怎么看待他的小画的?
小乔:我是一直觉得他的那种手感很像画国画,因为他的心境和手一体,然后就表达出来了。
李:对,正好前两天看王馨转发的微博,我觉得那讲得很有道理,它说:把书法当作是一门极致艺术去练习的人,永远比不上把书法当作是便签纸去写的人。正如你发现米芾写的很多是尺牍,古人写的很多尺牍远比那些长篇大作要好。
吴:说到中国画的话,它很讲究“心手合一”,这力量是由内而外地去发出,这种表达的方式就像你说的书法,你是什么样的人、你的情绪、你的状态,包括你的审美,所有这些东西综合成一个整体的你,然后从里到外出来,那字就表达了你自己,正如古人所说“字如其人”,所以他在他的小画里面,像他刚刚所说的,在一个短时间内、情绪很饱满的情况下,他很流畅地在这布面上表达出来。
 
吴:我想问一下李超,你为什么运用这种颗粒状的笔触?
李:油画颜料本身是泥巴的那种质感,最早的矿物质颜料就是黏稠的混泥,我想把它回归到最原始的那种感觉。
 
 
The Interview of 5Art                 
 
Translator: Tu Qiang
Wu: Wu Jie, Director of 5Art    Tang: Tang Yao, Operations Manager of 5Art   
Liu: Curator Liu Jiayi   Li: Li Chao     XQ: Critic Li Shuqiao
 
 
Tang: How did this series of your works come about?
Li: They were made without prior motive. I feel that if I knew what I was going to paint, I may as well not do it at all. I think I should start at the humble beginning of my painting process, why all the going over with paint on white canvas? Because at that moment I still have not figured out what I was going to paint.
The background you see is the earliest stage of the painting, smearing. I have a dislike for planning or to keep thinking about a painting, how to structure, how to present or in which way I should work….this will make the painting meaningless, I wish to find the meaning of the painting through the meaningless. I have a lot of hobbies and often engage in contemplation. I have painted still objects in the past, the type that was popular shortly after the Renaissance, presently, it seem to have lost its purpose, but sometimes I like to challenge myself, I look to giving something obsolete, something out of date a new meaning. I would never turn away from any interesting topics or frames of thought.
I hate the term “systemizing”, because being systematic does not require thinking, for example “system 1”, “system 2”, “Lotus System” and other icons such as these, I don’t like to be restricted by it, I think that artists must have a wider scope of mind.
 
Wu: You have studied painting from when you were very little, can you tell me how you formed the idea of wanting to paint?
Li: I started with Chinese landscape paintings, when I first painted, I thought Chinese landscape paintings were the best. I began with imitating the style of Lu Yanshao, after that, I was applying for CAFA Affiliated High School and I dropped Chinese landscape painting.  There, I met a teacher who was against painting in general, he said “no one is painting any more, all the dope artists are making video art now, after a while, the same teacher said “no one is making videos any more, the dope artists are all becoming curators!” Suddenly, it hit me, I needed to become a curator, and I did, as soon as I entered university, I started organizing art events, video art events, after a while it stopped to interest me, so I returned to painting, I think I am more suited to be immersed in the canvas. 
 
Wu: When I first looked at your catalogue, I can tell that you had a lot of topics, but the topics may not have any connection with each other, how do you see this aspect of your art?
Li: The best answer for this question may be this, when one looks at one of Joseph Beuys’s art, in it, he tries to explain art to a dead rabbit, but he is also able to make a painting, do you see any connection in this? In Damien Hirst’s work, where he leaves a shark in formaldehyde, he can also tie himself to a rope and make paintings hanging from the ceiling. I think that their mind frame is wide, I think artists need to have thoughts non-stop, the repetition in one’s art can stop when he reaches 3 or 5 paintings, if he continues after that, there is little meaning. I think that artists should have that spirit to excel one’s own self, and not simple repetition, that’s the difference between artists and craftsmen.     
 
Tang: I would like to know what position this upcoming exhibition at 5Art means in your artistic career.
Li: It is like the painting “Reaching for That Highest Pearl”, I am still in a state of reaching.
 
Tang: For you, what does pearl stand for?
Li: To radiate my personal energy. I hope that my thoughts and ideas can be accepted by others, and receive others’ recognition, but not restricted in a certain set of frame.
Tang: I think that you have been building your own system of order, this system of order can be that “nothing can hold me back, I can make art at any level”, these are your systems. You find more pleasure in the fact that the audiences feel more about the image than they do about your system. However, this system does not need to be recognized, its purpose for existence is the fact that “you did it”, and that the idea came out in your work when you least expect, that’s why you are always being playful, trying to breakthrough this barrier.
Wu: I feel that Li carries with him a youthful rebellion that’s why his art too carries it, but it is not the type that clashes but more of an interesting way of rebellion. I think his art reflects a lot about his character. Along his artistic journey, he has with or without intension built a distanced rebellion.
Tang: Strictly speaking, it is rare to see this type of ridicule and cheeky-ness for someone his age, many make art with only themselves in it, Li is directly against this, which is to say that the art is not himself, but he remains an spectator, and the “self” in his art is not him, but he is involved in it.
Liu: I think he combined cleverly in his art his character and his thoughts. I also think his art contains Chinese classical painting elements. From an oil painting point of view, his art is impersonal, from classical Chinese art point of view, scattered perspective makes the self being amongst the landscape, Li Chao’s paintings are a combination between oil-painting and Chinese classical art in this respective.
 
Tang: I think that your smaller sized works are more full of content, more eye-catching. Many others think so too, how do you feel about that?
Li: I agree with and understand why other would say so, I am not unhappy that some people may think that my smaller works are more interesting, if De Vince make small paintings, you may find that to be interesting also, but I ask, which is more interesting, the Sistine Chappell of the medieval war machine pictures that he drew? I think smaller painting are small in size and is more manageable for the artist, it takes less time to create and the expression of ideas are more focused, it can deliver a message more directly.
 
Tang: XQ, what do you think of his smaller paintings?
XQ: I think that his brush works are similar to Chinese classical painting, because the hand and mind is at one, that’s how the ideas come out onto paper.
Li: Yes, that’s right, I was reading Wang Xin’s blog the other day which I quite agree with, he says, when a calligrapher practices calligraphy like it is an ultimate form of art, he will never be as good as someone who practices it like post-it stickers. I think you will find that the random writing of the famous Song Dynasty calligrapher Mi Fu much more interesting than his longer works.
Wu: The concept that the hand and mind being at one in classical Chinese painting is similar in calligraphy, your calligraphy will represent your character, your emotions, your state of mind and taste in aesthetics, and in creative process, the inert come to the surface, and the calligraphy becomes the character of the calligrapher, that’s why in his smaller art, just like he said, he was able to express himself fully on the small canvas.
 
Wu: I want to ask Li Chao, why do you use this granule-like brush strokes in your art?
Li: The earliest form of paint is mud, mud with minerals in it, I wanted to create that most primitive feel.