由策展人平杰在麻州的世纪庄园策划的《润——文化对话系列展》。平杰说，这种对话的方式，就是“润”。润，与后殖民主义文化观的进入式完全不同，它是柔性的、水性的，同时又是个性的、韧性的，这也是水墨的特性。平杰介绍说，东来山庄是一座十九世纪的英式豪宅，曾是纽约银行首任行长的私家行宫。这是一种与博物馆和画廊完全不同的展示方式，所有作品将被嵌入在一个私人空间，它们将与十九世纪欧式建筑进行对话，相映成辉。参观者就如体验自己的客厅和私宅，品味东方艺术精神的滋润和气场。所有这些作品，都触及到一个共同的母题：能量——笔墨与空间的感知方式。水墨元素NO20160906李纲1962年生于广东普宁，现供职于中央美术学院。他的作品被广东美术馆、上海美术家协会、中央美术学院美术馆等收藏。此次个展将于8月10日开幕。展览地点：430EastSt.Eastover,LenoxMA01240,详情参见：www.eastover.com。LiGang'sattitudetowardsartisnothingshortofdistinctive.Hisarthintsata"relax"attitudethatseemstohaverunthroughthestartofhisjourneyinexperimentalinktopresent,aswellasagrowingsenseof"non-action".Infacingthetangiblytaxingsubjectofcontemporaryartwiththeconceptof"non-action",theartist'sstrategyequatesthatofgivingadoublenegativeanswer.Li'spersonalityandtemperamentunderlinehiswork."Non-action"doesnotrefertotheabsenceofaction.Throughhisreflectiononthenatureandvalueofart,hisexperimentofinkhasenteredanabstractstatetoanextentfromthestart.InthesameveinasWesternabstractdrawing,hisworkseekstobuildauniverseofpaintingoutsideoftheworldoftangibleimages,givingan"autonomousexistence"topainting.水墨元素NO.20130307Itisdifficulttoexecutesuchideasinink,sincetheformofpaintingcarriesinherentlyabstractattributes.However,theformisnotentirelyabstract,sincetheexpressionofitsattributesreliesonexternalsubjects.Thereisinfiniteroomtothistraditionof"realm",whichliesattheheartofthedifficultyofexperimentalink.Li's"relax"approachliesinhistranscendenceoftheformofinktoreachitsstructure;itstemsfromhisexcludingofthelimitsandinterferenceimposedonexpressionbytangibleimagery,astheartistreachestherealmof"intangibility"and"non-imagery".Yethis"non-imagery"isnottheabandonmentofimagery,butthecompositionofimageswithimaginarystrokesthathavenoassociationwithorallusiontoreality.水墨元素NO.20160516Inhisworkarevariousordersthatareself-contained,andthesestructuresareoftenreferredtoasthe"elementsofink".Inmyview,these"elements"arenotisolatedentitiesbutformacoherentwholeinthepaintinglikeinaDNAsequence.Thebirthoftheseelementsislargelyspontaneousandrandom,andyetithasitsownorganicorder.Inthiscontext,wecanseethatLi'sworkstemsfromthesameconceptasthosepurelyabstractpaintings，astheartisttransformsone’sfeelingsofthesecularworldintoordersofpainting.TheseordersbelongtoamentalrealmwhereLicontemplatesandwheretheself-containedstructuresofhisworkareborn.Toanextent,thesuccessofexperimentalinkliesinthetransformationofconcept.However,thetranscendenceofinkandbrushremainstheessentialquestionforallformsofexperimentation,consideringthelong-establishedattributesofinkasamedium.Theansweristiedtothetranscendenceoftheformulaoftraditionalinkandbrush,whichcreatesanewmanifestationoftheartformthatechoesitsevolvingstructureandconcept.水墨元素NO.20130910Inthisregard,Li'sworkisground-breaking.Ifheconveysa"relax"culturalattitudeintheexpressionofhisconcept,hetotally"letsgo"oftheexecutionofformandcraft.Hediscardsthetraditionalbrushforobjectsthatcanbemadeusetoleavetracesofink,blendingtheimprintsofobjectsanddrips,turning"painting"into"structure"tocreateanewandpurerqualityforthecreativelanguage.Therepetitiveimprintsaresymbolsofthemind.水墨元素NO.20180101水墨元素NO.20180104水墨元素NO.20180105Ingauginganartist'swork,onemustexaminewhetheritmanifestsaninherentuniformityandformalexpressioninitsconceptandlanguage.Li'sartpreservesthepurityofpaintingandbuildsauniqueorderofthemind,whilefeaturingimprintsofdailyobjectsthatcarryattributesofreallife.ThiscombinationshapesLi'sexperienceofink,andshowsthepossibilityoffusingtheclassicalspiritandtherandomnessofdailylife.Onthislevel,hisexperimendemonstratesthekeycharacteristicsofcontemporaryart.Hisexpressionissetforinfiniteexpansioninarichartisticuniverse.
DianFan/Critic,CuratoLiGang,borninGuangdongin1962,worksandlivesinBeijing.From2002to2017,heheldabout15soloexhibitionsinmajorgalleriesinChina,galleriesinFrance,GermanyandtheUnitedStates,and30groupexhibitionsinmuseums,galleriesandartinstitutionsinChinaandaroundtheworld.
展出作品水墨元素NO.201510扇F水墨元素NO.20130321水墨元素NO.20130638水墨元素NO.20140613水墨元素NO.20140806水墨元素NO.20140812水墨元素NO.20140814水墨元素NO.20150114水墨元素NO.20151001水墨元素NO.20160208