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吃米与盐的塔特林塔
Башня Татлина That Eats Rice and Salt
2022.2.26 - 2022. 3.31
开幕 Opening 2022.2.26 16:00
艺术家：李尤松
Artist: Li Yousong
地址：北京市朝阳区酒仙桥路2号798艺术区中二街D06 Tong Gallery+Projects
Venue: D06, Middle 2nd St., 798 Art Zone, No. 2 Jiuxianqiao Rd, BJ
Tong Gallery+Projects 荣幸宣布，将于2022年2月26日推出艺术家李尤松个展《吃米与盐的塔特林塔》，呈现艺术家近年来的绘画作品，展览将持续至2022年3月31日。敬请关注！
Tong Gallery+Projects is honored to announce that the solo exhibition of artist LI YOUSONG Башня Татлина That Eats Rice and Salt will be open from February 26th, 2022 to March 31st, 2022, during which the artist's latest paintings and drawings will be presented. Look forward to seeing you there!
李尤松 Li Yousong《再造西洋楼之14》
Reconstruction of European Palaces -14,
纸上水彩 Watercolor on Paper,
36 × 36 cm, 2020
李尤松与吃米与盐的塔特林塔
文/方改则
距离上一次的个展已经三年了。三年过去后，李尤松说：“我想被解释”。
你不难在以往的作品中看到李尤松鲜明的个人痕迹。对生长年代强烈的怀旧情感；迷恋建筑与空间及背后隐寓性；对历史的再造，重构，乃至破坏性地再现；沉迷东西方彼此映照中多元文化的想象。而具体而言，这一切非单纯的绘画性，而是叙事性的。
李尤松 Li Yousong《迷宫》 Maze,
布面油画 Oil on Canvas,
200 × 200 cm, 2011
《再造西洋楼》呈现了他一直所关注的文化碰撞的母题。他以传教士的身份为乾隆重新设计了西洋楼二期：作为现代人重读启蒙时代的美感。在此，他经历了东西方文化身份的切换，同时也是历史与现代视角的背弃与重拾。抑或是在地下搭建起架空的奇妙空间，小人儿们在地底洞穴中穿梭，建造蒸汽驱动的机械王国。这种对某一异域文明的幻想，在他近日《丝之国》的手稿里也得以窥见。有趣的是，每一幅作品背后似乎都暗含故事，却并不会让观者完全代入第一人称“我”。西方或东方？古代或现代？文化或时间坐标上的位置是暧昧的，一切貌似合理，又充满了游戏性。
李尤松 Li Yousong《再造西洋楼之戎装》
Reconstruction of European Palaces -the Military Uniform,
纸上水彩 Watercolor on Paper,
70 × 70 cm, 2020
然而李尤松显然并不满足于此。在新作《舷窗》中，脱离了以往东北或童年的记忆图景，他第一次尝试描绘宇宙。在当今语境下，太空是全然进步性、科技性的，代表着人类永恒的探索与求知欲下可能发生的未来。李尤松将这一切全都收束于一扇小小的舷窗之中，我们只能窥见宏大宇宙的其中一角。一只带有中国工笔色彩的小鸟站在舷窗内，仿佛外星闯入的异类。对于李尤松而言，相比具体的进步与未来，宇宙所代表的是非物质的，更接近于文化意义上的“无限”。这仿佛与斯坦利·库布里克的电影《2001：太空漫游》所探寻的主题遥遥呼应：将传统工笔花鸟置于现代的飞行器内，就如同电影中古典交响乐在外太空反复交织响起；舷窗外陨星划过的天际，也似电影里代表人类终极的星孩所凝视的宇宙。
李尤松 Li Yousong《舷窗2号》Porthole 2,
布⾯坦培拉 tempera on canvas,
30 × 30 cm, 2022
《2001：太空漫游》的小说作者阿瑟·克拉克在的首版序写到：“地球上活过的人大约总共一兆。我们所在的这个宇宙，也就是银河系，也有大约一兆颗星星。因此，每一个在地球上活过的人，在这个宇宙中都有一颗对应的星星在闪烁。” 三年过去，杂技和工业渐渐退去，星空和玄鸟徐徐登场，不变的仍是他舞台化的视角，呈现为不确定的梦境。
如今的李尤松更愿意称自己为一名巫师，一个在自己的星球部落中讲述故事的人。那我们又该如何解释李尤松？去解释他为何创作，又如何创作？绘画性与故事性是否天然地存在矛盾？他创作中的文化碰撞，是一场乌托邦式的想象，还是带有立场的误读与批判？其中的历史重构，是否会为人类的未来提供某种范式？这一切问题，也如那部至今仍被评价为“无人看懂”的《2001:太空漫游》，开放而永无定论。你大可将这次展览看作一次邀请：来解释吧，来思索吧。但首先，请先安静并快乐下来，一同欣赏李尤松先生这幕崭新的野人击石、稚鸟啁啾中的太空歌剧。
李尤松 Li Yousong《再造西洋楼之3》Reconstruction of European Palaces 3,
纸上水彩 Watercolor on Paper,
36 × 36 cm, 2020
注3：“吃米与盐”
引自科幻小说《米与盐的年代》，作者为著名科幻小说家金·斯坦利·罗宾森。文中创造了一个在14世纪的欧洲被瘟疫毁灭后，以东方为中心的近代世界。
注2：“塔特林塔”
即第三国际（共产国际）纪念塔，由苏联艺术家弗拉基米尔·塔特林于1919年设计，但该方案最终未能建成。若建成，“塔特林塔”400多米高的碑身将矗立在莫斯科广场，并成为列宁格勒的共产主义国际总部大楼。
注1：“李尤松”
人名。此处指中国艺术家李尤松。
注0：
以上注文的内容均无法定义本次展览的主题。
李尤松 Li Yousong《舷窗1号》Porthole 1,
布⾯坦培拉 tempera on canvas,
30 × 30 cm, 2022
Li Yousong, Rice and Salt and Tatlin Tower
By Fang Gaize
It has been three years since the last solo exhibition. Three years later, Li Yousong said "I want to be explained."
It is not difficult to see Li Yousong's distinctive traces in his previous works. Strong nostalgia for the growing age; obsession with architecture and space and the publicity of the art behind it; recreation, reconstruction, and even destructive reproduction of history; fascination with the imagination of multi-culture reflected in both the East and the West. And specifically, all of them are narrative.
The series presents the motif of cultural collision that Li has always been concerned about. He redesigned the second phase of the western building for Qianlong as a missionary. And as a modern man, he rereads the beauty of the Enlightenment era. He has experienced the betrayal and retrieval of his cultural identity, as well as the historical and modern perspectives, twice. Perhaps, to build an overhead wonderful space underground, where little people shuttle through underground caves to build a steam driven mechanical kingdom. This fantasy of an exotic civilization can also be seen in his recent manuscript of the Country of Silk.Interestingly, there seems to be an implied story behind each piece of work, yet not allowing the viewers to substitute themselves into "me" completely. West or East? Ancient or Modern? The location on the cultural or temporal coordinates is ambiguous, yet reasonable and full of amusement.
李尤松 Li Yousong《丝之国草图》the Sketch of the Country of Silk,
纸上素描 sketch on paper,
140 x 55 cm, 2022
However, Li Yousong is not satisfied with this. In his work Porthole, for the first time, he tries to depict the universe, breaking apart with the old northeast or the memory of his childhood. In today's context, without any doubt, the universe is advanced and technological, representing a possible future under the eternal discovery and the thirst for knowledge of humankind.
Li Yousong wrapped all these in a small porthole, from which we can only sneak a peek at a corner of the grand universe. A bird in traditional-Chinese-painting style stands in the porthole as if it is an invaded alien. For Li Yousong, compare to specific progress or future, what the universe means is immaterial and closer to the "infinity" in the cultural sense.This seems to echo with the theme of Stanley Kubrick's film 2001: A Space Odyssey: what the traditional meticulous painting of flowers and birds is to modern spaceships, the intertwining classical symphony is to the outer space.; the sky-crossing meteor outside the porthole is the universe that the star child, representing the ultimate human being, stares at in the movie.
李尤松 Li Yousong《再造西洋楼之1》Reconstruction of European Palaces 1,
纸上水彩 Watercolor on Paper,
36 × 36 cm, 2020
Arthur Clarke, the author of the novel 2001: A Space Odyssey, wrote in the preface of the first edition: " Roughly a hundred billion human beings have walked the planet Earth. Now this is an interesting number, for by a curious coincidence there are approximately a hundred billion stars in our local universe, the Milky Way. So for every man who has ever lived, in this Universe there shines a star."Over the past three years, acrobatics and industry have gradually faded, and the starry sky and black bird have slowly appeared. What remains unchanged is his stage perspective, which is presented as an uncertain dream.
李尤松 Li Yousong《再造西洋楼之6》Reconstruction of European Palaces 6,
纸上水彩 Watercolor on Paper,
36 × 36 cm, 2020
Li Yousong now prefers to call himself a wizard, one who tells stories in his celestial tribe. Then, how shall we explain Li Yousong? To explain why he creates and how to create. Is there an innate contradiction between painting and storytelling? To explain the cultural collision in his creations. Is it a utopian fantasy, or is it a misreading and criticism on a standpoint? To explain the historical reconstruction in his practice. Will it provide some paradigm for the future of humankind? All these problems, like 2001: A Space Odyssey which is still known as a film that "no one understands", are always open and indeterminate.You are welcome to think of this exhibition as an invitation: to explain, to compound. But first of all, please be quiet and happy, and enjoy Mr. Li Yousong's brand new space opera of savages hitting rocks and baby birds twittering.
关于艺术家
About the Artist
李尤松，1968年生于沈阳, 中国。1992-毕业于中央美术学院壁画系，1994年毕业于中央美术学院获硕士学位。现为北京印刷学院教师。
个展： “故事-李尤松的创作和生活”，非凡仕艺术，北京（2019）；“空间的背后” 李尤松个人作品展，巴塞罗那孔子学院，西班牙（2017）； “曼哈顿的中国杂技”，非凡仕艺术，北京（2015）；“空间的背后-李尤松草图作品展”, 北京印刷学院美术馆, 北京,“手稿–李尤松”，今日画廊，北京（2013）； “李尤松”，北京公社, 北京（2008）；李尤松个展, 少励画廊,香港（2003）。
Li Yousong, born in Shenyang, China in 1968. 1992-Graduated from the Mural Department of Central Academy of Fine Arts. 1994-Graduated from the Central Academy of Fine Arts with a master’s degree. Teacher of Beijing Institute Of Graphic Communication. Solo exhibition: “Story-Li Yousong’s artestic creation and life”, FEEFAN`S ART, Beijing (2019); “Behind the Space” Li Yousong Solo Exhibition, Confucius Institute in Barcelona, Spain (2017); “Chinese Acrobatics in Manhattan”, FEEFAN`S ART, Beijing (2015); “Behind the Space-Li Yousong’s Sketch Exhibition”, Art Museum of Beijing Institute Of Graphic Communication, “Manuscript-Li Yousong”, Today Gallery, Beijing (2013); “Li Yousong”, Beijing Commune, Beijing (2008); Li Yousong Solo Exhibition, Schoeni Art Gallery, Hong Kong (2013).
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