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“吃米与盐的塔特林塔”李尤松个展将于2月26日开幕
时间：2022年02月21日 作者： 来源：Tonggallery
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).
