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策展人/ 鄭乃銘
李暉稱得上中國新世代藝術家群裡面，最「裡外合一」的一位代表。
所謂的「裡外合一」，更精準一點來講，指的是他從材料學到藝術精神 的貫徹，始終能夠充分做到裡外相密合的程度，這使得他的藝術在某種角度來觀視， 就能夠很清晰地被看出他是如何透過材料來印證自己的藝術思維，進而建立出自己獨 特的李暉式藝術。
李暉出生於1977年，在北京出生、也在北京完成他的學業。他出生的 時間，正巧也是在中國提出改革開放政策的前一年。1978年，中國政府在中國共產黨 第11屆三中全會提出一項關鍵性措施，那也就是以改革開放來作為未來整個國家決策 方針。改革開放又分成對內改革、對外開放兩個大方向。這個政策無疑是將中國舊有 的社會主義經濟路線，調整到以面對全世界為市場考量的經濟體。
這個轉變讓中國把禁錮了三十年的門戶給打開，相對也給了一個讓老百 姓都有機會追求更好生活未來的可能性，這也造就中國社會不論在思想的自由度或言 論表達上，都逐續地把國家發展引領到更開放的路途。假如把關切的課程縮小到藝術 的範疇，則會發現到中國現代美術的運動從對於文革傷痕美術的表述，進展到以鄉土 為表現路俓的社會寫實內容。這其實也等於說，過去在文革期間，藝術的種種表現也 就是在為政治所服務，它的功能性是純然的社會主義路線。可是，當文革這段歷史漸 漸在日子中隱退，藝術就開始回到原初的純念，藝術家開始有了討論藝術的空間、也 追求藝術內底感情的表達性，甚至也對於更深刻的生命課題有自我洞見。只不過我們 也可以從不同世代藝術家的表現上，清楚地看見時代的烙印深深影響著藝術本身的語 言表達。比如，1950年這個世代的中國藝術家，還是會不自覺地透過肖像畫的格式， 以一種低溫而不顯沸騰的語言，去觸及對家族、親人的感情。但是到了1960年代的藝 術家，一種著重在於寫生式的肖像畫框架開始出現，所描述的主體則落在生活四周百 無聊賴的眾生群相上。到了像李暉這個1970後的新世代藝術家，改革開放所帶起大量
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資訊衝擊與多元化的選擇，諸如流行歌曲、偶像文化、港台電影與連續劇、動漫…，再 到電腦的普及性及網絡資訊的開放性，這些都相繼影響著70、80這個世代的年輕藝術 家，在看待世界的方法及對待中國的角度。
李暉跟大多數的70、80世代藝術家很大的不同是，他打從一開始就 決定走一條不是建立在既定成俗傳統氛圍上的藝術表現。這位從北京中央美院雕塑系 畢業的藝術家，從對於媒材的選擇上，始終沒有那麼恪守傳統雕塑在材料使用上的慣 性。2003年，也就是他畢業那年，李暉有一件名為〔改裝JEEP-順流逆流〕作品， 他將兩輛車結合成一體，使之成為一輛擁有雙車頭的吉普車。在這作品裡，他首先解 構車子帶給人的傳統印象，以雙車頭的樣貌來暗喻生命在往前看的時候，終不免也能 有頻頻回首的機會。2005年他則有一件名為〔Sofa
Car〕的作品，只見被橫剖開
來的車體內竟有著桃紅色的雙人沙發，而且擺置的方向是橫式單側！這件作品讓人為 之驚豔之處，是在於它揭示交通工具在既有的傳統功能底下，也提供了顛覆本質結構 但卻柔化冰冷功能性之餘的浪漫空間。只是，不論是雙車頭或者沙發車，李暉其實已 經在這個時候就開始埋下對於材料運用與創作精神相互映照的基礎。著重觀念性的藝 術哲思，已經超越一般概念底下的藝術模式，李暉對於材質本身如何能夠適切性傳遞 創作內底精神，顯然格外的看重。
李暉的藝術哲學，始終默默在服膺著中國人所講的無常觀。既然是無 常，也就是充滿著諸多的不確定性，而不確定更能被拿來指涉內心的不安。李暉在這 次台北當代藝術館「不確定的真相」展覽當中，嚴格來講是最能夠完全敘述他這些年 來藝術創作的延續性。李暉，這位少數中國新世代藝術家裡面，在面對材質選擇上， 顯現出高度的自覺性與敏銳感，他的創作從現成物件的運用再到透明壓克力面板、 LED燈、雷射光，又到目前所使用的鋁塑板、不銹鋼，李暉不單單只是在選擇材料， 而是在選擇每一種最能呼應他創作內在風景的媒材，使得作品所釋放出來的精準度更 能有所聚焦。
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李暉在2011年新作〔貪心不足〕與〔游離的真相〕中，闡述了他從 21世紀第一個十年之後，從中國社會各式改變所觀察到的混亂。對李暉這個年紀的 中國年輕人來講，他們對於政治的敏感度並不強烈，但相對就社會經濟的起起落落則 更能投入關注。李暉覺得，中國在新世紀的第一個十年之後，固然都有長足的進步空 間，但這種進步卻也凸顯社會為了「要而要」；並沒有那麼清楚是「為何而要」。因 為一種近乎動物性的本能貪欲，自然就造成社會瀰漫一股膨脹與壓縮現象。新作所採 用的不銹鋼板格外彰顯出「擠與脹」的對立性存在，同時也點出眼前所看到的事實到 底是現實的真相？還是必須回到個人經驗法則，從內心所制定的定見才是真相呢？李 暉在他的藝術創作進程裡，似乎也從來沒有放棄過丟出懸念，這兩件作品所選擇的材 料完全不具備穿透感，同時也沒有任何雷射光或LED燈的加入，但李暉卻能夠充分將 創作的精神經由材料的膨脹與擠壓的造型，清楚陳述個人的心念。新作裡，最特殊的 還有一件名為〔嬉戲〕作品，李暉在這件創作則是以機械組裝出的手臂來作為「生命 體」，五隻機械手臂隱約是排列出五角星圖形，這樣的矩陣，固然不特意去對政治環 境進行挖苦，但相互間透過彈力塑膠所進行的拉扯、糾結、緊繃、舒緩…，如果放大 一點來解釋這五隻機械手臂的爭掠，在略帶遊戲的行為交鋒裡，還是潛藏著生命本性 當中計較輸贏與爭奪的心態。如此現象，放在一個單一國家的處境或放大到泛社會族 群，不僅一點也不顯得牽強，更也點破箇中較具敏感性的內在議題。
透過與材料的契合度來傳遞創作的意旨，李暉在以壓克力面板與LED燈 來作為素材時，已經開始透露他對於「壓縮」與「視覺膨脹所帶出的內心張力」的探 究。李暉在2008年的〔瞬間的極限〕作品，透明壓克力面板層層堆疊出一個就像是長 方形櫃子，在櫃子裡則出現核爆瞬間所帶起的蘑菇雲和破壞情況，李暉在壓克力面板 所堆砌出來的緊密壓縮空間裡，凍結了核爆瞬間的狀態，紅色的LED燈就好像爆破所 引發的血腥…。李暉在這件作品身上所透露出的訊息異常錯綜，核爆所產生的壯烈，在 這個瞬間就好像是一種儀式被冷凍在某個時空中，LED燈所發散出來的冷冷光暈，愈 加顯現出一股淒絕的美感，令人有種莫名的迷惑。這也就是李暉所刻意傳達的反諷與 對立矛盾心理。好比說，大家都很清楚核彈的危險性與殺傷力，但似乎越是知道就越 想要進一步去研發更劇烈的攻擊武器，人；不是不清楚生命的落點在那裡，但卻總是 很無法自主地一步步去探觸危險或製造危險，就好像我們在看到這爆破的瞬間，竟然 會發現它帶有一股變態的美…！
李暉在他每一件壓克力面板的作品中，不斷可以讓大家看到每一個透明 面板都是經由仔細與考究的切割，然後再一片片層層疊疊架構出重量的形體，但也就 因為重量所造成的壓力效應，這些壓克力面板所塑造出來的視覺效果，多少都在背離 真相的真實性；再加上透明面板在如此壓力和重力雙重夾攻之下，視覺是具有所謂的 膨脹係數，因為膨脹也就會造成不確定，使得李暉固然是透過作品在演繹一份儀式般 內在翻湧，但卻也因為選擇媒材的適當性，反倒更能跳出制化的解讀性，讓他的藝術
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分外增添了劇場的戲劇張力。
李暉在對於激光的運用，也能參照出他內心對於現境的不安定感。表 面上，雷射光；會是視覺很大的吸引力，可是，李暉在〔輪迴〕、〔門〕、〔不死的 心〕都採用激光來對主體增加視覺的層次，這個部分的加入，相對也讓作品的精神有 了立體感。在〔輪迴〕的那件作品，被白色繃帶層層交纏住的床，很明白的就被賦予 了一個難被超脫的既定印象，可是李暉從頂層打下來的紅色雷射光，就像是灑落在白 色空間的紅色血珠在閃閃爍爍，尤其床底下所釋放出的煙霧，緩緩往上方漂流著，李 暉在這系列作品似乎更加趨近著宗教的儀式感。但從廣義角度來看「光」這媒材，它 更意味著無常的幻化本質。尤其當觀者的手或身體穿過一片激光的時候，就好像是把 一種秩序整個打翻或破壞，如果再加上煙霧的嬝嬝散佈，不難發現原本是循著常規運 動的確定性，猛然間就變得如此隨機性、不確定性。於是，那些關於死生的消消長 長、輪迴的不捨與決然、時間的停停走走…，我們充分看到藝術家如何在材料的選擇之 下，讓他的藝術不是一般只停留在架上的層次講究，也不單單只是以三維空間來推展 出藝術的具體性，李暉賦予每件作品一個靈魂，而每個靈魂也就成為一個渡口；一個 能讓人內心百轉千迴的渡口…。
李暉的藝術，表面上他是從速度的象徵物件中，辯證出了他對於時間的 態度，而他又從對時間的態度中來引證出了生命的深度，更從生命的深度裡折射出對 於現實存在的無常觀；但也從這無常的煙飛灰滅裡糾纏著無數的輪迴與低嘆。在這位 新世代藝術家的藝術裡，我們看的不只是他的藝術，同時也在閱讀年輕世代如何演繹 生命的哲學議題呢！
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Li Hui – The Close Dialectic between Materials and Art
Cheng Nai-Min / Curator
Li Hui could be considered one of the most “internally and externally aligned” Chinese artists of the new generation.
To be more precise about what is “internally and externally aligned”, it means that he is quite thorough in his approach with materials in making art, and is always able to achieve a close match for the two. When his art is viewed from a certain perspective, one could clearly see how he is able to convey his art concepts through the materials utilized, and this has allowed him to shape a style of art that is truly unique to Li Hui.
Li Hui was born in 1977 in Beijing and completed his education there as well. The year that he was born happened to be a year before China’s implementation of the reform policy. In 1978, the Chinese government made a critical proposal during the 11th Chinese Communist Party meeting, and decided to base the entire policy making direction of the country based on the reform policy. The reform was segmented into two major directions of internal and external aspects. This policy was pivotal in shifting China’s old socialist approach in economics to a more globalized economic model based on the market.
This change opened up the gate in China that was locked down for three decades, and also offered to the people opportunities for the pursuit of a better life. The Chinese society as a whole was also heading to a more open path with freedom in thoughts and speech. To narrow down the focus to art, the movement of modern art in China shifted from portrayals of the scars
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caused by the Cultural Revolution to context of social realism based on local elements. In other words, art expressions were used during the Cultural Revolution as a form of political propaganda with socialistic agenda.
However, as the impacts
of the Cultural Revolution gradually faded, art hence began to return to its original purpose, and artists also began to have more space to discuss art and to pursuit in expressing one’s internal emotions through art. Art was beginning to be used again to show personal views on issues in life. However, we could also clearly see that the effects of times profoundly influencing different generations of artists. For example, Chinese
artists
from
the
1950’s
were
still
unconsciously
creating art in the portraiture format, with a subtle and reserved mannerism in treating issues relating to emotions for families and closed ones. However, reaching the 1960’s, artists were focusing on paintings from life, and the portraiture framework was shifted to capturing portrayals of the general public. With new generation artists of the 1970’s, such as Li Hui, reform brought in an influx of information and diverse choices, such as popular music, idol culture, television dramas from Hong Kong and Taiwan, comics and animations, etc…Also with computers and cyber space becoming increasingly prevalent, these elements have all come to influence young artists born in the 70’s and 80’s and impacting their views on China and also the world.
What sets Li Hui apart from other artists born in the 70’s and 80’s is that since the beginning he has already decided to head into a direction not based on pre-existing traditional art models. Li Hui, a graduate from Beijing Central Academy of Fine Arts majored in sculpture, has never followed the traditional approach in selecting the materials used for sculptures. In 2003, the year that he graduated, his work titled “Renewing
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Jeep- Smooth. Current and Counter Current” fused together two cars into one to make a Jeep with two heads. With this piece, he first deconstructed people’s conventional view of cars, and the duo-head was used to imply that although we look forward to life but one can’t help to constantly look back. His 2005 artwork, “Sofa Car”, was a piece with a dissected car with a bright pink twin sofa placed inside horizontally on one end. This piece was quite amazing because within the conventional function of the automobile, the artist offered a romantic space within the originally cold and hard structure. However, with the duo-head automobile or the sofa car, Li was actually already starting to pave down the foundation for his approach in connecting and corresponding materials with his creative thoughts. The philosophy based on conceptual art has certainly surpassed conventional art’s frameworks, and Li’s concentration on
how
to
opt
for
suitable
media
to
express
his
creative
concepts has also been made more critical.
Li’s philosophy of art has always quietly followed what the Chinese refers to as impermanence. Since it is impermanent, it means there are many uncertainties. The sense of uncertainty could also be used to refer to a sense of instability. Li’s exhibition
at
MOCA
Taipei, “Reality
Impalpable”,
could
be
considered a more comprehensive showcase of the continuity in his art creating journey in the past several years. Li is one of the few Chinese new generation artists able to demonstrate a high sense of self-awareness and sensitivity toward the selection of the media employed. His art ranges from utilizing found objects to clear acrylic plates, LED, laser and recently he also began to use aluminum plates, stainless steel. Li does not only focus on the selection of the materials, and instead he opts for specific materials most suitable to reflect the particular artwork and prompts for the piece to exude a sense of preciseness that could gather tremendous focus.
Li’s new works for 2011 “Greed” and “Dissociative Truth” both convey the chaos he has observed from the various changes occurring in China in the first decade of the 21st century. Generally, for the young generation that Li belongs to, the demographic
is
usually
not
overtly
sensitive
to
politics;
however, this young generation do show concern for the rise
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and fall in the society’s economy. Li believes that there is certainly a great room for improvement in this first decade of the new century in China, but this sense of improvement also shows the society’s attitude of “wanting just for the sake of it”; there isn’t a clear description in “why does one want certain things”. Because of this nearly savage sense of primal desire, the society has therefore been penetrated with a phenomenon of expansion and compression. These new artworks are made with stainless steel plates to stress the opposing presence of “condense and inflate”, and at the same time, it also points out that is the reality before the eyes the actual truth? Or does one need to return to personal experiences and decide base on what does one’s heart deem to be the truth? Throughout
Li’s
creative
process,
he
has
never
neglected
this sense of anxiety. These two artworks are composed with materials that are completely opaque and no lasers or LED lights have been incorporated. Nevertheless, Li is able to fully present the spirit behind the artwork, which is to show the sense of expansion and compression through the materials used. He has been very clear in showing his personal concept. Also amongst the new works is a piece titled “Frolicking”, which
Li
has
created
mechanical
arms
to
resemble
a
“life
form”, and these five mechanical arms have been arranged in a pentagonal pattern. This shape although may not be a direct irony
towards
the
political
environment,
but
the
tugging,
struggling, tension, and release happening between the elastic strings connecting the arms could be a reflection on a larger scale as a fight between these five mechanical arms. In this somewhat game-like battle dwells a sense of competitiveness that exists in life. To place this kind of phenomenon inside any country or any social group would not appear forced at all, and could even pinpoint any sensitive internal issues that may exist.
Through the appropriateness with the materials to transmit the creative concepts, when Li uses acrylic plates and LED lights as creative media, he has already set out to inspect the sense of “compression” and the “internal dynamism spurred by visual expansion”. Li’s 2008 artwork “The Moment” is comprised of clear acrylic plates compiled into an oval-shaped chest. Mushroom clouds caused by nuclear explosions are shown inside the chest. Within the tightly compressed space piled together by acrylic
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plates, Li has frozen inside the moment of explosion, and the red LED lights resemble the bloodshed caused by the damage. Li has conveyed a sense of bizarre mixed of signals through this piece and also a sense of awe caused by nuclear explosion. At that moment, everything seems to have been ceremoniously frozen in a certain sense of time and space. The sense of coldness from the dim LED light seems to add to it a ghastly sense of beauty. The piece is strangely mesmerizing. This is the ironic and opposing emotion that Li has deliberately wanted to convey. For example, people are typically quite aware of the lethal danger that nuclear bombs possess, but with this knowledge, people
seem
to
want
to
invent
even
more
deathly
weapons.
People are not unaware of the significance of life, but somehow, we seem to helplessly become closer and closer to danger or producing danger. This could be seen from the sense of twisted beauty that we feel when we witness the moment of explosion!
With
Li’s
every
transparent
acrylic
plate
has
artwork,
been
we
could
meticulously
see
cut
that
and
each
compile
together plate by plate to construct a specific form. Because of the compression caused by the weight, the visual effects created by these acrylic plates somehow stray away from what is real. Additionally, with the pressure and force coming from the compilation, a degree of visual expansion is formed. Because the expansion create uncertainties, Li’s art is able to portray a ceremonial state of an internal twist; however, because of the fitting materials chosen, this has allowed for the reading of the particular artwork to break from any conventional mold and adds a greater dramatic and dynamism to his art.
Li’s
utilization
of
laser
also
reflects
his
own
sense
of
instability towards the current state. Externally, laser is able to form great visual attractions. Laser is used by Li for “Reincarnation”, “The Gate”, and “The Undying Heart” to create a more diverse visual layer to the core structure. With the incorporation of laser, these artworks are given a greater three-dimensional sense. With “Reincarnation”, a bed is enwrapped with multiple layers of white bands. Although there is a clear sense of predetermined impression about this, with the red laser projecting off from the top, the redness seems to be beads of blood flickering in the white space. With
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smoke coming off from underneath the bed and slowly floating atop, this artwork by Li seems to embody a religious ceremonial sense. To view the medium of “light” in a bigger perspective, it also symbolizes the uncertainty in illusion. When audiences walk through a screen of light, the state of order seems to be broken, and in conjunction with smoke, it is easy to realize that the preexisting sense of regularity could certainly become randomized and haphazard. Relating to life and death, the hesitation with reincarnation, and the stop and go with time, we could see the selection of materials by Li has allowed his art to go beyond the confinement of any particular level, and nor is his art about simply creating tangible forms in a threedimensional space. Li bestows a soul in each of his artwork, and each soul is a portal that leads one’s heart to turn and transform countlessly…
Externally, Li’s art shows how he has discovered an attitude about
time
from
the
speed
possessed
in
symbolic
objects.
However, he has also extracted out from this attitude about time a sense of profoundness for life. From the profoundness of life, an impermanent view about reality is reflected. From the fluttering uncertainty come countless reincarnations and subtle sighs that have been entangled together. In the art created by this new generation artist, we don’t just see his art; at the same time, we are also seeing how life’s philosophical issues are interpreted by the young generation.
019
當代館執行總監 / 石瑞仁
四月底於台北當代藝術館揭幕的「李暉創作個展：不確定的真相」，由 活躍於海峽兩岸的藝評暨策展人鄭乃銘擔綱策劃，本展是李暉歷來最大規模的一次個 展，策展者除了從李暉近五年來多樣化的創作中精選出12件代表作以饗觀眾，也試圖 梳理出藝術家創作風貌的發展與其背後思想脈絡、社會文本的連動關係。眾所皆知， 近二十年是中國經濟起飛、環境巨變的轉型期，原本傳統封閉的社會吸收了爆量的外 來訊息，空氣中瀰漫的不穩定氛圍，也不斷衝擊著民眾既有的價值觀，也因此，策展 人把此期間中國各方面的發展與變化，不論從民生經濟的層面到文化藝術的領域中， 概要形容為一種「膨脹與壓縮」現象的更替或循環效應，同時，把李暉的創作轉折關 聯到了這波強力的社會脈動。
李暉擅長以有限的物件、符號和空間來建構一種濃縮了時代氣氛與社 會共感的視覺與心靈劇場，他的創作一面兼顧了多樣性的媒材運用、多元化的形式焠 鍊、多面向的內容指涉，另一面又頗能聚焦於近年中國快速崛起而引發的社會流動、 慾望膨脹、人文壓縮、人性糾結等現象與課題，「不確定的真相」展除了鋪陳出李暉 針對一個特定的時空和社會而進行的藝術寫照，隱約也照見了當代藝術家自我伸張為 時代觀照者、社會同情者乃至文化批判者的一種角色意識。
本次個展，李暉針對當代館的空間格局和環境氛圍創製了幾件新作，並 嘗試在新作中融入聲音元素。如同過去，他希望藉由新作不斷自問自答一些創作本質 的課題，諸如形式、媒材與內容的關係如何建構？藝術家在擴張實驗和深度追求上如 何權衡？藝術語言相對於日常語言的超越性為何？對他來說，每一次個展都自期是創 作生涯中的一個新座標，一次自我的超越。
在兩岸藝文交流日漸頻繁之際，當代館期盼透過李暉作品的展出和策展 者相關論述的導引，有助於本地觀眾管窺、觀摩和理解，中國新一代藝術創作者在面 對新世紀、新社會與新生活的刺激與挑戰時，如何發展建構個人的觀想角度、思維方
020
式、言說機制或批判態度。
時代觀想
誠如策展人所點出的，李暉崇尚「萬古長空，一朝風月」的藝術哲學， 刻意把時代的不同切面並置在作品中，讓人們去閱讀和思考其中的矛盾性。李暉作品 除了寫照歷史轉輪對現狀的無情汰換、描述滄海到桑田的快速轉變，作品的內蘊也指 向了生命輪轉不息的活力，和一種精神上的永恆追求。李暉的藝術創作融合了感性氛 圍與理性操作，有意借道當代工業科技媒材探討人與生俱來的無明狀態、心理恐懼等 等，並用以呈現有關輪迴、死生、穿透、糾結、膨脹、壓縮、不確定等生命情境與精 神議題。
科技應用
李暉的雷射裝置作品，擅於營造一種「光」劇場的炫麗視覺效果，隨 著空間和觀看角度而產生的不同樣貌，開啟了「靜中動/動中靜」的雙重情境氛圍， 因而很能帶給觀者不確定性的臨場感受。這些雷射裝置，有別於時下標榜「互動」的 其他藝術觀賞體驗，更著意於牽引出觀者對於外在環境與內在生命的同步檢視。在這 之外，李暉也做了另一批全然實體化的「觀念性雕塑」：或將壓克力層層堆疊，讓神 佛、生物等以晶瑩美麗和「虛空實體」的優雅樣貌，浮現在光亮透明的物質團塊之 中；或將戰爭機器、大型生物封藏禁錮在冷硬金屬所構造成的一種「限制框架」之 內。前者以動態光像帶給觀眾科幻劇場的空間體驗，後者以靜默造型演繹吞噬與撐張 之間的內力對抗，誘導觀眾凝視、觀想這一批形質特殊的大型雕塑。
在【輪迴】這件空間裝置作品中，李暉以新科技媒材結合日常器物，展 開了生死哲學的辨證：「床」是人類出生的起點和死亡的終點，可以聯想到佛家生死 大義的「輪迴」；床也是人們休息、睡眠、病痛、性愛等諸多活動的棲所，可以關連
021
到日常活動的「輪轉」。空盪無人的床，意味著肉身生命的有限，有形無體的光，卻 象徵著精神性靈的昇華。此作簡要地融合了感性的人志意念和知性的物理能量，具現 了李暉以科技藝術手法書寫人文觀照情懷的強烈意圖和特殊成就。
另外在【不死的心】這件裝置作品中，李暉以機械馬達串接錯綜糾結 的管線，結合紅色激光與縷縷上升的煙霧，創造了一顆複合了「硬梆梆」、「活生 生」、「血淋淋」、「熱騰騰」等多重感覺的超大心臟，這顆被鐵鍊懸吊在觀眾面前 的心臟，弔詭的讓人同時聯想到十字架上的救世主和斷頭台上的死刑犯，現場情境氣 氛介於神聖救贖和罪惡沉淪之間，觀者明顯可以聽到它的心跳律動，隱約感受到它的 喘息呼吸，進而回應到自我身體意識的存在與覺醒。
衝突辯證
李暉以壓克力素材堆疊透雕的系列作品，傳達了一個核心訊息──所有 曾經不可一世的事物，儘管擁有一時的霸權或強大力量，終究逃不過時間的沖刷和歷 史的考驗，而走向被淘汰、被取代的末路，在此，藝術家藉由內外兩種異質符號的並 置，一面凸顯了其中的矛盾、衝突，同時也揭穿外在事物的多變性，而指向一種內在 精神的永恆追求。
在【瞬間的極限】這件作品中，核爆的蕈狀煙雲與F1賽車的殘骸斷片， 同時被凝結在透明的「法櫃」之中，李暉透過氣體膨脹與固體凍結的異相對比，結合 陰森意味的紫色底光照明，營造了一種諸如「猛然的威力，淡淡的哀傷」或「速度的 快感，死亡的詩學」的弔詭情境。類此，李暉喜歡透過形/意兩面性的刻畫和應用，激 發觀者在相互參照的模糊地帶中理出自己的閱讀文本。
再以【佛龕No.2】為例，壓克力雕造的一部坦克車造形團塊中，包覆 著佛陀慈悲的形體──佛頭、佛手如琥珀中的化石般隱約透顯，坦克車被大塊肢解的終 戰情境、相對浪漫的光色氣氛、和佛像所散發的安祥、福佑、和平意涵等，在在顯示 了，李暉擅長並置意象對比的符號和物件，以之來創造一種矛盾的語境，同時化解內 存於其中的東西、古今、宗教、文化等各種衝突內涵。
此系列壓克力雕塑裝置，以冷靜平實的造形表達了警世的意涵，以轉瞬 成空的慾望刻畫，象徵了內心的一種救贖。它們的共同特色是，藉由外部形體與內部 物象之間的悖論關係形成張力，同時指向對立、包容、或解放、超脫等不同概念，營
022
造出線性言語所無法表達的多重語境。
機械寓言
抽象的「力量」和「速度感」也是李暉近年雕塑創作中喜歡著墨表現的 特殊主題之一，以金屬材料為主的「龍捲風」懸吊裝置新作，透過由小漸大的風扇形 構件，模擬再現了龍捲風的自然形態和威力意象，一方面張揚了龍捲風無與倫比的破 壞力量，另一方面，點出龍捲風在遇合/吸納不同事物與壯大自我的同時，可能也因為 不斷地與現實妥協、或被外力阻撓終至瓦解無形。有形而無實體的龍捲風，是自然界 潛在能量的瞬間巨集，是人類科工文明也無法預測阻擋的物理現象，李暉似乎有意以 此象徵一種暴起的、摧枯拉朽的清除力量，進而指涉當前盛行的「不破不立、大破大 立」價值思維，和伴隨所謂「社會一片繁榮」現象而來的一種危機意識。
李暉新近作品中劇場氛圍和社會性指涉，再再針對了這個時代不斷追求 擴張與成長的現象，且刻意賦予作品多重閱讀的可能。以本次首展的【貪心不足】為 例：在許多宗教體系中，蛇被類比為貪婪的主體、誘惑的象徵、邪惡的符號；另一方 面也在不同文化系統中，被當成生命蛻變、自然循環、生生不息的神聖圖騰。李暉藉 由「蟒蛇吞食坦克」的誇張情節和自殘意涵，點擊了現階段中國社會日益普遍的文化 現象。在另一件名為【嬉戲】的超大型裝置新作中，李暉利用人力堆高機和機械手臂 拼裝而成的五組動態雕塑，圍構成一個混合了劇場、戰場、工廠等多重性質的動力空 間，感覺上，這些不斷發出聲響的機械手臂各自非常有力，也各自非常執著，它們旗 鼓相當地同台競秀，彼此之間存在著良性合作和惡性競爭的雙重可能，它們同時可視 為一種合諧與理想社會的縮影，或一個殘酷生活戰場的雛型。
以上從四個面向切入，提供了解讀李暉作品的一些觀想角度和參考方 式，但從中反覆見證的主軸是，李暉對於「膨脹與收縮」這個時代命題的濃厚興趣和 藝術想像，他擅用符號的矛盾性來激發視覺衝突趣味和懸疑效果的藝術特質，觀賞此 展，通過這一款款充斥著「曖昧與模糊」語境的藝術場域，觀者也漸能體會，策展者 和藝術家何以用「不確定的真相」來詮釋和定義這個快速變動、急速發展的時代與社 會。
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On Li Hui’s Time Related Mechanism and Art Context
J.J. Shih / Executive Director of MOCA Taipei
“Reality
Impalpable-A
Solo
Exhibition
by
Li
Hui”
opened
at
MOCA Taipei at the end of April. Curated by Cheng Nai-Ming, an
active
art
critic
and
curator
in
both
Taiwan
and
China,
this marks the biggest solo exhibition for Li Hui to date. In addition to selecting twelve iconic pieces from the artist’s diverse range of works from the past five years, an attempt was also made in organizing a conceptual context for the artworks and their relativity to social activism based on the artist’s creative sense and developmental process. Particularly focusing on China’s rapid development and changes in the past decade, from
everyday
economies
to
culture
and
art,
the
curator
described and defined the exchange and circulating effects as a form of “expansion and compression”, and through which, Li Hu’s creative transformations were placed in relation to this strong social movement.
Li Hui specializes in using limited objects, symbols and spaces to
construct
visual
forms
and
spiritual
theaters
based
on
concentrated time-related ambiance and social communalism. His art is diverse in media utilization and demonstrates a great range in forms and contexts, and on the other hand, he also puts focus on various phenomena and issues within the rapidly developing Chinese society, such as social mobility, escalation of desire, compression of humanity, and discombobulated human nature. The exhibition of “Reality Impalpable” paved out Li Hui’s artistic portrayals of this particular time and space and also the societal developments within, and at the same time, awareness was also emphasized on the artist’s self-proclaimed multiple
roles
as
an
observer
of
the
particular
sympathizer of the society, and also a cultural critic.
024
time,
a
Li Hui created several new pieces especially for the space and setting of MOCA Taipei for this solo exhibition, and he also attempted previous
to
incorporate
creative
sound
context,
he
elements. hopes
Extending
that
through
from
his
these
new
works to continuously ask and answer the issues pertaining to the core essence of making art, such as how to construct the relationship between the forms, media, and contents? How can an artist find balance between the extension of experimentalism and the pursuit of depth? What allows for the language of art to surpass the common language? To Li Hui, every solo exhibition is
a
new
landmark
for
his
creative
career,
and
is
also
an
opportunity to surpass the self.
With the increasing interaction in the arts across the strait, MOCA art
Taipei and
the
hopes
that
curatorial
through concept
the
exhibition
proposed
to
of
guide
Li
Hui’s
the
local
audiences in inspecting, observing and comprehending how the younger generation artists in China construct their personal views, concepts, expressive mechanisms, and critical stances.
Time-Related Outlook
As the curator has pointed out, Li Hui is a follower of the art philosophy of “impermanence”. He deliberately places different perspectives of time into his art, and encourages people to decipher and contemplate about the ironies in the works. In addition shifts
to
in
pointing
history,
out
Li’s
the art
merciless also
changes
implies
at
in
the
time
and
ceaseless
vitality in life’s forces and a sense of pursuit for spiritual eternity. Li’s art integrates both sense and sensibility, and through the appropriation of contemporary industrial media, he
025
probes at the ambiguous states in life and people’s internal fears. Through his art, he deals with life’s conditions and spiritual
states
through
the
issues
of
cycle,
life,
death,
penetration, struggle, expansion, compression, and uncertainty.
Application of Technology
Li Hui’s laser installations are designed to project dazzling visual effects of a “light” theater. Through the perspectives of space, they form different looks and open up for a double ambient
state
movement
in
that
incorporates
stillness”.
The
“stillness
viewers
are
in
movement
spurred
to
have
/ an
immediate sense of uncertainty. These laser installations are different from the “interactive” works that are quite prevalent nowadays; Li places more emphasis on pulling out the viewers’ outlooks sense
of
for
the
being.
external
environment
Furthermore,
Li
has
with also
one’s created
internal another
series of tangible “conceptual sculptures”, whereby: acrylics are
compiled
together
in
layers;
within
these
clusters
of
glistening and transparent forms, Buddhist divinity sculptures and other forms of organisms are given a sense of crystalized beauty and elegance of “ephemeral realism”. Other works by Li are composed of war machines and large creatures encased in cold hard confining metallic structures. The previous collection brings to the audience a sense of moving light that feels like a sci-fi theater, and the later uses still shapes and forms to demonstrate an internal struggle and tension, and the viewers are drawn in by these bizarrely shaped large-scale sculptures.
In the installation, “Reincarnation”, Li Hui uses new technology with everyday objects to develop on the philosophical theory of life and death. The “bed” is where birth and death take place, and
it
could
proposed sexual to
the
in
also
relate
Buddhism.
intercourse “cycles”
of
on
We
to
also
the
our
the
concept
rest,
bed,
and
everyday
of
sleep, these
“reincarnation” fall
could
activities.
An
sick, be
have
related
empty
bed
symbolizes the limitation of one’s physical life, and in this case, with a spark of intangible light, it could also signify the transcendence of one’s spiritual state. It is quite simply the integration of humankind’s sensual perception and sensible
026
physical power, and through Li’s use of technology with art, a strong sense of care and concern for humanity is presented with distinct significance and special meaning.
In the installation piece, “Undying Heart”, Li Hui connects mechanical motors with interwoven cables, and together with red lights and slowly rising smoke, an enormous heart that feels “stiff”, “alive”, “bloody”, and “hot” is created. This heart, hung
in
front
of
everyone
in
chains,
reminds
one
of
Christ
on the crucifix with other criminals waiting to be executed. The
atmosphere
created
is
caught
between
a
sense
of
sacred
redemption and evil sin. The viewers could clearly hear its beating and quietly observe its breaths, and are prompted to reflect on one’s own self-awareness and sense of existence and awakening.
Dialectical Conflict
Li Hui’s sculptural pieces composed with compiled acrylics have come together to form a core message that anything that was once deemed supreme with totalitarian power is still not able to escape the test of time and history. It will eventually go on the path of being obsolete and replaced. Therefore, through the juxtaposition of two different symbols, the artist presents a sense of irony and conflict, but on the other hand, he is also revealing the fact that things are always changing; ultimately, Li is attempting to indicate a sense of spiritual pursuit for eternity.
In “The Moment”, the exploding mushroom cloud and fragmented F1
race
cars
are
simultaneously
encased
in
a
clear
casing.
Through the juxtaposition of explosive gas and the stillness of rigid forms, together with a grizzly purple lighting, an ironic state of “aggressive power and subtle sadness” and “thrill from speed and poetic death” is formed. Li is attracted to putting contrasting forms and impressions together to spur the audience in sorting out his/her own personal outlook from the ambiguity arising from the comparative association.
027
“Buddhist Altar No. 2” is comprised of a tank made of acrylic and encased in it are parts based on the compassionate Buddha, such
as
the
Buddha’s
head
and
hand,
subtly
showing
in
the
amber-like casing. The disassembled tank indicates the end of war and with the romantic lighting and peacefulness projecting from the Buddha, Li’s signature style of placing contrasting icons and objects next to each other is presented through the piece. While a sense of irony is created, at the same time, internal conflictions relating to history, religion, culture, and other aspects are able to be dissolved.
This
series
of
acrylic
sculptural
installations
is
intended
to give a warning from their cold and calm appeal, and from the
projection
of
transient
and
empty
desires,
a
sense
of
redemption is indicated. The works all carry a common trait in
that
internal
through
the
tension
imageries,
between
different
the
concepts
external of
forms
and
confrontation,
compassion, liberation, or transcendence are all dealt with, and hence the complex state inexpressible by linear language is able to be formed.
Mechanical Fable
An
abstracted
sense
of
“power”
and
“speed”
is
also
another
special theme Li has focused on in his recent sculptures. The metallic-based suspension installation, “Tornado”, is composed of fan parts going from small to big in sizes and mimics the natural state and power of a tornado. At the one hand, the destructive force of a tornado is presented, yet on the other hand, it also indicates that as a tornado encounters/absorbs different things to show its power; it is also going through constant compromises to reality or interferences from outside forces that could lead to the end of the tornado. The physical but intangible tornado is the outcome of nature’s energy coming together and it is also an unpredictable physical phenomenon. Li seems to be using this symbol to point at an insurgence of sudden power that is able to both destruct and clean-up. It reflects on the recent popular notion of “high risk, high return”
and
hints
at
the
potential
crisis
dwelling
impression of a so-called “prosperous society”.
028
in
the
The theatrical ambiance and social indication in Li’s recent works are constantly pointing at the present time’s constant pursuit in development and growth. He also deliberately places multiple possibilities for different readings with his works. For example the piece “Greed”, shown for the first time in this exhibition, deals with the subject of greed, temptation, and evil
indicated
in
the
metaphorical
form
of
a
snake
in
many
religions. On the other hand, in many different cultures, it is also used as a sacred totem for life’s transformation, nature’s cycle,
and
endlessness
with
life.
Through
the
exaggerated
allegory of a “boa swallowing a tank”, Li points at a presently common cultural phenomenon in China. Another large installation “Frolicking” is a mobile sculpture comprised of five sets of manual-power cranes and mechanical arms to form a mechanical space
with
elements
referencing
to
the
theater,
war,
and
factory. The mechanical arms appear to be very power and more determined in competing with each other. There exists a duo possibility of both good and malicious competitions. It could be thought of as a microcosm of an ideal harmonious society, or it could also be a prototype of a cruel battle in life.
From the above four viewpoints, the objective is to present some outlooks and references for Li Hui’s art. The repetitive theme that we see from his various artworks is that Li holds a strong interest for the idea of “expansion and compression”, which is related to issues of time. He is skilled at using the ironies found in symbols to spur for artistic qualities embodying visual conflicts, interests, and suspense. Upon seeing the exhibition and by experiencing the various “ambiguities” presented, the viewers are able to understand why the curator and the artist have decided to use the term “Reality Impalpable” to define this rapidly changing and quickly developing time and society.
029
030
031
傑羅姆：你從什麼時候開始從事藝術創作？為什麼會走上藝術創作之路？
李暉：其實我從小就開始學習美術，考上中央美院以後算是真正的開始進行藝術方面 的學習，當時我學習的專業是雕塑。要問為什麼做藝術這行，可能是我從小就喜歡 吧！然後順理成章地堅持自己的理想。
傑羅姆：你如何發現你適合當代藝術，而不是古典藝術呢？
李暉：這很有意思，其實我在求學階段學習的是古典雕塑藝術，在我念大學時，我們 學校的教學體系是非常注重傳統的，正因為這樣，我們那個時代的學生反而會對當代 藝術非常好奇，當時還不叫當代藝術，叫後現代藝術。所以在這種好奇下，反而有種 更強烈的欲望想接觸美院教育之外的東西。
傑羅姆：你第一次接觸當代藝術是什麼時候？為什麼對當代藝術這麼著迷？
李暉：可能是當年的畢業創作，我放棄擅長的做法，選擇的是當時我認為最獨特的形 式，一會兒我再說我的創作形式。
傑羅姆：這樣的改變是不是受到什麼影響，譬如說看到了什麼，然後決定做改變？
李暉：應該說有兩個線索吧！首先，我看到一位日本的建築師安藤忠雄的建築作品。 還有一位影響我的是比爾‧維歐拉的影像作品。我看到他們的作品大概是在畢業創作之 前，他們的作品給了我很大的震撼，引發我想用新的方式來表達作品的念頭。
傑羅姆：你在哪裏看到這些作品？
李暉：安藤的作品是在畫冊上看到的，比爾‧維歐拉的是在一個專門提供影像藝術講座
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的頻道上看到的。
傑羅姆：當時你在中央美院的畢業創作是做什麼？
李暉：首先，我選擇汽車做為創作的素材。有一天我看到了一位藝術家的畫冊，這位 藝術家從事純觀念的創作。他將兩個足球球門扣在一起，當時給了我很大的靈感，就 想到可不可以做一個雙車頭的汽車，那是一種沒有方向的感覺，尤其是當車子在行進 的時候。
傑羅姆：你覺得你的作品想表達屬於20世紀70年代的感受嗎？
李暉：我覺得我的選擇很重要，因為我不像我的老師那一代的藝術家們，他們很主 動、也很自然而然的選擇很多意識形態的表達；我覺得我們這代的人，沒有經歷過意 識形態的創作時代，所以我們的創作會更加自我，會更主動地想要區別於老一輩的藝 術家，這也是自然而然產生的，區別的方向可能就是我們關心的主題和他們關心的並 不相同。
傑羅姆：你對於中國現在處在非常資本主義化的狀態有什麼樣的感覺？你和我好像都 有這種經歷，現在的物資不像以前那麼缺乏，現代人想要什麼幾乎都能買得到。
李暉：我是77年出生的，從我出生開始，身邊的一切都在不停的變化，整個社會也在 不停地改變，但是這一切的轉變也不是很突然的、而是漸漸地變化中。這種變化我們 都曾經歷過。這就好像我過往今來的生活環境都在不停的變化，而且變化的速度越來 越快。我身在其中，所以說不出這些變化帶給我什麼明確的影響，因為我的生活就是 這樣。但是這些變化一定會對我產生潛移默化的影響，內心深處的不安也好、不確定 也好，肯定是會有影響的，但你不會天天想著這個問題。
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傑羅姆：你有沒有感覺到這些變化會影響到藝術創作的方式？
李暉：有。我覺得潛意識裡有，我認為有一種藝術形式它會找到一個針對的物件或者 反映現實問題。我們因為身在這個變化之中，它隨時在改變。相反的，我們可能會去 關心一些比較永恆的問題、沒有時代色彩的問題，類似於時間、恐懼或者貪婪這種沒 有時代特色的議題。
傑羅姆：在我看來，你的作品在討論「永恆」這個議題上是比較有建設性的。是一種 對撞，一種過去、現在和未來的撞擊，有著未來主義的色彩以及非常科幻的感覺。
李暉：從微觀的角度來說，每個人認識世界的方法都不同。但宏觀來說我認為這可能 是東方人比較獨特的方式吧！在嘈雜的時刻反而會希望冷靜的旁觀，都會有一種對比 色彩。比如他覺得什麼東西小的時候可能是因大而小，他認為什麼是靜的時候是因亂 而靜。都是在一定的參照下體會什麼是正確、什麼是真實。對於我的作品，我同樣也 希望用這種方法表達，所以會有衝突的東西，進而說明其實才是一個「整體」。
傑羅姆：你的作品裡經常出現古老的東西，是不是因為考慮到現代，所以要把這些古 老的東西拿出來，跟現代感強烈的東西形成對比？
李暉：我覺得這麼放會讓人感覺非常舒服，別人看了我的作品也會有他自己的感覺。
傑羅姆：你的作品裡經常會看到戰爭、戰士、蘑菇雲，你是不是想展現這個世界其實 非常的脆弱，我們就像牛一樣，到處都是，任何人都不被保護？
李暉：我的作品裡確實多次的出現這些東西。其實我身為一位藝術家，不應該站在任 何角度，我盡量保持中立。這些可以說是一種現象，我只是把它擺出來，讓人們提出 自己的問題，這些問題其實都是對自己提問的問題。
傑羅姆：你做的作品，是不是因為受到電子遊戲、科幻電影、卡通等影響？它們本身 不是那麼的真實，在你的作品裡你又把它帶到了另外一個緯度。
李暉：我覺得電影、死亡金屬搖滾樂這些都是我身邊的元素，確實是我喜歡的內容。 但是我還得說一下剛才提的那個問題，比如說我把一個核彈爆破的蘑菇雲呈現得非常 美麗，像一個漂亮的東西，這其中已經有一種微妙的態度在裡面了，這就是藝術家自 己的方式。
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傑羅姆：我也確實發現了這些東西，以及整個世界都有一種暴力成癮的現象。世界周 遭到處都是暴力，我們已經感覺不到什麼了，大家司空見慣，甚至會覺得暴力是美麗 的，是非常有意思的。你的作品是想要呈現出這種暴力美學，還是想呈現出這個世 界？
李暉：其實是這個世界。剛才我也說過身為一位藝術家的我是沒有任何立場的，我是 站在一個客觀的角度。
傑羅姆：我們生活在這種空間裡，確實充斥過多的暴力，並不是說它是一件壞事，而 是非常簡單的事實，不管是在西方還是中國，世界的各個地方都充斥著暴力。
李暉：這可能也是我從小生活在完全變化的環境裡有關，有時候我會害怕這種變化， 也會去適應這種變化，或者我站在原地看著這種變化，它已經離我很遠了，但是我完 全沒有改變，這兩種態度我都選擇過。但確定的是遞變始終繼續著，只是我不知道我 會跟著這樣的環境變到什麼程度。
傑羅姆：這是否就是你將臺灣的展覽定名為「不確定的真相」的原因？
李暉：其實剛才我說的就能很準確的解釋出為什麼我這個展覽的名字叫「不確定的真 相」。還有一點就是，這只是我在臺北展覽的一種嘗試，它有一點像在解釋現實中的 問題。但是我希望以後的方向是沒有時代色彩的問題，而是「永恆」的問題，其實就 是產生一切問題的根源。
傑羅姆：但是我們所談的現實又是什麼呢？
李暉：我覺得現實可能是和個人有關，剛才我也談到時代在不斷的變化，有很多時代 的特點，中國也是在不斷的發展，它帶來了很多現實問題。這些現實問題就像剛才你 說的，其實全世界都在發生為爭奪資源而產生的問題。我覺得這就是這個時代非常明 顯的特徵。
傑羅姆：你怎麼看待科幻的東西？
李暉：我覺得科幻就像一扇門，人們都想知道門後面是什麼。這是科幻給人的刺激， 它幫你打開了這扇門，讓你提前看到了未來，更多的是刺激，當然還有希望。我記得 我小時候看過的科幻片，當時裡面的那種生活就是我們現在的生活。
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傑羅姆：我們現在就在面對這樣的時代，在現實和幻想之間越來越難定位自己。
李暉：我舉一個電影的例子，我覺得這個定位不一定準確，有一個電影叫《The Matrix》它講的就是數位化以後的世界，把真正的物質數位化，這是電影的主要內 容。這部電影非常的過癮，讓你看到很絢麗的動作。我覺得它講的故事會發生，從科 學的角度來講，這也是讓人永生的唯一方法，把你的記憶變成信息，讓你的感知可以 複製到任何時代，不需要透過身體，所有的一切都將變成數字。我覺得如果說要定位 的話，真正到了那一天，也不存在什麼真實、科幻之分，到時候可能就沒有真實了。
傑羅姆：我在你的作品裡看到很多LED、雷射這類的數位化元素，你用他們來營造一 種空間的感覺。你認為作品和科技之間處於什麼樣的關係？
李暉：我認為在這個時代什麼樣的方式都是可以運用的。針對作品而言，你可以用非 常傳統的方式，也可以運用非常獨特的材料、技術，它們唯一的目的就是讓人看了作 品以後有一種獨特的感受，真正觸動人內心的，才是最重要的。而它跟科技、傳統並 沒有太大的關係。
傑羅姆：在你的作品裡有蘑菇雲、龍捲風，是不是想展示自然跟科技的對抗？你怎麼 看自然跟科技之間的對抗？因為現在世界上正不停的發生一些可怕的自然災害。
李暉：我覺得自然和科技有時候是矛盾的，因為人類在不斷的發展，自然是靠不斷的 進化、自然而然的產生，比如說動物之間的進化是靠食物鏈來調配，但是人可以不按 規律來，因為人類已經改變了這個世界。但是我們還是處在這過程之中，最終的勝利 者是誰，誰也不知道。我們只能知道結果，而且需要去承擔這些結果，這就是控制我 們不能為所欲為的方式，所以自然和科技能夠相互制約。
傑羅姆：我在你臺灣的展覽裡看到了機械臂互相角力、拉扯的作品﹝嬉戲﹞。看到這 個作品，感覺身體的一部分變成了機器，成為一種延伸，或者說身體成為了機器這種 延伸，也有機器模擬身體的感覺，你是怎麼看機械跟人體之間的關係？不管身體作為 機器的一部分，或是機器作為身體的一部分。
李暉：我覺得這非常有意思。我先預判一下，這個世界接下來要發生的是機械跟人類 的融合。而且這個確實是會發生，因為我常關注這方面的消息。現在日本的工廠和美 國的軍工廠已經造出一種機械的外骨骼，可幫助人體骨骼支撐的外骨骼。它可以讓人 更強壯、跑得更快、力量更強。我相信這種技術在軍隊實驗成功以後很快就會民用
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化，用來幫助老人和有殘疾的人。一旦真的發生了，我覺得一定會產生很多嚴重的問 題，首先就是人跟機器之間的融合，而且這種融合十分緊密，如果機械出了問題，就 會給人體帶來致命的傷害。還有一點就是它能讓弱者變強，這本身就有點不符合自然 規律，比如說汽車，汽車也算是一種外骨骼，但是如果汽車發生了問題，往往都會帶 來十分嚴重的災難，就像機械故障引發的交通事故。
傑羅姆：那你剛才說的這些是不是也體現在﹝嬉戲﹞這件作品裡？
李暉：是的，當然那件作品一方面是表現機械的「無情」和「理性」，但另一方面更 重要的是他們在「爭奪」。
傑羅姆：你的作品﹝門﹞是不是一種比喻？很物化的比喻，讓觀眾彷彿經歷環場電影 一樣的感覺，將他們帶到另一個境界。
李暉：我覺得光給人的感覺就是一種指引。這個展覽裡的這件作品安排的位置非常 好，人們看到光，就自然而然的朝著光的這個方向走去。我想說的是它不僅僅是指一 種環繞的感覺，它還是一種指引。當人們真正被指引到門的面前時，其實他們卻落入 另一個陷阱。到盡頭，他們才發現那扇門其實是過不去的，甚至有的人會撞上這所謂 的「門」。這時，他們只能選擇其他方向通過。觀眾會發現一開始的判斷就是錯誤 的，但是他們卻是被指引過去的。
傑羅姆：那正確的方向是哪？這扇門會帶你到哪？
李暉：正確的方向反而是牆。這件作品的組成有門、牆、還有通道，正確的方向是穿 牆而過。
傑羅姆：那是不是就像進入二次元生命(Second
life)中，就像通過這個門你
可以進入到另一個世界裡，在這個世界裡你可以重新創造新的東西，就像網路遊戲一 樣，你在現實中成功不了的，可以到另外一個世界去實現。
李暉：就是虛擬與真實。
傑羅姆：你又是怎麼看待「虛擬」？這種虛擬又會把人們帶往何處？
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李暉：現在人們判斷一個人的人生都是用現實的經驗來判斷。「虛擬」最大的誘惑在 於可以在虛擬的網路遊戲世界中像演員一樣，扮演另外一個自我，是在現實中不可能 實現的自我。我認識一些玩網路遊戲成癮的人，不是因為遊戲讓他上癮，而是因為他 在虛擬中實現自我，因而讓他上癮了。真實社會裡實現自我是困難的，但在虛擬的網 路遊戲世界裡可以殺人、放火、娶很多妻子，完全是另一個世界。但我不太玩網路遊 戲。
傑羅姆：這個作品是不是要讓觀眾感覺進入到另一個世界？
李暉：就是有一種穿越的感覺，從這個空間到另外一個空間，這是一種誘惑，是光和 空間給予的誘惑。但當你穿過由雷射組成的牆時，這種因誘惑而帶來的穿越讓人印象 深刻。
傑羅姆：你在UCCA當代藝術中心展示的作品﹝V﹞也有相同的感覺麼？
李暉：我覺得﹝V﹞讓人感覺更強烈的部分，應該是光和鏡子。在整個空間中有一種穿 越的感覺，是因為鏡子的存在而改變了空間的關係。其實在人們穿越空間的時候，他 們一定會跟雷射發生某種關係，或者人們站在鏡子上的時候改變了雷射的形狀。這是 參與性很強的體驗。
傑羅姆：是不是特別有那種穿越空間的感覺？
李暉：那得看觀眾如何看待這個空間的變化，因為看到光的時候會看到一種很強烈的 即虛擬又真實的物體。當你穿過去的時候就像穿越一堵牆一樣，因為我體驗過穿越雷 射的感受，十分的奇妙。
傑羅姆：那這個V該如何解釋？是不是你剛才提到的有活力、有能量？
李暉：V就是victory即勝利（笑）。
傑羅姆：哪一種勝利？
李暉：我覺得它是正巧碰到了這麼一個形狀，它其實並不是一個平面上的V，它在空間 上有變化，我的直覺告訴我，這個作品的名字叫V應該是最簡單最有意思的。
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傑羅姆：你的作品裡經常會出現一些神、宗教這些東西，它們是不是成為了一種表達 你內心精神世界的新工具？
李暉：創造是人獨有的，我其實沒有任何宗教信仰，但是我瞭解很多宗教信仰裡只有 神才有權利去創造，甚至人都是被創造出來的。但是咱們現在取代了神的作用，不停 地在創造一些未知的，就像剛才你說的不停的有新的事物產生，而且這些新的事物都 會改變人的生活，這是其中的一點。我的作品裡常常出現可能有一點宗教氣氛的感 覺，其實我是想運用它的儀式感。其實每個人內心深處都有一種對宗教的判斷，都有 一種最原始的感覺可能跟宗教的起源有關，就是站在高處會害怕，站在黑暗裡會恐懼 的這種感覺。
傑羅姆：你覺得消費是不是一種新的宗教？
李暉：我覺得是。因為是工業時代產生的，就像IPhone會不停的漸進的推出新產品 讓人們消費。這種方式甚至指引了人們精神愉悅的方向。
傑羅姆：這就有一個矛盾在裡面，這些東西很快就消失了，變化很快。但是你的作品 又是有關於永恆的，你怎麼看這個問題？
李暉：有句話是這麼說的「萬古長空一朝風月」。這句話就是一種對比，天空是永恆 不變的，但是天空裡就有一朝風月，就是風雲月亮每天都在變，它就是在形容世界上 有永恆的東西也有瞬息萬變的東西，這些都是真實存在的。因為有瞬息萬變的一朝風 月才有永恆的萬古長空。這是一種東方的哲學。
傑羅姆：你今後的藝術作品將會呈現什麼樣貌？
李暉：我可能會更多地運用抽象的方式來表達，這是從形式上來說。當然在內容上， 我還是希望研究一些永恆的問題。我並不是研究它為什麼永恆，而是研究如何讓它存 在於人們的心裡，如何表達出來讓人們直接感受到。
傑羅姆：謝謝。
李暉：你的提問很深刻。
039
Interview of Li Hui by Jerome Sans Time: May 20,2011 Place: Beijing
(Director of Ullens Center for Contemporary Art)
Jerome: When did you start making art? What impelled you to pursue the path of art?
Li Hui: Actually I started learning art at a young age, but the start of my art education began after my acceptance to the Beijing Central Academy of Fine Arts. At that time I was focused on the genre of sculpture. As for the question about what impelled me to pursue in art, having developed a fondness for it since I was young, it naturally became a devotion that I dedicate myself to.
Jerome: How did you realize that you are more suitable for contemporary art rather than traditional art?
Li Hui: This is interesting, because when I attended school I was learning about traditional sculpture. My school was actually quite deeply focused on tradition; however, because of that the students became very curious about contemporary art. It was not even called contemporary art then; it was referred to as post-modern art. A powerful desire sprung from that sense of curiosity and prompted me to explore things beyond what we were taught at art school.
Jerome: When was your first contact with contemporary art? What attracted you to it?
Li Hui: I think it was probably during the time when I was making my graduation project. I decided to abandon the approach that I was most skilled at, and went with something that I thought was the most unique. I will later talk more about my creative approach.
040
Jerome: Were you influenced by anything; for example, did you see anything that provoked you to make the change?
Li Hui: I think perhaps there were two signs. First, I came into contact with architectural works by Japanese architect, Tadao Ando. Another piece that impacted me was a visual work by Billy Viola. I saw their works around the time before my graduation project. They both strongly affected me, and incited me to come up with a new way to express my work.
Jerome: Where did you come across those works?
Li Hui: Ando’s I saw in a book, and Viola I came across during a video art seminar.
Jerome: What kind of work did you make for your graduation piece at the Central Academy of Fine Arts?
Li Hui: I first opted to use automobiles as the material for the artwork. I was reading a book about an artist that makes purely conceptual works. One of his artworks was made of two football goals joined together. It was quite inspirational to me. I thought of joining two car heads together to create a sense of lack of direction, particularly when the car is set in motion.
Jerome: Do you think that the internal impression of your art is one that belongs to the era of the 20th century 1970’s?
Li Hui: I think the route I’ve chosen is quite important, because unlike the generation of artists that my teachers
041
belong in, which was quite assertive and expected in opting for different ideological ways of expression, I feel that our generation did not go through such an ideological time. This is why we are more self-oriented and more assertive in wanting to differentiate from the older generation artists. This kind of assertiveness comes naturally, and the way we differentiate ourselves from them is perhaps through the different issues that we are concerned with.
Jerome: What are your thoughts on China’s current state of extreme capitalism? I think both you and I have gone through similar experiences with things now being readily available and nearly almost anything could be purchased.
Li
Hui:
I
was
born
in
1977,
and
things
have
continuously
been changing since the day I was born. The entire society is constantly changing too, but the changes are not drastic; instead, it happens gradually bit by bit. We have all been through it. In other words, the living environment that I am in has been changing nonstop, and the changing pace also seems to be speeding up. Because I am an insider contained within the situation, therefore, I am unable to clearly tell the influences that these changes have caused me. This is the way my life is, but these changes must have somehow had certain impacts on me. Perhaps it is a sense of uneasiness or uncertainty inside. No matter what the impact may be, there is bound to be some affects caused. However, this is not something that people would think about on a daily basis.
Jerome: Do you think that these changes have influenced the way you create art?
Li Hui: Yes. I feel that subconsciously it has. I think with this kind of particular art form, it will always target a specific object or reflect upon a realistic issue. As we are situated within a state of constant change; therefore, we might inversely be more concerned about issues pertaining to eternity, such as issues with no distinct correlation to any particular time era. Issues such as time, fear, or greed are examples of concerns that are not particular to any given era. They have existed and still exist in any given time.
042
Jerome: I think your art is quite constructive in regards to issues of eternity. There is a clash between the past, present, and future, and it also possesses a sense of futurism. It is quite science-fiction in a way.
Li Hui: Viewing from a micro-perspective, each person holds a different view about the world we are in. From a more macroview, I think perhaps this is a unique perspective particular to the East. Amidst chaos, a sense of calm would be called upon. There is a sense of contrast. For example, if something is thought of to be small, it is perhaps small in comparison to something that is large. What is considered to be calm is perhaps thought of to be calmness amidst chaos. Things are thought of in comparison to conjure a sense of precision and truth. I also hope to use this approach in treating art; therefore, there is a sense of clash, and it is perhaps a way to deal with matters of more “comprehensive” nature.
Jerome: You often use ancient elements in your art; is this because you want to use them to make a strong contrast with modern matters?
Li Hui: By doing so, I feel that a sense of ease and comfort is created, and others are able to come up with their own impressions when they see my art.
Jerome:
We
often
see
wars,
warriors,
mushroom
clouds
in
your artworks. Are you trying to convey this world is very fragile, and we are scattered around like cattle and nobody is protected?
Li Hui: These elements have indeed occurred many times in my artworks. Actually from the position as an artist, I am not leaning towards any side; I am neutral. These could be considered as spectacles, and I am just using them to motivate people to raise questions. The questions about these works have actually all come from the viewers themselves.
Jerome: Has your art been influenced by digital games, sci-fi movies, animations, etc…? These things perhaps don’t seem real,
043
but through your art, you have repositioned them to a different level.
Li Hui: Movies and death metal music are all elements that I surround myself in. These are substances that I am drawn to. However, I must go back to the issue I was talking about earlier. For example, if I present a nuclear explosion mushroom cloud to be something beautiful, a complex outlook is already proposed. This is a very subjective way for an artist to deal with these matters.
Jerome: I’ve also realized these things, and also how the world has somehow become addicted to violence. The world is surrounded by violence, and we have become aloof and accustomed to it. Sometimes, we even feel that violence is beautiful and interesting. Are you trying to convey this sense of beauty in violence or are you trying to depict the world?
Li Hui: It is about the world. I mentioned previously that as an artist my position is neutral. I am taking an objective stance.
Jerome: Indeed there is a lot of violence around us. I am not saying that is a bad thing; it is just the simple truth. Regardless
of
being
in
the
West
or
in
China,
violence
is
everywhere.
Li Hui: I’ve been living in an ever-changing environment since little, and sometimes I am fearful of the changes. I would try to adjust to the changes, or other times, I might just stand still and observe the changes. This way, the changes might be evolving, but I would remain the same. I’ve tried both of these approaches before; however, it is for certain that changes are always happening, but I am unsure about where the changes would take me.
Jerome: Is this why you’ve titled your exhibition in Taiwan “Impalpable”?
044
Li Hui: What I just talked about could precisely explain why I’ve titled this exhibition “Impalpable”. Another point is that this is an attempt I’ve made for the exhibition in Taipei; it is a way to explain a realistic problem. However, I hope that my future path will be without any pertinence to any given time era; instead, it should be about issues of eternity. Eternity is actually the origin of all issues.
Jerome: But what is reality? What about this reality that we have been talking about?
Li Hui: I think that reality is quite personal. I also just talked
about
how
time
is
constantly
changing,
and
there
are many attributes that are time specific. China is also constantly developing, and there are many realistic problems. These realistic problems are like what you’ve just mentioned; there are many problems in the world with people fighting over resources. I think that is one of the most noticeable issues in this period in time.
Jerome: What are your thoughts on science-fiction?
Li Hui: I think sci-fi is like a gate, with people wondering about what is behind it. This is the sense of excitement that sci-fi has. It helps to open a door for us to see the future. There are a lot of excitements and also a sense of hope. I recall being a kid watching sci-fi, and the life I saw then is the life I am in now.
Jerome: We are in a time when it is getting more difficult to position the self between reality and fantasy.
Li
Hui:
Referencing
to
the
movie,
“Matrix”,
I
think
this
positioning may not be accurate. In the movie, it dealt with a world that has been digitalized. The core of the film is based on the digitalization of tangible matters. It is a very thrilling movie with many spectacular actions. I think the story in the film will really happen. From a scientific perspective, it is the only way to immortalize humankind. By turning memories into signals and replicating emotions in any time setting, the body
045
is made obsolete, as everything is turned into data. Talking about positioning, when that day actually comes, it would not matter what is real and what is fictional. Perhaps, reality would not even exist.
Jerome: What do you think are the relationship between your art and technology? I see a lot of LED, lasers and other digital elements in your artworks. They seem to have been used to create a sense of space.
Li Hui: I think in this era, anything goes. In regards to creating art, one could opt for a very traditional approach, or choose to use very unique media and techniques. The key objective is for people to gain a special impression after seeing the artworks and to truly touch people’s hearts. This is the most important of all, and it has very little to do with technology or tradition.
Jerome:
You’ve
used
mushroom
clouds
and
tornados
in
your
artworks; are you trying to portray a battle between nature and technology? What are your thoughts on this sort of conflict? I am bringing this up because there are so many horrific natural disasters happening around the world nowadays.
Li Hui: I think there is an irony between nature and technology. People are constantly evolving, and the formation of nature is due to constant evolutions in nature as well. The evolution for animals is based on the structure of the food chain; however, people have not been following this structure, because human beings have already altered the world. However, we are still in the midst of the progression, and who the ultimate winner will be is still unknown. We will have to live up to the outcome of our actions, and this sense of outcome is what controls us from doing whatever we want; therefore, there is a correlating control between nature and technology.
Jerome: There is a piece by you in the exhibition in Taiwan with mechanical arms tugging and pulling at each other. Upon seeing this work, “Frolicking”, it feels like the body has become a part of the machine, as an extension. Perhaps, the body has become an extension of the machine, and a sense of
046
machine mimicking the body is formed. What are your thoughts on the relationship between the machine and the human body? It could be that the body has become a part of the machine, or vice versa.
Li
Hui:
I
think
this
is
very
interesting.
I’ve
predicted
that in the future human beings will be fused together with machines.
This
is
something
that
will
actually
happen.
I
pay very close attention to this kind of information, and currently in the military sectors in Japan and the US, a form of mechanical exoskeleton has been produced to help people support their own bone structure. It could help to make people stronger, run faster, and be more powerful. I believe this kind of military experiments will be made widely available to help the elderlies and others in need. Once this really happens, I think it might produce some sever problems First, the fusion of people with machines, especially with such close contact, might cause fatal harm if the machine malfunctions. Another problem is that it could make the weak stronger, which is going against the course of nature. For example, automobiles could be considered a form of exoskeleton, and when cars break down, serious accidents could happen.
Jerome:
Is
what
you
just
talked
about
conveyed
through
“Frolicking”?
Li Hui: Yes. At the one hand, this piece is trying to convey the “emotionless” and “rational” sides with machines, and on the other hand, more importantly, they are “fighting”.
Jerome: With your work, “The Gate”, is it a metaphor? Is it a materialized metaphor that gives the audience a feeling of being placed inside a panoramic motion picture or being transported to another realm?
Li Hui: I think the element of light gives people a sense of direction. This artwork has been placed in a very good location in this exhibition. As people see the light, they would naturally be drawn to it. It is not merely a feeling of being surrounded; it is also a form of guidance. When people are directed to the gate, they have actually fallen into a
047
trap. At the end, they realize that the gate is not accessible, and perhaps some people might even bump into this so-called “gate”. At that time, they could only find other ways around it, and they will realize that they were mistaken initially; even though they were actually guided over to that spot.
Jerome: Where then is the correct direction? Where does this gate lead you to?
Li Hui: The correct way is actually through the wall. This piece is comprised of a gate, wall, and a passage, and the right way is through the wall.
Jerome: Isn’t it kind of like entering into a second life; entering into a different way through this gate, and at that world you could create new things. It is like a computer game; if you can’t succeed in real life, you could make it happen in another world.
Li Hui: It is about virtuality and reality.
Jerome: What are your thoughts on virtuality? Where would this sense of virtuality lead people to?
Li Hui: People now usually judge a person’s life based on real world experiences. The biggest incentive of virtuality is that in a cyber-world, you could become an actor or turn into an alter ego; a self that is not possible in the real world. I know some people who have become addicted to cyber games. I don’t think it is the games that have caused their addictions; instead,
it
is
the
realization
of
the
self
that
they
are
addicted to. It is difficult to realize the self in the real world, but in the virtual game world, you could kill people, set things on fire, and have a lot of wives; it is a completely different world. However, I am not really into these cyber games though.
Jerome: Is the intent of this piece to bring the viewers to another world?
048
Li Hui: There is a sense of transcendence. From this space to another, there is an enticement that is formed by the light and the space. When you pass through the wall comprised of lasers, the inducement from the act of passing through could leave quite a profound impression in people.
Jerome: Is this impression similar to the piece, “V”, you showed at UCCA?
Li
Hui:
I
think
“V”
gives
a
stronger
impression
through
the light itself and the mirror. Laser and mirror are very interesting. Also the entire space has a sense of transcendence too, because the mirror alters the relationship with the space. When people are passing through the space, they will form some kind of connection with the laser, or when people are standing on the mirror, they would also change the shape of the laser. It is an experience that involves a lot of participation.
Jerome: Is it that special feeling of passing through space?
Li Hui: It would depend on how the viewers see the changes in the space, because when one sees the light, he/she will see
a
tangible
form
that
is
very
powerful
and
also
quite
simultaneously surreal and real. When you pass through, it is like passing through a wall. I’ve experience passing through laser beams; it is very magical.
Jerome: How do you explain the “V”? Is it the sense of energy, vitality that you just mentioned?
Li Hui: V stands for victory (smiles).
Jerome: What kind of victory?
Li Hui: I think the shape just happens to be there; it is actually not a flat V. It alters in the given space, and instinctively, it tells me that this artwork should be titled as “V”, as it is the simplest and the most meaningful.
049
Jerome: There are often elements of divinity and religion in your artworks. Are they new tools that you have employed to express your inner spiritual world?
Li Hui: Creativity is unique to humankind. Actually I am not religious, but I understand that in many religions, only God has the power to create, and even people were created. However, we are now replacing God, as we are constantly creating what was unknown before. Like you mentioned, there are constantly new things happening, and they are able to change people’s lives. There are often some religious implications in my art, because I use them for their sense of ceremonial imprint. Each person has his/her own take on religion, and has a primal instinct that is probably related to the origin of religion; for example, we might be fearful when standing on high grounds or frighten when surrounded by darkness.
Jerome: Do you think consumerism is a new form of religion?
Li Hui: I think so. It is due to industrialism. For example, iPhone is constantly coming out with new products to lure people into buying. This approach is even leading people to a state of spiritual bliss.
Jerome: There is a sense of irony in this. Those things are rapidly coming and going, and always changing. However, your art is about eternity. How do you address this issue?
Li Hui: There is a saying that makes the analogy between how the sky is eternal, but the moon in the sky is always changing. It is describing that there is eternity in the world and also eternal changes as well. These things all exist. Because there is the ever-changing moon, therefore there is the eternal sky. This is a philosophy of the East.
Jerome: What kind of art will you be presenting in the future?
Li Hui: I might go with more abstract expressions with the form. With the contents, I still hope to deal with issues of
050
eternity. I am not really analyzing why it is eternal, but studying how to let it dwell inside people’s hearts, and how to express it for people to directly feel it.
Jerome: Thank you.
Li Hui: Your questions were quite profound.
051
052
053
054
055
056
走進當代館的入口處，映入眼簾的是被無數道雷射紅光籠罩/貫穿的一張 病床，煙霧裊裊上升，觀者彷彿來到一個儀式場域，沉浸在一種炫麗、迷幻的現場氣 氛，感覺上，這張「床」已不是普通靜物，而直接連結到某種強大的神祕能量，它象 徵了對於塵世束縛的超脫，而開現出一個更自由遼闊的天地。
在此，李暉以新科技媒材結合日常器物，進行生死哲學的辨證：「床」 是人類出生的起點和死亡的終點，可以聯想到佛家生死大義的「輪迴」；床也是人們 休息、睡眠、病痛、性愛等諸多活動的棲所，可以關連到日常活動的「輪轉」。空盪 無人的床，意味著肉身生命的有限，有形無體的光，卻象徵著精神性靈的昇華。此作 簡要地融合了感性的人性意念和知性的物理能量，具現了李暉以科技藝術手法書寫人 文觀照情懷的強烈意圖和特殊成就。
At the museum’s entrance, the audience is greeted by a hospital bed surrounded and penetrated by countless beams of laser light. Smoke slowly drifts up and visitors are engulfed in a dazzling and psychedelic atmosphere, as if they have entered a place of ceremony. This “bed” is suddenly no longer an ordinary static object, but has become connected with a certain kind of strong mystical force; it symbolizes the transcendence from the chains of worldly bondage into a state of greater freedom. In this work, Li Hui merges new technology media with everyday artifacts to address the philosophy of life and death. “Bed” is the beginning and the end of human life, which can be associated with the Buddhist concept of reincarnation. Bed is also where people rest, sleep, recover from illness and have sexual intercourse, which can be related in turn with the cycle of everyday life. The empty bed symbolizes the limitations of physical life, while the formless light represents the elevation of the spiritual soul. This work concisely merges emotional
human
ideologies
with
rational
physical
energy,
displaying Li Hui’s strong intentions and achievements in using art technology to portray and address humanistic issues. ．雷射、煙霧、金屬、布 / Laser light, smog, metal, fabric ．200 x 110 x 500cm, 2007
057
064
065
F1|F1
「F1」是以壓克力及LED燈為主要素材，包含了8個組件的雕塑裝置 作品，屬於李暉最為人熟知的半透明雕塑系列。李暉一方面著迷於刻畫、歌頌能引發 「速度感」的各種物件，一方面又試圖在其中注入一種「靜止感」作為對比和反思； 但見，他在純淨透明的壓克力內部雕鑿出F1賽車的流線形體，卻又讓其分解斷裂，讓 我們在科工文明的碎塊中，隱約看到一具具生物骨骸的形影。
李暉以壓克力素材堆疊透雕的系列作品，傳達了一個核心訊息──所有曾 經不可一世的事物，儘管擁有一時的霸權或強大力量，終究逃不過時間的沖刷和歷史 的考驗，而走向被淘汰、被取代的末路，在此，藝術家藉由揭穿外在事物的多變性， 而指向一種內在精神的永恆追求。
F1 is a sculpture installation mostly comprising eight semitransparent
components
using
acrylic
and
LEDs.
This
work
belongs to Li Hui’s best-known sculpture series. Fascinated by objects capable of provoking a sensation of “speed,” the artist has attempted to insert “stillness” as contrast. Within the transparent acrylic, he carved the streamline body of a F1 racing car – not as a whole but broken into several fragments. Concealed
within
these
fragments
of
the
scientific
and
technological civilization are shadows of skeletons belonging to living creatures.
With this work, Li Hui delivers a fundamental message: No matter how much authority, power or might people or objects have, they cannot escape the passage of time and the judgment of history. Eventually, everything becomes obsolete and is ultimately replaced. The artist reveals the variability of all external things, and encourages a continuous pursuit of inner spirituality.
．壓克力板、LED燈、不銹鋼 / Acrylic, LED, stainless steel ．370 x 120 x 40cm, 2007
066
067
072
073
壓克力雕造的一部坦克車造形團塊中，包覆著佛陀慈悲的形體──佛頭、 佛手如琥珀中的化石般隱約透顯，坦克車被大塊肢解的終戰情境、相對浪漫的光色氣 氛、和佛像所散發的安祥、福佑、和平意涵等，在在顯示了，李暉擅長並置意象對比 的符號和物件，以之來創造一種矛盾的語境，同時化解內存於其中的東西、古今、宗 教、文化等各種衝突內涵。
此系列壓克力雕塑裝置，以冷靜平實的造形表達了警世的意涵，以轉瞬 成空的慾望刻畫，象徵了內心的一種救贖。它們的共同特色是，藉由外部形體與內部 物象之間的悖論關係形成張力，同時指向對立、包容、或解放、超脫等不同概念，營 造出線性言語所無法表達的多重語境。
Within the tank-shaped acrylic sculpture lies the body of the compassionate Buddha, with his head and hands revealed faintly as fossils in amber. The end-of-war scenario hinted at by the dismantled tank contrasts the romantic atmosphere created by the color of the light and the aura of serenity, bliss and peace emitted by the Buddha image. As demonstrated through this work, Li Hui excels in the juxtaposition of contrasting symbols and objects, constructing a context of contradictions while erasing the conflictive aspects of its inherit contemporaneity, religion and culture.With a calm and plain form, this installation conveys a warning, and by depicting desires as objects that inevitably turn into nothingness, the work symbolizes a type of inner salvation. The paradoxical relationship between the work’s external form and its internal significance results in tension; in addition, the artist evokes notions of opposition, inclusiveness, release and transcendence, with the intention of
building
multiple
contexts
that
otherwise.
．壓克力板、LED燈、不銹鋼 / Acrylic, LED, stainless steel ．450 x 180 x 160cm, 2007
075
could
not
be
conveyed
082
083
084
核爆的蕈狀煙雲與F1賽車的殘骸斷片，同時被凝結在透明的「法櫃」 之中，李暉透過氣體膨脹與固體凍結的異相對比，結合陰森意味的紅色底光照明，營 造了諸如「猛然的威力，淡淡的哀傷」或「速度的快感，死亡的詩學」的一種弔詭情 境。
李暉作品喜歡透過形/意兩面性的刻畫和應用，激發觀者在相互參照的模 糊地帶中理出自己的閱讀文本。以此作為例，F1賽車對於極限速度的追求，象徵了人 類超越本能的永恆企圖與冒險犯難的精神本質；瞬間能摧毀一切的核彈，點出了人類 終須在科工實力和自我節制之間做出抉擇的道德勸世意涵。但是更多閱讀可能仍存在 其中，等待讀者自行提煉。
The
mushroom
cloud
of
a
nuclear
explosion
and
the
metal
fragments of a racing car are simultaneously frozen within a transparent “ark.” Li Hui works with the contrast between gas expansion and the freezing of solids, inserting a gloomy and red under-lighting to create a paradoxical context of a “sudden surge of power, touch of sadness” or the “thrill of speed, poetry of death.” Li Hui tends to use a duality of form and meaning in his expressions to encourage the audience to create their own interpretations within the gray areas of the works. Taking this work as an example, the racing car’s pursuit to reach the limits of speed represents the spiritual nature of mankind as it continuously attempts to overcome its own limitations. The nuclear bomb, capable of destroying everything in an instant, contains a moral significance that persuades people to make a choice between scientific prowess and selfrestraint. These are but a few of the possible interpretations the work allows, and the rest are waiting for the audience to discover and process.
．壓克力板、LED燈、不銹鋼 / Acrylic, LED, stainless steel ．100 x 100 x 180cm, 2008
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「武士」在不同的文化中都具有保護弱小、防衛疆土、犧牲自我的綜合 意涵，並常結合傳奇故事或特殊形象，武士同時象徵了正直的人格和社會的責任，在 紛亂的時代中，遂成為一種「理想男子」的標竿，但是，武士也常因任重道遠而被賦 予一股難以擺脫的悲壯宿命感。
李暉基於對武士的景仰創作了這件新作，一面刻畫出武士堅毅的外在形 象，一面試圖詮釋武士神祕內斂的精神性格。他在偉岸的武士形體中鑿現出結構複雜 的多重生物骨骸，藉由這些超越了生物解剖學的合理性而充滿尖刺的內在「支架」， 同時強化了武士堅毅不屈、身心超凡的角色意象，和忍辱負重的悲劇性格。
In many cultures, “warriors” are associated with the protection of the weak, defense of land and self-sacrifice. They are often featured in legends and portrayed through fantastical imagery. At the same time, warriors symbolize human integrity and social responsibility, fulfilling the role of the “ideal man” in times of chaos. Unfortunately, the heavy responsibilities laid upon them often lead these warriors towards their tragic fate.
Li Hui has created this work out of admiration for warriors. The artist not only depicts their determination through outward appearance, but also attempts to interpret their mysterious spirituality of self-discipline. Within the imposing figure of a warrior he carved multiple complex skeletons of living creatures,
creating
spiked
inner “supports”
that
defy
all
rational anatomy. Such additions strengthen the warrior’s image of perseverance and transcendence of the body and mind, but also represent a heavy burden and tragedy.
．壓克力板、LED燈、不銹鋼 / Acrylic, LED, stainless steel ．100 x 100 x 180cm, 2008
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在2樓的樓梯間，李暉以雷射光建構了一座大門，這個彷彿只在夢境中才 會出現的通道，頓時讓人驚問通往何處？數以千計的雷射光束，同時提供了視覺性的 衝擊和想像力的誘導，光點灑在現場觀眾的手上、身上，活生生的人體出現了戲劇性 的穿透效果，身、心、靈的定義和分界在此似乎已被同一化、模糊化，人的存在與活 動也因此具有荒謬和超現實的意味，炫目的光束引人想要伸手碰觸，而接觸的當下， 卻發現那未必是個真實…。
門是轉換兩個空間的過渡地帶，李暉似關實開、結合了屏風與通道的雷 射光門，承襲了中國建築的空間概念，也顛覆了世人對門的一般印象，讓觀者在經過 的一瞬間充分感受到激光放射的戲劇性效果、整體空間的心理能量、和身在其間如夢 似幻的非凡體驗。
At
the
top
of
the
staircase,
Li
Hui
uses
laser
light
to
construct a large gate. The audience wonders in awe: Where does this dreamlike passage lead? The countless number of laser beams not only provokes a sense of visual impact, but also stimulates the imagination. Light spots are spread on the
body
effect
and
of
boundary
hands
piercing between
of
the
through
body,
audience,
creating
the
body.
heart
human
and
soul
a
dramatic
Suddenly,
becomes
blurry
the and
homogenized, while the movement and existence of the people seem absurd and surreal. The dazzling rays of light invite people
to
touch
them,
but
at
the
very
moment
of
contact,
the audience discovers that they were never real at all … Gates
are
a
transition
area
between
two
spaces.
Li
Hui
creates a gate of laser lights by integrating the concepts of folder screen and passageway, inheriting the spatial concept of
Chinese
architecture
while
replacing
the
traditional
impression of gates. As the audience walks by the work, they will be capable of fully experiencing the dramatic effects of the laser projection, the psychological energy emitted within the exhibition space, and a unique dreamlike sensation.
．雷射、鏡子、木頭 / Laser light, mirror, wood ．340 x 200 x 300cm, 2007
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李暉以機械馬達串接錯綜糾結的血管，結合紅色激光與縷縷上升的煙 霧，創造了一顆複合了「硬梆梆」、「活生生」、「血淋淋」、「熱騰騰」等多重感 覺的超大心臟，這顆被鐵鍊懸吊在觀眾面前的心臟，弔詭的讓人同時聯想到十字架上 的救世主和斷頭台上的死刑犯，現場情境氣氛介於神聖救贖和罪惡沉淪之間，觀者隱 約可以聽到它的心跳律動，感受到它的喘息呼吸，並回應到自我身體意識的存在與覺 醒。
Li Hui connects a mechanical pump with closely entwined blood vessels, surrounding them with red laser light and a fog that slowly and continuously builds up. The artist creates a gigantic heart that gives the impression of being “hardened,” “living,” “bloody” and “broiling,” hanging by metal chains and displayed in front of the audience. This strange imagery reminds one of Jesus Christ on the cross or a prisoner condemned to the guillotine, filling the exhibition space with an atmosphere that lies between the holiness of salvation and the damnation of sin. Visitors can faintly hear the heart’s beat and gasping respiration,
while
simultaneously
becoming
aware
of
the
existence and awakening of their own consciousness.
．不銹鋼、雷射、煙霧、氣泵 / Stainless Steel, laser, Smoke Machine, Air Pump ．110 x 110 x 310cm, 2009
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抽象的「力量」和「速度感」也是李暉近年雕塑創作中喜歡著墨表現的 特殊主題之一，這件懸吊裝置「龍捲風」以金屬材料為主，透過由小漸大的風扇形構 件，模擬再現了龍捲風的自然形態和威力意象，一方面張揚了龍捲風無與倫比的襲毀 力量，另一方面，點出龍捲風在遇合不同事物的同時，其實也不斷地與現實進行一種 無形的妥協。
有形而無實體的龍捲風，是自然界潛在能量的瞬間巨集，是人類科工文 明也無法預測阻擋的物理現象，李暉似乎有意以此象徵一種暴起的、摧枯拉朽的清除 力量，進而指涉當前盛行的「不破不立、大破大立」價值思維，和所謂的「社會一片 繁榮」現象。
The abstract concepts of “force” and “motion” have been one of the frequent themes in Li Hui’s sculptural works over the past years. The suspended installation Tornado works with fan-shaped metal parts of increasing size that recreate the natural form and powerful imagery of tornados. The work not only depicts the unmatched destructive force of tornados, but also their continuous
and
invisible
compromises
with
reality
as
they
encounter different objects in their way.
Visible
but
without
a
concrete
body,
tornados
are
sudden
accumulations of energy concealed in nature, and a physical phenomenon that not even science or technology can predict or prevent. It almost seems as if Li Hui intended to use tornados as a symbol of an immediate and overwhelming cleansing force. From this perspective, the artist refers to the phenomena of “without destruction there can be no construction; with total destruction
there
can
be
total
reconstruction”
prosperity” prevalent in current society.
．不銹鋼、電機、鐵 / Stainless Steel, Electric Machine, Iron ．70 x 70 x 240cm, 2011
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and
“mass
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李暉的作品，除了展現剛強、堅毅的性格，也有一種無可救藥的浪漫 情懷。他著迷於「瓶中信」的概念，視之為一種同時牽動懷舊情感與未來想像的心靈 旅程，在「漂流瓶」這件雕塑新作中，他也試圖賦予之豐富的想像空間與不確定的性 格。於此，尺寸的概念是逆反的──小小的玻璃瓶竟然包藏著一艘航空母艦的形影，它 隱喻了原本細微的思想、情感或訊息，經歷一段漫長的時間、旅程或發酵之後，可能 轉變得相當具體強烈迫切，以至於無法忽視它們的存在。看得出來，李暉也有意在這 件作品中玩用角色易位與力量拉扯的象徵戲碼：到底是不起眼的小瓶子奇幻式地吞噬 了航空母艦？抑或是無堅不摧的航空母艦悲劇性地變成了載浮載沉的漂流瓶呢？就此 而論，這件作品可說是個自由觀想的謎題。
The works of Li Hui not only display characters of determination and strength, but also portray hopeless romanticism. The artist is fascinated with the notion of the “message in a bottle,” seeing it as both a nostalgia-provoking and future-imagining spiritual journey. In this new sculptural work titled Drift Bottle, he attempts to insert the very same rich imagination and uncertainty. To accomplish this, the artist inverts the sense
of
proportionality
by
harboring
an
aircraft
carrier
within a tiny bottle of glass. Such imagery shows that even the
smallest
idea,
emotion
or
message
can
become
strong,
imperative and even unavoidable with the passage of time, experience and development. With this work, Li Hui intends to create a symbolic play based on the exchange of roles and power struggle: Has the insignificant glass bottle magically swallowed the aircraft carrier? Or has the unconquerable aircraft carrier been tragically reduced to a drifting bottle? This work is a riddle open to each audience member’s interpretation.
．氧化鋁板、不銹鋼 / Oxidized Aluminum Sheet, Stainless Steel ．200 x 70 x 60cm, 2011
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中國有句俗諺說：「人心不足，蛇吞象。」李暉把這個諺語加以誇張放 大，而賦予之一種悲劇情調和諷刺內涵。走進偌大展場，但見一個骷顱蛇頭從屏風上 的圓洞中迎面伸出，轉到後頭探個究竟，原來這條蛇竟然吞噬了一台坦克戰車。象徵 著人類原始慾望的蛇，急欲穿牆而出擺脫一切圍阻限制，但牠原先努力吞噬的事物， 因無法消化而巨量堆積體內，反而形成了阻斷後續行動的超級負擔。這個戲劇性的場 景，再度表現了「膨脹」的概念，且同樣賦予多重閱讀的面向：在許多宗教體系中， 蛇被類比為貪婪的主體、誘惑的象徵、邪惡的符號；另一方面也在不同文化系統中， 被當成生命蛻變、自然循環、生生不息的神聖圖騰。李暉藉由「蟒蛇吞食坦克」的誇 張情節和自殘意涵，點擊了現階段中國社會日益普遍的文化現象：許多人不自量力而 不斷地自我膨脹，演化成集體的貪婪和無止盡的吞噬，但這種盲目的成長和追求，實 際是對於個人主體性和自覺性的一種自殘。 ．鋁塑板、不銹鋼 / Aluminum Plastic Board, Stainless Steel ．450 x 250 x 200cm, 2011
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There is a Chinese proverb that says: “A man whose heart is not content is like a snake which tries to swallow an elephant.” Li Hui exaggerates the context of this saying, complementing it with a connotation of tragedy and irony. Upon entering the large exhibition room 201, the audience is greeted by the skull of a snake emerging from a folding screen. As the observers walk around to explore the work, they find that the snake has swallowed a tank. As a symbol of primitive human desire, the snake anxiously goes through the wall wanting to break free from all constraints. However, the snake cannot digest the object it has swallowed, making the tank an overwhelming burden that prevents it from moving.This dramatic scene represents once again the notion of “expansion,” opening the possibility for multiple interpretations. In many religious systems, snakes are considered to be an embodiment of greed, a metaphor for temptation and a symbol for evil. In other cultural systems, however, they are the sacred totem of life transformation, natural cycles and eternity. Li Hui works with the absurd and self-mutilating imagery of “snake swallowing a tank” to address a cultural phenomenon growing increasingly frequent in Chinese society. Many individuals overestimate themselves and constantly seek to self-expand, resulting in a collective greed that wants to perpetually swallow everything. However, such blind pursuit will only end in the self-mutilation of an individual’s subjectivity and consciousness.
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在挑高的大展廳中 李暉應用五隻能動的機械手臂，寓言式地展現了五個 獨立生命體之間的共鳴互動與拉扯角逐。感覺上，這些不斷發出聲響的機械手臂各自 非常有力，也各自非常執著，它們旗鼓相當地同台競秀，彼此之間存在著良性合作和 惡性競爭的雙重可能，它們同時可視為一種合諧與理想社會的縮影，或一個殘酷的生 活戰場的雛型。
In the high-ceilinged exhibition hall, Li Hui uses five movable mechanical arms to create an allegory of the resonance and competition between five independent life forms. Each one of these mechanical arms seems to be attributed with enormous strength and endurance; and as they are placed in the same space, a dual possibility of benign collaboration and hostile competition
emerges.
From
such
perspective,
they
can
be
simultaneously seen as the epitome of a harmonic and ideal society, or a prototype of the cruel battlefield of life.
．鐵、不銹鋼、氣泵、氣缸 / Iron, Stainless Steel, Air Pump, Cylinder ．1050 x 1050 x 400cm, 2011
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在當代館廣場的貨車上，李暉以相當具體而又半抽象的方式，打造了 一隻犀牛隱藏在大型貨櫃中，試圖掙脫而出的戲劇情境和張力造形，犀牛強壯有力的 身體乃透過變形的貨櫃箱體間接加以呈現，展現出生命受困而急於掙脫的緊張情緒和 高昂意志。在這裡，李暉繼續演繹他對於「膨脹與收縮」這個時代命題的濃厚興趣和 藝術想像，他藉由並置矛盾、不相干的兩種事物來製造視覺語境的衝突趣味和懸疑效 果，從這曖昧與模糊的藝術情境中，觀者也漸能體會，為何他個人要以「不確定的真 相」來詮釋和定義這個快速變動、急速發展的時代。 ．不銹鋼噴漆、樹脂, 450 x 200 x 200cm, 2011 ．Spray-Paint on Stainless Steel, Resin 450 x 200 x 200cm, 2011
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At MOCA Plaza, a large-scale sculpture placed on a truck uses a concrete yet semiabstract expression to portray a rhinoceros concealed in a large container. The animal’s attempt to escape is depicted dramatically, while the thrust of its powerful body through the misshapen container reveals the animal’s willpower and eagerness to break free. Li Hui resumes his interpretation of the “expansion and compression” in
this
era.
With
the
juxtaposition
between
contradiction
and
irrelevance,
the
artist portrays conflict and suspense. At the same time, from an ambiguous and blurry art context, the audience can obtain a better understanding of why Li Hui chose to define and interpret this fast-changing, rapid-developing era through a “truth of uncertainty.”
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．不鏽鋼 / Stainless Steel ．320cm x 260cm, 2011 ．同步展出於台北艾美酒店
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2009 【Art in Busan 2009 “Inter-City”】釜山市立現代美術館， 釜山，韓國 【歡迎光臨】百藝畫廊，臺北，臺灣 【白盒子藝術館開幕暨“主場”當代藝術展】白盒子藝術館，北京，中國 2009 Art in Busan 2009 “Inter-City”, Busan Museum of Modern Art, Busan, Korea Luminal Art, Gallery 100, Taipei, Taiwan Grand Opening of White Box Museum of Art and The Home Court: An Exhibition of Contemporary Art, White Box Museum of Art, Beijing, China 2008 【面對現實】中國美術館，北京，中國 【義大利威尼斯國際雕塑裝置展(OPEN 2008)】義大利威尼斯麗都島， 威尼斯，義大利 【開啟與擴張－第5屆首爾國際媒體藝術雙年展】首爾市立美術館，首爾，韓國 【藝術的魅力－中國當代藝術及其收藏】今日美術館，北京，中國 2008 Facing Reality, National Art Museum of China, Beijing China International Exhibition of Sculptures and Installations, Venice Lido, Italy, Venice, Italy Turn And Widen-the 5th Seoul International Media Art Biennale, Seoul Museum Of Art, Seoul, Korea THE LOVE OF ART-Collecting Contemporary Art in China, Today Art Museum, Beijing, China 2007 【EXIT藝術節】Maison des Arts美術館，巴黎，法國 【VIA 藝術節】Manège美術館，Maubeuge，法國 【#@%餓%日】當代藝術展，北京當代唐人藝術中心，北京，中國 【亦真亦幻】望東藝集，上海，中國 【大山子藝術節主題展】北京大山子798，北京，中國 【有界 無界】上海新天地，上海，中國 【琴山畫廊開幕展】北京環鐵藝術區，北京，中國 【浮游－中國美術新趨勢】韓國國立現代美術館，首爾，韓國 【中國：面對現實】路德維希基金會當代美術館，維也納，奧地利 【第六屆深圳當代雕塑藝術展－透視的景觀】深圳何香凝美術館，深圳，中國 2007 EXIT Festival, the Maison des Arts et de la Culture
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of Créteil (MAC), Paris, France VIA festival, the Manège of Maubeuge, Maubeuge, France #@%餓%曰, Tang Contemporary Art-Beijing, Beijing, China MIRAGE, Oriental Vista Art Collection, Shanghai, China Sensitivity, DIMENSIONS Art Centre, Beijing, China 2007 Beijing 798 Art Festival, Beijing, Da Shan Zi 798, Beijing, China Floating - New Generation of Art in China, National Museum of Contemporary Art, Seoul, Korea China: Face the reality, Museum of Moderner Kunst S tiftung Ludwig Wien, Vienna, Austria The Sixth Shenzhen Contemporary Sculpture Exhibition - A Vesta of Perspectives, He Xiang Ning Art Museum, Shenzhen, China 2006 【韓國釜山雙年展】Naru 公園，釜山，韓國 【冷能】表畫廊，北京，中國 【中國製造】公共場所，柏林，德國 【上海雙年展】上海美術館，上海，中國 【中國當代藝術節】Heyriyi藝術村，首爾，韓國 【二踢腳】北京當代唐人藝術中心，北京，中國 【亞洲當代藝術】Loop 藝術中心，首爾，韓國 【自由行】Osage畫廊，香港，中國 2006 Busan Biennial, Naru Park, Busan, Korea COLD ENERGY, PYO Gallery, Beijing, China Made in China, Public Places, Germany, Berlin Shanghai Biennial, Shanghai Art Museum, Shanghai, China Unclear and Clearness, Heyri Asia Project I, Seoul, Korea Er Ti Jiao, Tang Contemporary Art – Beijing, Beijing, China Asia Contemporary Art, Loop Art Centre, Seoul, Korea Free Walk, Osage Gallery, Hong Kong, China
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2005 【透明的盒子】建外SOHO，北京，中國 【成都雙年展】成都現代藝術館，北京，中國 【一萬年前】後現代城，北京，中國 【虛擬的愛】上海當代美術館，上海，中國 【一界兩端－當代藝術中的設計呈現】深圳何香凝美術館，深圳，中國 2005 Transparent Box, Jian Wai SOHO, Beijing, China Chengdu Biennial, Contemporary Art Museum,Chengdu, China Ten Thousands Years Ago, Back Modern City, Beijing, China Fictitious Love, Shanghai Moca Art Museum, Shanghai, China The Other End, He Xiang Ning Art Museum, Shenzhen, China 2004 【游於氣】資生堂畫廊，東京，日本 2004 Playing with Chi Energy, House Of Shiseido, Tokyo, Japan
2003 【雕塑作品展】東京畫廊，北京，中國 【後現代城 “漂流記”】後現代城，北京，中國 【北京雙年展外圍展 “雌雄同體”】798藝術西區，北京，中國 2003 Sculpture Exhibition, Tokyo Gallery, Beijing, China Driftage, Back Modern City, Beijing, China Consubstantiality of Male and Female, 798 Western Art Section, Beijing, China
2002 【國際城市雕塑藝術展】北京雕塑公園，北京，中國 2002 International City Sculpture Exhibition, Beijing Sculpture Park, Beijing, China
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．左上下 藝術家、策展人、文化局與當代館同仁合影 ．右上
開幕演出舞者：彭筱茵、陳怡靜
．右下
藝術家與收藏家史金生合影
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