主办方：上海玻璃博物馆

展览时间： 2017年12月17日 – 2018年03月18日

展览地点：上海玻璃博物馆H5展厅

平面设计：协调亚洲

Organizer: Shanghai Museum of Glass

Dates: Dec 17, 2017 – Mar 18, 2018

Exhibition Venue: H5, Shanghai Museum of Glass

Graphic Design: COORDINATION ASIA Ltd.

此次“神游——与‘X’的对话中”展出了李振宁个人的20余件作品。为近三年以来的创作，他提炼出“社会行为与幽默”“色彩与矛盾”“转换与再现”这三个概念正是他作品的核心语言构建，也隐喻着他对社会对当代艺术的的自我经验积累。初读这些作品会被这些来自远古的图腾象征、形态诡异色调迷离的风格所吸引，再细心体察之下，却发现它们执拗而清晰地标示出作者一种自我深省的态度.

玻璃，在李振宁的作品中不仅是一种主要的材料，也是他思想表达的重要渠道。这种介于透明与不透明的质感，让这些诡秘形象或是隐喻符号也影影绰绰起来。李振宁所创造出来的种种清晰却又模糊“超人”形象，却并未给每件作品留下过多的文字解说。正如艺术家所言，他希望观者可以拿出孩童般的诚挚目光和纯真心态，真正用心去“看”这些作品，借以投射自身的经验与感情。观者会疑问：“这是谁？”也许，这是你，是他，也是她。这些“超人”是否能解答你心中的疑问，是否能帮助你的困境，李振宁也期待着每个人不一样的回答。

The over 20 pieces of works at Li Zhenning’s individual exhibition are all his recent creations in the last 3 years. In fully demonstrating his 3 core concepts—social behavior and humor, color and contradiction, conversion and reproduction—he displays his own experience on the society and on modern art.

At the first sight of his works, we may be attracted by the ancient totem symbols and his unique style of bizarre shapes and blurred colors, but in a more careful observation, we will discover the self-consciousness that are so deeply and yet clearly embedded.
Glass, in Li’s works, is not only a major material, but also an important medium for him to express. The texture of this material, which lies between total transparency and opaqueness, enables Li to express the images and symbols dimly without clear cuts. Li Zhenning has created a variety of such clear and dim images of the “super human” without offering too much explanation. As he put it, he hopes that viewers can truly “observe” these works with sincerity and innocence like children and project their own experiences and feelings into them. The viewers may ask about the works, “Who is this?” The works could be you, or anyone. Li Zhenning also looks forward to different answers whether these “super human” can answer the questions in your heart or help you out.

李振宁

1983年生于广西南宁
现工作生活在北京

个人经历

2003年-2007年
清华大学美术学院工艺美术系(本科)
2007年-2010年
清华大学美术学院工艺美术系(研究生)
2010年至今
北京建筑大学建筑学院 教师
中国工艺美术协会玻璃艺术委员会委员
中国国家画院玻璃艺术研究所学术秘书

作品收藏

德国Alexander Tutsek-Stiftung博物馆
美国CORE 3协会
韩国Soeul Skol艺术基金会
秦皇岛玻璃博物馆

LI ZHENNING

Born in 1983 in Nanning, China
Currently living in Beijing, China

EXPERIENCE

2003-2007
Bachelor of Art in Glass, Academy of Arts & Design, Tsinghua University, Beijing, China
2007-2010
Master of Art in Glass, Academy of Arts & Design, Tsinghua University, Beijing, China
2010-Now
Lecturer at Beijing University of Civil Engineering and Architecture Member at China Arts & Crafts Association Glass Art Committee Academic Secretary at China National Academy of Art Institute of Glass Art

SELECTED PUBLIC COLLECTIONS

Alexander Tutsek-Stiftung, Munich, Germany
CORE 3 Association Foundation, Louisville, USA
Sklo Art Foundation, Seoul, Korea
Qinhuangdao Glass Museum

我的作品基本就是对社会某一阶段的历史关注，在作品中隐隐地流露,那些抽象化的人和物有着模糊的身份、模糊的性别，加上流动变幻的色彩，将戏剧的情节性含蓄地融入到玻璃雕塑之中去。而对古老文明的回应,也是对当今状况的提问。”为何我在这里，为了什么”,这个问题人们仍然是不断探索和思考。对于自己作品的陈述我想就以此简述，更多想展开说的是在创作中的一些思考和工作方式。

而玻璃雕塑至今为止是我创作的主要方式，我似乎真的没有什么特别绝对的理由，也许仅仅就是一种感觉和选择而已。我想说我很享受用玻璃来创作的过程，这其中包含两个概念:时间和意外。

如今，自己对时间问题的关注是越发明显，而”地质时间”是世界上最古老的时间，可以延伸到几百万年前，在这段时间里，人类\万物\一切，都是那么的渺小。此时作品便是自己在另一个时间的投射物，在地质时间的映射。生命很短，所以可以和(地质时间\历史)相对应联系起来，这样能有更广阔的空间和时间。而在过程中，无论是思考还是创作过程中，不断地与历史，社会背景，美学及自身发生关系并产生指向对话。在这个过程中或者结束之后，会产生很多意外的提示，这不仅是指玻璃雕塑作品的技巧和效果出现了偶然的效果，更重要的是这里面有许多隐藏的假设和联系，这能使创作中的一些问题能不断地推进。在作品和文字中保留种种与时间对应的痕迹，这也更像一种工作方式过程的保留，并最终呈现出一种面貌。但我更希望它是一个整体，其真正的魅力不在于视觉本身，而在于能在这一种不寻常的构成程度上诱发的想象。当然，我想这也是需要经验和知识去进行判断和选择，而这种与时间的进行不断对应的思考在现阶段能使我不断的去发现新问题。我并不确信这种对应以后是否会反复去进行，我只是在自身的经验和知识基础上去做我觉得值得去做的事，并以此为起点展开创作，这对于我而言便是最根本的意义。

My works center on a certain period in history, which is put very implicitly. The identity and gender of the abstract figures and objects are intentionally muddled; with the flow and changes of colors, I’ve infused stories into the glass works, to prepare a response to the ancient civilization and raise a question for the current time: “Why am I here, and for what?” Such questions keep people exploring and thinking. This is a brief description about my works, and I would like to emphasize more on how I thought and worked during my creation.

There is no definite reason behind my creating art mainly through glass sculptures so far: perhaps it’s just an intuitive choice. I so enjoy the process of working with glass, which involves two concepts: time and the unintended.

I am increasingly focusing on “time”. The “geologic time” is the most ancient time scale that extends to millions of years ago when human, creatures and everything were trivial. In this sense, my works are my own projections in the geologic time. Our life is short, but when it is connected to the geological time or history, it can be extended in space-time. During this process, my thinking or creating constantly interacts with history, social background, aesthetics, and themselves, and then generate pointed dialogues. During or after this process, I was blessed with unintended hints, which were not only reflected in my skills or the effect of the sculptures, but rather in revealing the hidden hypotheses and relationships that helped me solving problems in my creation. Therefore, I’ve left marks that correspond with the time in my works and texts, so I can also keep track of my work methods and procedures while contributing to a style. On the other hand, I hope my works are comprehended as a whole, as their true beauty lies not in the visual effects but in the imagination it is capable of inspire based on such a composition. No doubt, this is subject to the judgement and choice of the audience according to their own experience and knowledge. It is such thinking that corresponds the course of time that keeps me discover new problems. I am not certain whether I will continue with such corresponds, and I am only creating and doing what I believe are worth based on my experience and knowledge, which is, to me, the fundamental meaning.