公园——李满金公园个展6月2日开展

　　李满金公园个展

　　公园

　　艺 术 家：李满金

　　策 展 人：冯兮

　　开幕时间：2018.6.2. 15：30

　　展览时间：2018.6.2. – 2018.7.3.

　　前言/冯兮

　　“ 公园既是一个开放的地方，又会发生很私密的事情。公园是社会的缩影，万物众生，形形色色。这种开放性和私密性也是我喜欢的绘画状态。”

　　------ 李满金

　　公园与广场在实用与行政功能所具备的不同开放性，同样带来人群聚合与离去所产生的庞大流量，成为了每座城市中使用率最高的公共空间。与广场具备的集体意识和群众的号召能量相比，公园则更贴近人民内部情感与生活，开放的同时，隐秘着更多的是个体的私密情感信息。花遮柳隐下，丝竹金石东，男女生的初吻、船舷上荡起的双脚、蝉鸣中的麻将声、早市的吆喝、剑气风寒声、广场舞的婀娜与不远处红歌嘹亮。同时，夜晚幽煜中植被覆盖的谧静，会使人包围在不安、暴力甚至罪恶的危险当中。人与人之间的关系，被公园的开放性所吸纳，交织游弋在复杂市井的生活中。

　　北京的七十年代，公园成为在野画家们长期写生与创作的场所，无名画会的“前身”玉渊潭画派，便是基于画家们经常出现在玉渊潭、钓鱼台、紫竹院、八大处等地进行写生实践，而流传于坊间的画家小团体。1979年，中山公园的水榭和北海公园的画舫斋，分别举办了新春画展、无名画会第一次公开展览、北京油画研究会第一次展览、星星美展等几个重要的展览。非官方与半官方的绘画团体在公开的场合正式展出，追求自由与自我的精神表达，从“公园”的创作与展览的场域开始蔓延扩散。

　　李满金绘画媒介涉及的非常广泛，07年开始至今，共创作了200多张纸本作品。题材涉及动物到人物以及略带神秘意味的各色形象，报纸、人物杂志、友人照片以及现实记忆等各种信息都成为她作品的元素。材料的选择同样产生了对等关系，从各种废弃的包装纸板开始，几乎在能找到的纸本上都进行过尝试。最早的纸本出现比较偶然，装裱遗留的卡纸被当作练习的手稿，用手指蘸着颜色随意的涂抹，闲散逐渐发展到自然随性状态，慢慢地成为了另一种绘画的习惯。

　　随着儿子的出生，李满金开始回想自己的童年中的记忆，题材逐步转换到了家乡的场景和儿时的经历。毛笔和丙烯成为全新的创作工具，毛笔的轻盈舒展，完全调整了过去的的工作方式，施发的力道从外部转而向内发生。同时带来工序的推进，每张画必须要经过几十遍反复的罩染，弱化掉画面中激烈笔触的同时，在描述物体边缘之间刻意的留白，赋予画面空间深沉的节奏，不断的上色磨砺隐藏了语言上的“尖锐”与“锋芒”，进而退去了年轻时期“粗暴”表现的质感。

　　本次展览以“公园”为入口，呈现现实生活给予艺术家所带来命运的联想，公园即是众生之地，如养生之堂，如歌舞之场，如犬马之途，如逃亡之路，鹰马人物，色色行行。

　　Park/Feng Xi

　　“Parks are an open space， where something private could also happen。 Parks are a miniature of society， full of variety and diversity。 The openness and privacy is exactly what I like about painting。”

　　------ Li Manjin

　　Parks and squares， in terms of their practical and administrative functions， are open in different ways， but both have large flow of people come and go。 Therefore， they are the public spaces with the highest utilization rate in a city。 In contrast with the collective consciousness and crowd-summoning energy of squares， parks， which are closer to the internal emotions and life of people， imply more individual， private emotional information other than openness。   In the shade of flowers and trees， along with the pleasant music， there can be first kisses of lovers， feet swaying on shipboard， the sound of playing mahjong mixed with the chirping of cicada， the cries of selling at the morning market， the movements of morning exercisers， the steps of square dancers and the sonorous revolutionary songs。 Meanwhile， the tranquility and seclusion at night will surround people with anxiety， violence or even peril。 The relationship between people are absorbed by the openness of parks， and interwoven into the complicated city life。

　　In the 1970s in Beijing， parks had long been the sites for out-of-office painters to sketch and create works。 Yuyuantan School of Painting， the predecessor of No Name Painting Group， was a self-formed small group of artists sketching in parks such as Yuyuantan Park， Diaoyutai Park， Zizhuyuan Park， and Badachu Park。 In 1979， several influential exhibitions， including New Year Painting Exhibition， the 1st public exhibition of No Name Painting Group， the 1st exhibition of Beijing Oil Painting Research Institute and Star Artworks Exhibition， were held in the Waterside Pavilion of Zhongshan Park and the Painted Boat Studio of Beihai Park。 The unofficial and half-official painting groups started to hold formal exhibitions in public spaces； the pursuit of freedom and spiritual expression of self started to spread out from the creation in “parks” and exhibition venues。

　　Li painted on multiple media。 Since 2007， she has created over 200 works on paper， themed animals， figures， and various mysterious images。 Information from newspapers， people magazines， friends’ photos and real memories has all become the elements of her painting。 There is an equal variety of media。 Starting from waste packing board， she has tried almost on all paper materials that are available。 The first works on paper were finished purely by accident， when she practiced on the cardboard left over from framing， brushing paints randomly with her fingers。 The casual brushing gradually developed into a natural state of painting， into a new painting habit。

　　After the birth of her son， Li started to recollect her own childhood， and accordingly the themes of her creation switched to scenes of her hometown and her childhood experiences。 Brushes and acrylic had become her brand-new creating tools。 The flexibility of brushes has changed her original way of creation， as the strength goes inward instead of outward。 What comes along with the change is the improvement of procedures。 She needed to brush each painting dozens of times， weakening the intense strokes while leaving blankness on the edge of objects， and adding deep rhythm to the space of the painting。 The repeated coloring and polishing has covered up the “sharpness” and “edge” of the painting language， and altered the “rough” texture of youth。

　　With “parks” as the entrance， the exhibition presents the association of fate that real life has brought to the artist。 Parks are a place for everyone， a place to keep healthy， a dancing square and a getaway。

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　　艺术家简介

　　李满金：

　　1981年出生于福建

　　2005年毕业于福建师范大学油画专业

　　现居北京，职业画家

　　个展：

　　2017   独行者—李满金个展  重庆长江当代美术馆  重庆

　　2014   乐园已竟虚渺--李满金个展  卓越艺术空间  北京  中国

　　2010   李满金首次新加坡个展“渴望藍天”Y2ARTS Showroom  新加坡

　　联展：

　　2018   第一届国际女艺术家澳门双年展  澳门艺术博物馆  澳门

　　2017   多维度—第二回当代艺术邀请展  山水美术馆  北京

　　2016   纸上-至上  上海国家会展中心  上海

　　2015   同行同至—批判性传统主义  新绎空间  北京 中国

　　2013   韩中现代美术交流传  508Gallery  大邱 韩国

　　2012 “中国制造”中国当代艺术家路家诺-贝纳通展  意大利 米兰

　　2011   八零后艺术档案（一）  宋庄美术馆  北京 中国

　　2011 “春寒”当代艺术展  龙德轩当代艺术中心  北京 中国

　　2011 “旋转木马”第三届中国新锐绘画奖  时代美术馆  北京 中国

　　2010   中国当代艺术新浪潮  美国加州州立大学美术馆  旧金山 美国

　　2008  “生活在宋庄女艺术家联展” 宋庄美术馆  北京 中国

　　2007  “和”中外艺术家联展  一号地艺术园区A-space  北京 中国

　　Limanjin

　　Born in 1981 Fujian， China。 Presently staying in Beijing， as full time professional artist。

　　Solo Exhibition：

　　2017   Loner Solo Exhibition Chongqing Changjiang Museum of Contemporary Art Chongqing

　　2014   The Intangbile Paradise--Limanjin solo exhibition Joyart Gallery  Beijing  China

　　2010   Li Manjin’s First Solo Exhibition in Singapore – Reaching for Meaning   Singapore

　　Group Exhibitions：

　　2018   Women Artist 1st international biennial of macao  Macao museum of art  Macao

　　2017   Multi Dimension ll Second Contemporary Art Exhibition  Riverside Art Museum  Beijing

　　2016   On Paper-Supreme  The National Convention  ShangHai

　　2015   Together On The Path—“Critical Traditionalism” Youth Exhibition Ovation Art Space Beijing

　　2013   Korea-China exchange of contempopary art  508Gallery  Korea

　　2012   Made in China Contemporary Chinese artists Luciano Benetton Collection Via Marco Polo Milano             

　　2011   Art Archives Of the 80‘s Generation （ I ）  SongzhuangMuseum  Beijing China

　　2011   “Spring Chill” Exhibition of contemporary art LDX ConternporaryArt Center Beijing China

　　2011   “Merry-Go-Round” Chinese New Painting Awarg  Times Art Museum  Beijing China

　　2010   New wave of chinese contemporary art  California State University  American       

　　2008   Living in Songzhuang Female Artist Exhibition” Songzhuang Arts Museum Beijing China

　　2007   “He”China and Foreign Countries Artists Group Exhibition，1 Art base A-SPACE Beijing China   

　　策展人简介

　　冯兮，近年来主要从事展览项目策划和研究等工作。同时，作为北京非营利艺术空间实践者，曾启动并担任外交公寓12号空间艺术总监和掩体空间负责人，现担任车库实验空间展览总监、单行道画廊艺术总监等职务。

　　As a non-profit art space practitioner， Feng Xi has been mainly engaged in exhibition curating and research work in Beijing。 He started and serves as the art director of DRC No.12 and takes charge of the Bunker。 He presently serves as the director of The Garage as well as the art director of One Way Art Gallery。