lijun存在與消逝的極簡主義

1、：存在與消逝的理想主義文/觀者在無常時系列中能夠辨識的物體在物影系列中完全變成一個謎。新作物影是無常時的延續(xù)，邏輯依然是物體存在的痕跡，原因是時間，結果是空間?；覊m覆蓋物體是“長”時間的痕跡，的介入只是拿走了物體，留下可以被辨識的輪廓，觀者心理認知物體的“不存在”還停留在看不見。光投射物體是“短”時間的痕跡，但后期處理掉物體，再剝離物體存在的日常環(huán)境，留下不能被辨識的光影，觀者心理認知物體的“不存在”就真的不存在了。當猜不出是什么物體被抹去時，我感到一陣恐懼。看不見的，是不是就等于不存在？物影對物體的是一種徹底的摧毀，用未知摧毀了觀者對永恒存在的妄想，利用證明存在的表達也得到更有力量的呈現(xiàn)?！?/p>

2、存在與消逝”是一個沉重的的構圖，日常的生活環(huán)境，但無常時的畫面表達卻是輕松的。柔和的色調，繪畫性笑稱這是一種小清新的呈現(xiàn)方式，也是對灰塵最合適的呈現(xiàn)方式。感知灰塵存在的方式不是觸摸，符合生活經(jīng)驗的方式是觀察，積少成多的塵埃落定就是時間推移的痕跡，最日常的呈現(xiàn)方式自然契合時間的概念，讓作品的表達不生硬。物影延續(xù)“存在與消逝”的沉重，卻了輕松的畫面表達。色調簡化至黑白灰，構圖只留下支撐和背景兩個垂直平面，表現(xiàn)對象由原本需要數(shù)月積蓄的灰塵，變?yōu)榭扉T一閃即可定格的光影，空間感被弱化，時間感被弱化，但虛空感更甚。畫面上，色調和構圖營造的極簡氛圍，在視覺上將觀者引向空靈的意境；表達上，物體的消逝和光影的留

3、存，在心理上將觀者導實的思考。虛無論被抹去的物體是什么，我都感到絕望?？匆姷?，是不是就能存在？物影用沉重的畫面呈現(xiàn)沉重的，緊 觀者直面內心對消逝的恐懼。迷戀過去的好時光，“而現(xiàn)在無疑是最好的時光，或許是最后的好時光”，所以選擇用消逝的方式定格存在。無常時的拍攝過程耗時，但的直接參與僅僅是移走物體留下輪廓，畫面與物體從未共存。而物影的創(chuàng)作在后期處理，用數(shù)字方式抹去物體，割裂了畫面和物體的關聯(lián)，物體存在于時間，消逝于空間。這種異化與數(shù)字時代有著相同的虛擬語境，正是疑。對這個數(shù)字時代的質無常時還讓人想到的靜物。這位意大利畫家終其一生與藝術廝守，對瓶瓶罐罐的反復創(chuàng)作像是一場，一場認識世界的。曾經(jīng)說：“

4、視覺所及的世界是由形體、所看到的世界更抽象，更不真實的顏色、空間和光線所決定的我相信，沒有任何東西比了。試圖通過對瑣碎日常的反復描摹尋找真實，以瓶子的存在狀態(tài)窺見萬物的存在狀態(tài)，用“在”表達“在”。而用物體曾經(jīng)的存在反襯當下的，用“不在”表達“在”。在觀念上，是的基礎，是的。繪畫可以打破任何客觀現(xiàn)實去構建一個世界，似乎攝影離開后期就很難跳脫物理規(guī)則用“不在”表達“在”。無常時的創(chuàng)作本身就是一場時間的行為藝術?；覊m沒有數(shù)月難以積累，要留下最日常最自然的痕跡，就意味著物體數(shù)月不能移動。的生活狀態(tài)因為無常時變得糟糕，居住空間變成攝影直至，不能被移動的物體充斥每一個角落，獨居，觀察，拍攝，一經(jīng)數(shù)年，孤

5、獨無限膨脹，覺得作品完成，打掃房間，然后搬家，結束這場與生活無法剝離的拍攝。從無常時開始，就試圖個人存在去詮釋歷史?！皻v史不僅孤獨，而且宿命，絕無逃脫的可能”，個人無力感演變?yōu)榧w無意識，并自嘲“在犬儒主義的旋渦中翻騰”。清醒地逃避，逃無可逃又只能麻木地直面，我反復詢問無常時和物影在表現(xiàn)方式上的變化，只是說找到了每組作品最合適的呈現(xiàn)方式。創(chuàng)作的語境是反倒是作品契合了的個人生驗，并沒有為創(chuàng)作尋找背景，命名也沒有先入為主，也并不認可“觀念攝影”的“無象”的概念，而被“無常時”選擇。定位，攝影之于他僅僅是工具，重要的是個人表達。在他看來，攝影的話語系統(tǒng)比文學的更容易構建，選擇攝影作為個人表達的載體更

6、像是避難就易。從無常時到物影，關于“存在與消逝”，“逃避與直面”的表達僅僅有“輪”還沒有“回”，這個系列最終發(fā)展到什么程度，也沒有。其實無常時和物影已經(jīng)給了觀者一個態(tài)度，逃避必然因為直面之后的無力，直面必然因為逃避之后的無為，不僅歷史，個人也在。曾把自己的掛在墻上，留下相框的輪廓成為無常時的一部分，而這張視為自己的遺像。關于物影究竟拍了些什么都是一個謎，那時物影才算真正完成。逃避物體，說會在之前銷毀底片，讓它與直面注定糾結，而當下的去直面消逝。選擇了直面，至少懷著恐懼和敬畏去直面，懷著孤獨和麻木Li Jun: The Idealism of Presence and AbsenceText/

7、Chen JiayueThe objects “Nothing.”t viewers could discern in “Impermanent Instant”e riddles inLi Juns new series, “Nothing,” is an extenof “Impermanent Instant.” Theernal logicof the series is still the desire to trace an objects presence; the cause is time and the result is space.The dust-covered ob

8、jects are traof long periods of time. Liservention was only toremove the object, leaving behind a discernible outline. The objectst the viewerrecognizes as “not present” are still invisible. The lights shining on the objects are traofshort periods of time, but Li later removes the objects int-produc

9、tion, cutting the objectout of its usual environment and leaving behind only indistinct light and shadow. When theviewrosest the object is “not present,” it truly ceases to exist.When I cannot guess which object Li had removed, I feel a stab of fear. Is invisibility equal to nonexistence? In “Nothin

10、g,” the removal of objects is an act of complete and utter destruction. Li uses the unknown to destroy the viewers vain hope for eternal life; he uses absence toprove presence and make it moreerful.Presence and absence are very serious ideas, but onest are expressed very casually in“Impermanent Inst

11、ant.” Li Jun jokest the soft colors, paerly comitions, ordinaryenvironments are simply a mildly refreshing presenion method, but this method was alsothe best way to present the dust. We do not perceive the presence of the dust intile way;observation best coincides with life experience, as the dust b

12、uilding up marks the passage of time. The most ordinary of presenion methods naturally mesh with the concept of time andprevent the works froming too rigid.“Nothing” is an extenof this idea of presence and absence, but here, the casual tone issubverted. The color palette has been simplified to black

13、, white, and grey. The comitionsonly contahe two pendicular planes of the support and the background. Li transformsthe months of accumulated dusto a light and a shadow fixedhe flash of a camera; thesense of space has been weakened and the sense of time has been weakened, but the sense ofemptiness is

14、 even more pronounced. In the pictures, the color and comition create anextremely minimalist mood. Visually, they lead the viewero an artistic realm. Expressively,the absence of the objects and the preservation of light and shadow guide the viewer towardsconsiderations of trund falsehood.Regardless

15、of the object Li Jun has removed, I feel a sense of despair. Is visibility equal topetual existence? In “Shadow,” he uses serious images to present a serious topic, pressingthe viewer to confront theernal fear of absence. We are enthralled with the good times ofthe past, and “the present is undoubte

16、dly our best time, or perhaps our last good time,” so Li chose to determine presence through absence.Shooting “Impermanent Instant” took a lot of time, but Li Jun directly participated in the movement of the object to create the outline; the image and the object never coexisted. Thecore of the “Noth

17、ing” series ist-production, using digital technology to remove the objectand sever the relationship betn the image and the object. The object was presentimebut absent from space. Anation and the digital age have equivalent virtual contexts, and thisis precisely whi wants to question about the digita

18、l age.“Impermanent Instant” also seems linked to Giio Morandis still lifes. Morandi paed hisentire life. His numerous works dcting vases and jars became almost mediive, a way ofknowing the world. He once said, “The onlyerest the visible world awakens in meconcerns space, light, color, and forms I be

19、vet nothing is more abstract, more unrealn what we actually see.” Morandi attempted to find truth he repeated represen ion of trivial, daily things. In the presence of those vases, you can sense the presence of myriad things; he used presence to express presence. Li Jun uses once-present objects to

20、highlight current absence, thereby using absence to express presence. Morandi serves as Lisconceptual foundation, even if Li is Morandis op objective reality to create a subjective world, but ifite. Paing can break with any t-production is not an option,photography cannot escthe rules of physics and

21、 use absence to express presence.“Impermanent Instant” iually a piece of temporal performance art. Dust requires time tobuild, so the objects could not move for months aime in order to leave the most ordinaryand natural marks. Li Juns living conditions became disastrous over the course of this serie

22、s.His home became his photo studio; objectst could not be moved crowded every corner. Helived a solitary life of observation and photography. After several years, the loneliness became unbearable and Li deemed the series finished. He cleaned the house and moved out, therebyending a series of photogr

23、aphst was inseparable from life.Beginning with “Impermanent Instant,” Li Jung attempted to transcend individual existenceto esc hasret historical cycles. “History is lonely, and fate does not provide thesibility of.” The helpleess of the individuales a part of the collective unconscious. Liclearly c

24、hosen to esc, and whether you escor not, you must numbly confronthistory and mock yourself for being suckedo a vortex of cynicism.I repeatedly asked about the change betn “Impermanent Instant” and “Nothing,” but Lionly saidt he seeks out the most appropriate method for each series. The creative cont

25、extis simply Lis own life experience, and he has not sought out anellectual support structure.; “Impermanent Instant” wasThe name of the series does not make a strongimpreschosen because it related to the Buddhist idea of formleess. Li does not subscribe to thedefinition of “conceptual photography.” For him, photography is only a tool;alexpresis most important. The discursive system of photography is easier to constructnt of literature, so choosing photography as his medium was just a matter of ease.From “Impermanent Instant” to “Nothing,” Li Jun expresses prese