昊美术馆（上海）很荣幸地宣布将于2019年11月23日呈现艺术家厉槟源同名个展“厉槟源”。展览将首次聚焦厉槟源近十年来的创作，展览还将同期呈现由昊美术馆支持的艺术家的最新电影项目。

自2010年在地铁中完成的作品《无间》起，厉槟源开始了他在不同空间中持续进行的艺术实践。当然，他关于行为和物的实验最早应该追溯到在央美雕塑系读书期间的创作《两个石头》。厉槟源在这次课堂实践中用两颗石头互相敲击，试图让它们最终击碎彼此。

厉槟源，《两个石头》，图片致谢艺术家

Li Binyuan, Two Stones, Courtesy of the artist

这种建立在瓦解与创造的关系上、导向不确定性结果的行为在此后反复出现在他创作中，例如2014年将自己反复砸向自家农田的《自由耕种》和2015年用250把锤子互相击打的作品《死了都要爱》等。

厉槟源，《自由耕种》，图片致谢艺术家

Li Binyuan, Freedom Farming, Courtesy of the artist

这样的工作方式很容易让人联想到他的雕塑学习背景，但于此同时，厉槟源工作对象和材料并不是传统雕塑，而是社会空间、自然物、甚至地心引力，这种对象和材料本身的不稳定性，也每每将他在作品中的行为结果推向不确定、甚至失败的边缘，个体和社会、历史之间的张力在这种惊心动魄的边缘地带不断摩擦和碰撞，发出巨响。

激发这种张力、站在这种撞击面前的首先是身体。鲍德里亚曾经指出：身体的整个当代史是身体的标识史，是包括各种标志和符号的一个网络，这个网络自形成以来就遮盖着身体，分化着身体，破坏着身体的差异和根本两性，以便把身体组织成一个进行符号交换、与物体领域相同的结构物质，把其嬉戏的虚拟和象征的交换变成性征，其功能和策略都派生于政治经济学。

厉槟源，《死了都要爱》，图片致谢艺术家

Li Binyuan, Deathless Love, Courtesy of the artist

在厉槟源这里，身体作为一种自身的文本和个体及社会历史的档案，抵抗着作为交换符号的、已经消失的身体，但这种抵抗并不是消极的，而是在敞开式的尝试中不断寻求他所抵抗的对象的反馈，与之对话，相互刺激。

作为厉槟源的第一个同名个展，展览在较为全面的呈现艺术家过往十年的创作同时，亦试图开启一次对身体和行动的全新探索。厉槟源将引入电影的镜头语言，雕刻一个新的情境和现场。区别与以往的行为记录方式，电影镜头在这里或许将如“庖丁解牛”一般，深入身体空间内部，挖掘身体之下的身体，将其打碎并重塑。

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关于艺术家

厉槟源

1985年生于中国湖南永州，2011年毕业于中央美术学院雕塑系。厉槟源通过行动、录像和行为艺术表演介入日常中国社会的不同领域，探索身体、物质、观念认知和社会价值。其艺术实践占据了城市和农村空间，包括公共空间，自然环境或偏远的后工业区。正如Murray Mckenzie所言：“厉槟源是一位具有雕塑意识的行为艺术家，他征用身体——有时候还有烟火、刀具和其他义肢一般的身体延伸——作为探索不同场域的临时干预装置”。他艺术实践的动机是通过身体互动来了解自己所处的空间和物质环境，以便质疑和超越我们对环境所强加的规范和意识形态。

厉槟源的近期个展包括“汲取”，(MU艺术中心，荷兰，埃因霍温, 2019),“土地-张洹和厉槟源”双人展(纽约现代艺术博物馆 PS1分馆，美国，纽约，2018)，“众重行事”，（华人当代艺术中心，英国，曼彻斯特，2015），“谁的梦”，（今日美术馆，中国，北京，2014）等。群展包括[街道。世界生成之处]（罗马国立二十一世纪美术馆，意大利，罗马，2018）「回放-皮埃尔•于贝尔电影与录像收藏展」（OCAT上海馆，2015）、「瑞典OpenART双年展」（厄勒布鲁市美术馆 ，瑞典，2015）「MOFO2015」（新旧艺术博物馆，澳洲霍巴特，2015）、「八种可能路径」（Uferhallen，柏林，2014）、「小跃进」（上海当代艺术博物馆，上海，2014）、「一切坚固的东西都将烟消云散」（卡布索美术馆，挪威，2013）、「不合作方式-2」（格罗宁根美术馆，荷兰，2013）等。

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HOW Art Museum (Shanghai) is proud to announce that it will host the solo exhibition “Li Binyuan” by the artist Li Binyuan on November 23rd, 2019. For the first time, the exhibition brings together the work of Li Bingyuan over the past decade in a single space. The exhibition will also present the latest film projects by artists supported by HOW Art Museum.

Since the work Infernal Affairs was carried out entirely on the subway in 2010, Li Binyuan has continued to integrate his practice into different spaces. Of course, his experiments on performance and objects can be traced back to his graduation work Two Stones when he was studying in the sculpture department at CAFA. In this work carried out for class practice, Li Binyuan slammed two stones against each other in an attempt to make them shatter each other.

This sort of performance which leads to uncertain results is based on discussing the relationship between disintegration and creation, which is a theme that continues to be explored throughout his work. For example in the piece Freedom Farming (2014), the artist repeatedly hurls himself into his family’s rice paddy, or in the case of Deathless Love (2015), where the artist slams 250 hammers against one another over and over again. It’s this approach that he takes which hints at his background in studying sculpture, but at the same time, the material and that which Li Binyuan addresses in his work is by no means traditional sculpture. Instead, it entails the social realm, objects found in nature, and even gravity, it’s this instability of the subject chosen and the material itself that often pushes the result of his behavior in the works to the edge of uncertainty and sometimes even complete failure. The tension between the individual, society, and history is constantly rubbing up against and colliding into one another sending out thundering shrill throughout this hair-raising border zone.

The first thing that triggers this tension and faces this impact head-on is the body. As Jean Baudrillard once pointed out: the entire contemporary history of the body is the history of its demarcation, the network of marks and signs that have since covered it, divided it up, annihilated its difference and its radical ambivalence in order to organise it into a structural material for sign-exchange, equal to the sphere of objects, to resolve its playful virtuality and its symbolic exchange (not to be confused with sexuality) into sexuality taken as a determining agency, a phallic agency entirely organised around the fetishisation of the phallus as the general equivalent.

In Li Binyuan's case, the body, as an individual and socio-historical archive of its own text resists the disappearance and transformation of the body into a symbol for exchange. However, such resistance is not negative. Instead, it constantly seeks feedback from the object it resists in an open attempt to establish dialogue and mutual stimulation.

As Li Binyuan's first solo exhibition of the same name, the exhibition not only presents the works of artists in the past ten years but also tries to initiate a new exploration of body and action. Li Binyuan will introduce the cinematic language of film, carving out a new situation and live scene. Different from the previous method of recording performance, the film shot here is likely to resemble a highly intricate dismemberment, one which penetrates deep into the internal space of the body, excavating the body that lies under the body, then deconstructing it and to finally reconfigure it.

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About the artist

Li Binyuan

Li Binyuan was born in Yongzhou, Hunan Province, China in 1985, and graduated from the Department of Sculpture, Central Academy of Fine Arts in 2011. 

His solo exhibitions include “Absorb” (MU Artspace, Eindhoven, Netherlands, 2019,) “Land: Zhang Huan and Li Binyuan” (MoMA PS1, New York, USA, 2018, ) “Buffering” (Black Sesame Space, Beijing, China 2016,) “Social Behaviours” (CFCCA,  Manchester,  UK,  2015, ) and “Whose Dreams” Today Art Museum,  Beijing,  China 2014.) Li Binyuan also participated in numerous group exhibitions worldwide, “The Street. Where the World Is Made”(National Museum of 21st Century Arts, Rome, Italy 2018,) "Playback - Pierre Huber Film and Video Collection Exhibition" (OCAT Shanghai, 2015,) "Swedish OpenART Biennale" (Ereburg Museum of Art, Sweden,  2015, ) "MOFO2015" (Museum of Ancient and Modern Art,  Hobart,  Australia,  2015, ) "Eight Possible Paths" (Uferlen,  Berlin,  "Another Leap" (Shanghai Museum of Contemporary Art,  Shanghai,  2014, ) "Any Rugged Stuff will Vanish,” (Kunsthuset Kabuso, Norway 2013,) and "Fuck Off 2" (Groninger Museum, Groningen, Netherlands,  2013.)

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昊美术馆（温州） 

HOW ART MUSEUM (WENZHOU)

昊美术馆（温州）延续昊美术馆（上海）的“夜间美术馆”运营模式，是浙江省首家"夜间美术馆"，常规对外开放时间为下午1点到夜间10点，周末及节假日开放时间将向前延长为上午10点至夜间10点。昊美术馆（温州）将持续为公众呈现丰富的公共教育及户外艺术项目，引领融合艺术、设计、科技的全新生活方式。

昊美术馆（温州） 

HOW ART MUSEUM (WENZHOU)

昊美术馆（温州）特别项目空间 

HOW ART MUSEUM (WENZHOU)

Special Project Space

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