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présentation - 展览介绍 :
Artists: Li Yiwen, Lee Jinju
Memories are definitely existing somewhere in mentality and psychology. However, sometimes, people got lost in their memories. Same single event, state or situation can be twisted or edited through filtering of personal experience so it keeps coming back to haunt. If memory was severely edited to blur actual cause and result, it could not be distinguished the reality from the dream and these memories became surreal and spoke with different voices. This is the fundamental common point of works by Li Yiwen and Lee Jinju.
The Glimpse of Memory
That does not reach its good and it functions as short-cut icon to specific event, scene or state. That becomes the subject of nostalgia, recollection and reflection and is called as trauma, while it lingers around the boundary of mental and suddenly confront with the reality. Then, people jump into certain point of the past in a moment. We could free from our memories if we understand those situations with logical connection or clear and complete structure, but there is always a point of connection to lead us from the reality to fantasy like the cave or tree in Alice’s Adventures in Wonderland and these bits of memory become a used but unfamiliar scene with updated experiences.
The works of Li Yiwen show the conflict or co-existence of memory and reality under clear gray layers. The empty chairs are located as though it seems to be occupied and the basketball is flying in the unfamiliar and open space, but it looks like real and shows the crack of different space simultaneously by the conjunction of surreal scenes and the equalized tone, due to the incredible ability of artist who has showed the fine realistic works. The works of this artist has unique lyricism with intense sensitivity instead of the air for breath and it is the identity of this artist.
The Korean artist, Lee Jinju majored in Oriental Painting and she shows unique line and tone of Korea in her works. And she has described the identity of femininity in many works and used frequently the materials such as avoidable fence, a hosepipe in the pool full with water, a basket with clothes and wastes, people with listening music in the sewage, which show the co-existence of things for no good, and a baby in the suitcase, the floating sack with people, a space cut into small portion and a separated land. She says she was raised in developing area and had to wear a pair of stocking for warmth, and she seems to reflect these memory into the water which flows to circulate everything and begins to decay if stop flowing. However, these bits of memory lost its reality when they are in one scene. The story seems to disappear because of multi-layered time and space with no order or standard, but it contradictorily becomes an important point to focus on the work under the arrangement of similar scenes and contents.
Both artists show the futile existence resulted from the arrangement of realistic memories with no cause and result through the co-existence of illogical contents and realistic descriptions. Instead of a relief to interconnect precisely, they expose and show the crack to make use of their memories, and you can appreciate their unique ways in this exhibition. Also, you can have an opportunity to think what is haunted in your memories and which piece of your memories co-exists like a dream, and you can re-organize your unfamiliar but used memories.
Space CAN Beijing – Lim Kyoung-Min
碎片
记忆分明在人的精神和心里的某个角落里。但往往人们也被记忆所困住。同一个时间、现象或情况在经过了每个人的经验过滤片后变得扭曲或被编辑，久久纠结着我们的心。当记忆执着的被编辑，几乎忘记场面的前后脉络时，往往记忆和现实之间的境界也变得模糊。这样的记忆的结合是超现实的，支离破碎的叙事构造也纷纷发着各自的声音，独立存在着。艺术家李易纹和李珍珠的作品的根本共同点在此。
记忆的碎片
就像力所不及的连接到特定事件、场面或现象的快捷键。可能是乡愁、追忆、回想的对象，也可能是后遗症，在内心境界周边徘徊着突然与现实相撞。那时我们会突然就在过去的某个地点。那时，如我们能在思考范围内，能逻辑的理解，脉络和起承转合明摆着，以完整的结构能理解前后时，我们可以从记忆中解脱，但实际上犹如“爱丽丝梦游仙境”的洞穴和树一样瞬间发生将现实与梦幻连接起来，这些记忆的碎片包含升级的经验，变为熟悉又陌生的场面。
在艺术家李易纹作品里，艺术家表达了灰色层次下记忆与现实的冲突或共存。没有人又不协调，但觉得像围坐着人的椅子和陌生的背景；篮球自己飞上旷阔的空地等将不实际存在的风景表现的不觉得完全分离，赋予了现实性，维持了同质氛围，犹如同时看异度空间。从这种表现里看出长期做精巧的事实主义作品的艺术家的力量。艺术家的感性代替了呼吸的空气，富有抒情的作品，在解读之前正是艺术家自己的同一性。
韩国的女性艺术家李珍珠是专攻东洋画，在整个画面突出了韩国特色的线处理感觉和类似氛围的色感。在这基础上作为女性在大部分的画面里存在性的同一性，可以绕来的铁栅栏，往已经灌满水的游泳池里灌着水的管子，与污物放在一起的衣物，在污水排放口下来的水里泡着身体欣赏音乐等我们所力所不及的共存，躺在旅行箱里的刚出生的婴儿， 整个切掉的窄的空间，分离的地面是将艺术家拉回画面的素材。在开发前未整理好的地区萌生的记忆，小时候为了抵抗寒冷而穿的丝袜，循环所有的东西，只要一停就会开始腐败的水，艺术家的观点融入进很多作品里，听着这些内容我们同意艺术家将她的思考投影到作品里。但这些记忆的短片聚集到一个画面时，其现实性极具丧失。不管是背景、状况、多层的视空间，因没有按顺序或基准排放，所以故事消失了，但矛盾的是这个在类似的画面和内容的摆放前也能沉浸到作品里。
两个艺术家用各自的方式表达，非伦理性的内容和事实的表现共存，在将分明是现实的记忆搜集放在一起时，是没有前后因果的慌忙存在。可通过此展示会直接确认，艺术家利用他们自己的记忆碎片的方式代替安全准确的衔接，开出个缝隙，露出一点，让人们往里面看。这次展会将成为确认自己记忆里拖拉着自己像梦一般共存的记忆碎片是什么，是重新构造个人陌生又熟悉的记忆的机会。
北京可能空间 - 林炅玟
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