李钢 | 遗忘 — 武汉驻地艺术项目
展览“遗忘”现场，武汉，2024
展览“遗忘”现场，武汉，2024
展览“遗忘”现场，武汉，2024
展览“遗忘”现场，武汉，2024
李钢，《耗材》，2024，斧头、塑料布、尺寸可变
在此基础上，李钢认为物体自身具备的时间、距离、质量、异变等因素不需要任何加工，它本身的作用就存在于时空之中。比如作品《誓言》里，李钢确定了石头重量的法则是一到十千克，但更为广泛和抽象的理解是它们“确切的重量”，“确切的重量”这个概念精彩之处在于，既符合了艺术家对作品绝对极简的创作理想，同时还解放了所有散落在大地之上一样重的石头，那么也自然将所有石头归类，分组，连接和具体化。以石头为对象还有艺术家早期另外一件作品《星座-莲池》，在李钢看来地上的石头就是大小不同的繁星，如果我们站在足够远的距离凝视地球，就会发现我们的地球本来就是一颗璀璨夺目的星星，上面存在的你我众生都是其中发光的一部分，世上所有石头“随机的距离”赋予了石头相互之间的美妙存在。那么如果将这两件作品的概念合二为一，所有有确切总重量的石头都像点燃光点一般散落覆盖于大地之上，编制成一个巨大的网络，无限延伸的范围构建李钢创作的地理知觉部分。
李钢，《地心说》，2024，蜗牛、尺寸可变
展览“遗忘”现场，武汉，2024
展览“遗忘”现场，武汉，2024
在李钢构建的作品结构里，作品之间的交叠，搭建了艺术家关于地理和历史以及情感的经纬，无限的延展让艺术家其它创作得以在一个更为宏大的时空进行。其中本次项目作品《日抛》极限的缩小时间的范围，弱化时间的概念，另一件作品《耗材》则把“历史更迭”作为时间的依据，暗示历史反复重现。作品《新道德》和《均码》又是把历史的反复微观到个体生命的絮叨与回响。展览“遗忘”六件作品也无一不是在时空的概念中去诉说声音、历史、时间在这个无限坐标内的即将或已经被遗忘的记忆，以这个展览为始，艺术家不只是借助狡黠的思维去赋予作品更多的巧思，而是在搭建结构的框架里去唤醒物本身的意义。
展览“遗忘”现场，武汉，2024
《地心说》 李钢 2024年 蜗牛壳 独版 Geocentric Theory 2024 Snail Shells Exclusive Edition
作品以中世纪时期著名认识论“地心说”来命名，地心说这一理论影响统治着世界上千年之久，后来被验证为是错误的认识论。认识论会直接作用于人的世界观，形成思维定式并影响人的价值观趋向，最终成为某种认知惯性。
艺术家在武汉长江边游走，发现江边蜗牛壳的螺旋纹理都是逆时针向左旋转的，经实地考察、走访并再次验证了这一说法。然而，艺术家怀有对例外的笃信，并决定寻找和当地蜗牛螺纹方向完全相反的蜗牛，寻找反向蜗牛这一行为，正是对以往认知惯性发起的质疑与挑衅，当这只反向蜗牛真正出现之时，此时的认知惯性也随之发生着松动。
The work is named after the "geocentric theory", a famous epistemology in the Middle Ages, which influenced and dominated the world for thousands of years, but was later proven wrong. Epistemology will directly affect people's worldview, form a mindset and influence value orientation, eventually become a kind of cognitive inertia.
The artist wandered along the Yangtze River in Wuhan and found that the spiral pattern of the snail shells on the riverside was counterclockwise rotation. With some field investigation, he eventually verified the observation. However, the artist, holding a firm belief in exceptions, decided to look for local snails with the opposite spiral pattern rotation, The act of looking for reverse snails is that a questioning and provokes the previous cognitive inertia. So when the snail shell with the opposite spiral pattern rotation really appears,at that time,the cognitive inertia is also loosening.
《均码》 李钢 2024年 墙体铲凿工艺 三版二AP 尺寸可变 Equal Size 2024 Wall Chiseling Technique 3 Edition/2 AP Size Variable
艺术家在展厅的一面墙上凿去墙皮留出“我们忘记了想要记住的事情”，在另一面墙上凿刻出字迹“我们记住了想要忘记的事情”两句话。这里出现的记住和忘记变得偶然不可控，越是想要达到的却往往事与愿违。
“均码”这一作品以文字观念直接的说出“遗忘”在人的生命情感中的偶然性，它的不可控性有时像是来自上苍的礼物，但有时又像是一场灾难。在时间这里“遗忘”成了情感唯一的救赎。
In the exhibition hall, the artist chiseled off the plaster on one wall to leave the words "We forget what we want to remember"and carved out the words "We remember what we want to forget" on another. Here, the "remembering" and "forgetting" become accidental and uncontrollable, suggesting that the more we want to achieve, the more backfire we may often get.
The work "Equal Size", that builds on textual concept to directly speaks of the accidental of "forgetting" in human life and emotions. Its uncontrollability may seem like either a gift from heaven or a disaster. Within time, "forgetting" has become the only salvation of emotions.
《日抛》 李钢 2024年 声音装置 塑料袋 六版二AP 尺寸可变 Daily Disposables 2024 Sound Installation 6 Edition/2 AP Size Variable
今天，既是昨天的明天，也是明天的昨天。
艺术家把昨天的声音录制下来在今天播放，今天播放的声音也同样被录下来等到明天放。就这样今天的声音一直以包含的方式覆盖着昨天的声音，持续重叠下去。作品以“天”的时间概念提醒着观众，当下现代性洪流趋势的时代是按天的单位在变化迭代的。
Today is both the tomorrow of yesterday and the yesterday of tomorrow.
The artist recorded the sound of yesterday and has it played today, and the sound played today is also recorded and will be played tomorrow. Through such a pattern, the sound of today will be covering the sound of yesterday in an inclusive way and continuously overlapping. With the concept of "day", the work reminds the audience that the current era of modern trends is also changing and iterating by the unit of day.
《新道德》 李钢 2024年 装置 猪油 、A4纸 6版二AP 尺寸可变 New Morals2024 Installation Lard, A4 Paper 6 Ed ition/2 AP Size Variable
被猪油浸渍过的纸张，透出了下层原本看不到的字样——“不要让食物玷污了你的血液。”这句话听上去像是某种信仰或是告诫，而这样崇高感的话语其实是由句式结构所决定的，比如：“不要让金钱玷污了你的双眼。不要让权利玷污了你的灵魂。不要让欲望玷污了你的身体。”等等…这样像箴言一样的句式里一般都隐藏着某种煽动性，“箴言体”话术的广泛接纳反映出了当代人群体对某种规训与指引的渴望。
The paper, having been soaked by lard, becomes transparent to reveal the words on the next layer that were originally invisible: "Don't let food stain your blood." The sentence sounds like a belief or a warning, and the nobility of such words is defined by how a sentence is structured, such as: "Don't let money stain your eyes", "Don't let power stain your soul", "Don't let desire stain your body", etc. Such a proverb-like sentence structure usually hides a certain kind of incitement, and the widespread acceptance of the "proverb-style" language reflects that contemporary people long for some kind of discipline and guidance.
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