◆李仲实-L
◆可以画廊-K
K：你算是可以画廊第一位签约的艺术家吗？
L：是吧。
K：今年可以画廊6岁了，你跟画廊互相陪跑的6年里你觉得彼此最大的变化是什么？
L：这个话题我想聊的太多了，前几天整理图片找到第一个个展“永远是春天”的海报，看了好久想了很多，今天看来我们都依然很新，但也都在超越自己。
这几年我觉得我的最大变化就是明确了创作动机，理清了创作上的方法论，我依然积极但面对处境更悲观了。
画廊最大的变化我觉得是规模、影响力及专业性的进步，但也有随之而来的体制化或产业化的问题，其实可以画廊和一些艺术家们的学术价值是在场的，我们需要更多时间和耐心去把一些被遮蔽了的东西更好地展现出来，这也许是年轻画廊在存活下来并取得进步的过程中难免的瓶颈，当然也有很多外界的偏见，比如精神洁癖者无法忍受丝毫商业化行为，又或者比如作品媒介选择的偏见，以及各种势利眼的诟病。但无论如何我们最大的变化就是我们都肉眼可见地进步了，我们也将面向更广阔的可能性。
黄油猫 – 滚床单 / Buttered cat – Make love
2024
布面油画 / Oil on canvas
100 × 80 cm
姿态 / Posture
2018
布面油画 / Oil on canvas
150 x 200 cm
K：你在伦敦和沈阳两地创作，两个地区环境对你创作会有影响吗？
L：我觉得环境一定会对创作有着复杂影响，但我说的影响不是来自地点的转移，而是生活状态以及认识上的转移，因为创作和生活是息息相关的。
结构的剩余 – 绳索和垃圾桶 / Residual Structure – Rope and bin
2024
布面丙烯、石膏 / Acrylic on canvas,Gypsum
200 × 300 cm
K：你有在英国继续进学校读书的想法吗？
L：我越来越反学院，尽管那样可能和更多可爱的人聊天，但学校终究是令人作呕的。
结构的剩余 – 生产资料 / Residual Structure – means of production
2023 – 2024
布面丙烯、石膏 / Acrylic on canvas,Gypsum
45.7 × 55.9 cm
K：可以分享一下你是怎么攻克英语的吗？
L：我没攻克英语吖。但我会的，我现在起码能过美院英语小分。
K：你是个念旧的人吗？
L：不是。
K：酷和美你选哪个？
L：选装逼吧。
结构的剩余 – 最后一枪 / Residual Structure – Last Shot
2024
布面丙烯、石膏 / Acrylic on canvas,Gypsum
220 × 200 cm
K：你养猫吗？
L：我不养动植物，我怕它们死。
黄油猫 – 昏明屋 / Buttered cat – Twilight room
2024
布面油画 /Oil on canvas
200×150 cm
K：本次展览所展出的新系列作品较之以往的作品有着怎样的区别和联系？
L：其实都特别好！我有明确的表达动机，清晰的创作脉络，深刻的思考维度，完整的创作逻辑，以及健康的精神状态！我越来越好了。
黄油猫 – 电梯镜 / Buttered cat – Elevator mirror
2024
布面油画 /Oil on canvas
200×300 cm
黄油猫 / Butter Cat
2023
布面油画 / Oil on canvas
150 x 200cm
K：未来的创作计划是？
L：不告诉你。
K: Are you considered the first artist to sign a contract with Keyi Gallery?
L: Yeah.
K: Keyi Gallery is 6 years old this year. What do you think is the biggest change between you and the gallery during the 6 years we have been running together?
L: I want to talk too much about this topic. A few days ago, I sorted out pictures and found the poster for my first solo exhibition "Always Spring". After reading it for a long time and thinking a lot, it seems that we are still very new today, but we are also surpassing ourselves.
Over the past few years, I believe the biggest change in me is that I have clarified my creative motivation and sorted out my methodology in creation. I remain positive, but I face the situation with a more pessimistic outlook.
I believe the biggest changes in the gallery are its scale, influence, and professionalism. However, this progress has also brought about institutionalization or industrialization issues. In fact, the academic value of the gallery and some artists is present. We need more time and patience to better showcase things that have been obscured. This may be an inevitable bottleneck for young galleries in the process of surviving and making progress. Of course, there are also many external prejudices, such as those who cannot tolerate any commercial behavior, or biases in the choice of art media, as well as various snobbish criticisms. But no matter what, the biggest change for us is that we have visibly progressed, and we will face broader possibilities.
结构的剩余 – 雕像 / Residual Structure – Sculpture
2024布面丙烯、石膏 / Acrylic on canvas,Gypsum
200 ×150 cm
涉险空间 / Risky Space
2018
布面油画 / Oil on canvas
200 x 300 cm
K: Do the environments in London and Shenyang have an impact on your creative work?
L: I think the environment will definitely have a complex impact on creation, but the impact I am talking about does not come from the transfer of location, but from the transfer of living conditions and understanding, because creation and life are closely related.
结构的剩余 – 黑裤子 / Residual Structure – Black trousers
2024
布面丙烯、石膏 / Acrylic on canvas,Gypsum
50 × 40 cm
K: Do you have any thoughts of continuing your studies in school in the UK?
L: I'm increasingly anti-academic. Although I might chat with more lovely people that way, school is ultimately disgusting.
黄油猫 – 空岛 / Buttered cat – Empty island
2024
布面油画 / Oil on canvas
200 × 150 cm
K:Could you share with me how you managed to master English?
L: I haven't mastered English yet. But I will. At least now I can pass the English minor test for the art academy.
K: Are you a nostalgic person?
L: No.
K: Cool and beautiful, which one would you choose?
L: Choose to be pretentious.
结构的剩余 – 红药水 / Residual Structure – Red Solution
2024
布面丙烯、石膏 / Acrylic on canvas,Gypsum
200 × 150 cm
K: Do you have a cat?
L: I don't keep plants or animals because I'm afraid they might die.
黄油猫 – 海洋天 / Buttered cat – Ocean sky
2024
布面油画 / Oil on canvas
200 × 150 cm
K: What are the differences and connections between the new series of works exhibited in this exhibition and the previous works?
L: Actually, everything is going exceptionally well! I have a clear expression motivation, a clear creative thread, a profound dimension of thinking, a complete creative logic, and a healthy mental state! I am getting better and better.
结构的剩余 – 紫药水 / Residual Structure – Purple Solution
2024
布面丙烯、石膏 / Acrylic on canvas,Gypsum
200 × 300 cm
结构的剩余 / Remaining Structures
2023
布面综合 / Mixed on canvas
200 x 300 cm
K: What are the future creative plans?
L: I won't tell you.
可以画廊北京空间原定于04月01日闭幕的李仲实个展「如果一切顺利怎么办？」将延期至04月08日，欢迎大家在此期间莅临画廊参观。
The solo exhibition "what if it all works out?" by Li Zhongshi, originally scheduled to close on April 1st at the Beijing space of KeYi Gallery, will be extended until April 8th. We sincerely welcome you to visit the gallery during this period.
关于艺术家 / About Artist
李仲实，1994 出生于辽宁沈阳，2019 毕业于鲁迅美术学院，现工作生活于沈阳和伦敦。他的作品善于捕捉精神世界中的波动，注重客观世界具象化的消解以及视觉感官的刺激，使确定性坍塌。他在对视觉图像反复破坏、重构的过程中寻找灵感和感性经验，以此进行图像研究和观念实践，试图拓展绘画的观看方式。他将叙述和表意的线性关系重组，构建出游离于感性与理性边缘的、能够被画面痕迹和色彩追溯的精神世界。他的作品曾被 X 美术馆收藏。
他的个展包括：“反光镜”，可以画廊，（合肥，2023）；“永远是春天”，可以画廊，（合肥2021）；“李仲实 / Li Zhongshi ”，鲁迅美术学院美术馆，（沈阳，2018）。群展包括：“无论盛开还是不盛开，花都是花”，可以画廊，（合肥，2022）；“叙事”中国重点美术院校联展，（北京，2018）；“悦色青黄——视觉跨界的延伸”，芝加哥浮世画廊，（芝加哥，2017）等。
Li Zhongshi, born in Shenyang, Liaoning in 1994, graduated from Lu Xun Academy of Fine Arts in 2019, now works and lives in Shenyang and London.His works are good at capturing the fluctuationsin the spiritual world, focuses on the dissolution ofthe materialization in the objective world and thestimulation of the visual senses, making deterministiccollapse. He sought inspiration and perceptualexperience in the process of repeated destruction and reconstruction of visual images". In this way to carry out image research and conceptual practice, trying to expand the way of appreciation of painting. He reorganizes the linear relationship between narration and expression to build a spiritual world that is free from the edge of sensibility and reason and can be traced by the traces and colors of the picture. His works have been collected by X Gallery.
His solo exhibitions include: "Reflector", KeYi Gallery, (Hefei, 2023); "Always spring" , KeYi Gallery, (Hefei, 2021); "Li Zhongshi", Art Museum of Luxun Academyof Fine Arts, (Shenyang, 2018). and group exhibitions include: "Whether in full bloom or not, all flowers are flowers", KeYi Gallery, (Hefei, 2022); "Narrative", Joint Exhibition of China's Key Fine Arts Colleges, (Beijing, 2018); "Blue&Yellow an Extention of visual Crossover", Floating World Gallery,(Chicago, 2017), etc.
关于可以画廊 / About KeYi Gallery
可以画廊 KeYi Gallery 是一间成立于2019年的当代新星空间，旨在为艺术家打造一个开放性的具有学术实验性的平台，致力推广多元独特的展览项目和艺术家作品，挖掘和培育年轻艺术家。可以画廊前身以私人收藏为主，20年间不断收藏那些具有一定学术价值的当代作品，并始终关注艺术当下及未来的发展趋势。
KeYi Gallery is a young contemporary art space established in 2019. It aims to create an open and experimental platform for artists and dedicates to promoting diverse unique art programs and works of art, exploring and developing young artists. KeYi Gallery gave priority to private collections previously and has been insisting on collecting contemporary artworks with high academic value while concentrating on art trends in the art world.
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