台北當代藝術館 官方網站 Museum of Contemporary Art, Taipei

李山是中國當代藝術史中最重要的藝術家之一。在長達四十年的藝術生涯中，李山始終堅持思考，不斷探索，通過藝術創作反省人生和人性。八十年代初，李山參與推動了上海前衛藝術運動，並成為八十年代中國抽象藝術—「理性繪畫」的代表畫家。八十年代末，李山創作了《胭脂》系列，不僅被視為中國「政治波普」藝術的代表人物，他的「粉紅色」符號系列作品也廣為人知。從二十世紀九十年代中期，李山開始創作他的生物藝術—《閱讀》系列。本次展覽展示的就是李山過去17年中對生物藝術的思考、構想、實驗以及他創作的部分作品。 Li Shan is one of the most important artists in the history of Chinese contemporary art. In his four-decade long artistic career, Li Shan has always insisted on constantly contemplating, exploring and reflecting on life and human nature through artistic creation. In the early eighties, Li Shan participated in the promotion of avant-garde art movement and became a representative painter of “rational painting”, Chinese abstract art, in the mid-eighties. At the end of the eighties, Li Shan created Yan Zhi (rouge) series, which led him not only be regarded as the representative of the “political pop” art, his series of work with “pink” symbols was also well known. Since the mid-nineties, Li Shan has begun creation of his bio-art—the Reading series. This exhibition is to present Li Shan’s thinking, ideas, and experiments regarding bio-art over the past 17 years by presenting a part of his works. 生物藝術無疑是二十一世紀文化的尖端學科。李山通過視覺方式把生物基因重組的試驗結果展示給大眾。台北當代藝術館本次舉辦的【粉紅微笑之後：閱讀•李山】分別展出了李山九十年代以來聚焦於生物藝術的思考和創作。包括1995年生物藝術的閱讀筆記；1998年在紐約創作的生物藝術方案；數位影像製作的昆蟲和藝術家的結合體；一個轉基因青蛙（包括概念、圖片和影像紀錄等）；而李山結合科學認知和藝術想像創作的100幅轉基因生物形象，簡直就是二十一世紀版的《山海經》怪獸大全集！在這個展覽中，觀眾可以同時觀賞李山將生物藝術極簡化、觀念化和最大化、實體化的兩種呈現方式，前者例如用轉基因生物理論濃縮成一本新的《聖經》，或者如用20萬隻蜻蜓翅膀把當代藝術館外牆立面整體包覆起來的奇觀勝景。 Bio-art is undoubtedly a state-of-the-art cultural discipline of the 21st century. Li Shan presented the test results of biological genetic recombination to the public through visual means. For the exhibition Reading Li Shan organized by the Museum of Contemporary Art, Taipei exhibited Li Shan’s thinking and creation focused on bio-art since the nineties. Exhibited items included his reading journals on bio-art in 1995, a bio-art proposal created in New York in 1998, a fused image of an insect and an artist produced digitally, and a transgenic frog (including concept, pictures, and video records, etc.); the hundreds of images of transgenic creatures created by combining scientific knowledge and artistic imagination are truly the 21st century version of the monster extravaganza of the Shan Hai Jing, an ancient Chinese volume of whimsical stories! At the exhibition, viewers can simultaneously appreciate the two methods Li Shan used to minimalize, conceptualize, and maximize bio-art. For example, he condensed the theories of genetically modified organisms into a new Bible. Along with this, he covered the outside walls of the museum with wings of 200 thousand dragonflies, creating a spectacular view. 李山的生物藝術作品大約分這幾個階段：1.生物+非生物，即用動物皮毛來包汽車或飛機等能發動的無機物。2.昆蟲+哺乳動物即把物種兩級的生物基因相融合。3.用人或自身+昆蟲等小生物即把人與其他生物相融合。4.通過生物基因工程製作新的生物物種，《南瓜》計畫作品。李山的生物藝術把想像和實證、玄學和科學結合在一起。李山的生物藝術是一個批判人類中心主義的宣言。李山的生物藝術試圖指出，迄今為止，人類以人文道德為規範，建立了不公平世界之同時，也干擾了自然的秩序。 Li Shan’s works of bio-art came in several stages: 1. Biotic + Abiotic, i.e., wrapping inorganic objects such as cars and planes in animal hides. 2. Insects + Mammals, i.e., fusing the genomes of animals of two different classes. 3. Human or himself + Insects or other small organisms, i.e., fusing human and other living things. 4. Produce new biological species through biogenetic engineering, or the Pumpkin project. Li Shan’s bio-art combines imagination, empiricism, metaphysics, and science. It is a declaration of critique of anthropocentrism and attempts at pointing out that, to date, humans have adopted humanistic morals as norms and through which have created an unfair world and also interfered with the natural order.