Reality Impalpable

A Solo Exhibition by Li Hui

2011 / 04 / 29 Fri.

2011 / 06 / 26 Sun.

10:00 - 18:00

  • Curator

    Cheng Nai-Min

About

Reality Impalpable, the largest solo exhibition of the young artist Li Hui yet held, was planned by Nai-ming Cheng – an active curator and art critic on both sides of the Taiwan Strait. The exhibition presents twelve representative works of Li Hui from his multifaceted creations over the past five years. Also depicted is the development of the artist's creative style and its relationship with ideological and social contexts. It is well known that the first decade of the twenty-first century marked a transition period during which China’s economy took off as its social environment was radically transformed. The once traditional and closed society received a great quantity of foreign information, spreading an atmosphere of instability that continuously conflicted with the values of the population. China’s development and transformation over the last decade, whether in economy, culture or arts, could be described as a cyclical phenomenon of “expansion and compression.” Reality Impalpable is an artistic portrayal of this peculiar era in which Li Hui lived, and a reflection of his pursuit of eternity through art. Li Hui specializes in working with symbols and physical objects to construct a visual and spiritual stage that condenses social affinities and the atmosphere of an era. His creations feature diverse media and multifaceted content, and are built upon a variety of expressive forms. The artist’s works emphasize the rapid rise of China in recent years, offering a perspective of empathy and criticism toward consequential phenomena such as social mobility, an expanding desire for consumption, cultural compression and entanglements of human nature. As a result, the artist adopts the different roles of observer, sympathizer and critic. For this exhibition, Li Hui created new works according to the spatial distribution and environmental atmosphere of MOCA Taipei, and inserted mechanical and sound elements in them. Through new creations, the artist hopes to sustain a continuous cycle of self-questioning and answering problems such as: “How do form and media operate?” “How can one balance art in its pursuit of depth and expansion of definition?” and “How does art transcend everyday language?” It is the artist’s principle that every solo exhibition must be a milestone in artistic creation. Li Hui specializes in working with symbols and physical objects to construct a visual and spiritual stage that condenses social affinities and the atmosphere of an era. His creations feature diverse media and multifaceted content, and are built upon a variety of expressive forms. The artist’s works emphasize the rapid rise of China in recent years, offering a perspective of empathy and criticism toward consequential phenomena such as social mobility, an expanding desire for consumption, cultural compression and entanglements of human nature. As a result, the artist adopts the different roles of observer, sympathizer and critic. For this exhibition, Li Hui created new works according to the spatial distribution and environmental atmosphere of MOCA Taipei, and inserted mechanical and sound elements in them. Through new creations, the artist hopes to sustain a continuous cycle of self-questioning and answering problems such as: “How do form and media operate?” “How can one balance art in its pursuit of depth and expansion of definition?” and “How does art transcend everyday language?” It is the artist’s principle that every solo exhibition must be a milestone in artistic creation.

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Artist

Li Hui

Born in 1977, Li Hui graduated from the Central Academy of Fine Arts in 2003. He resides and works in Beijing, and actively holds exhibitions in the major cities of Asia, Europe and America. Li Hui’s works are based on two creative themes: working with laser and LED as media to explore new expressions of art that is integrated with high technology; and using “conceptual” sculptures and space installations to portray observations and reflections on the rapid transformation of the Chinese society. In the competitive new generation of Chinese artists in which new talents constantly emerge, Li Hui is one of the few capable of effectively using a variety of new media while exploring serious humanistic issues.


Li Hui’s artistic philosophy is built on the Zen couplet: “An eternity of endless space; a day of wind and moon,” and he often juxtaposes different aspects and the contradictions of time. In his creations, the artist portrays the present as replaced by the wheel of history, depicting the rapid transformation of what was once sea into land. Additionally, the works’ content often refers to the eternal vitality of the wheel of life, and a continuous spiritual pursuit. He integrates emotional atmosphere with rational operation, deliberately employing modern industrial technology as a medium to explore the state of mankind, life and psychological fear. Such a process results in depictions of life and spiritual issues, such as transmigration, life and death, transcendence, conflict, expansion, compression and uncertainty.


The laser installations of Li Hui create theaters of light with dazzling visual effects, adopting different appearances according to space and perspective. A dual atmosphere of “motion within stillness/stillness within motion” is produced, bestowing on the audience a sudden feeling of uncertainty. These laser installations are unlike other art appreciation experiences that emphasize interactivity, instead focusing on the artist’s observations of life and society. In addition, Li Hui has created a series of physical “conceptual sculptures.” Some of them use stacked layers of acrylic to represent the graceful appearances of “ethereal entities,” such as deities and other creatures, emerging from bright and transparent masses. Others display war machines and large creatures sealed and imprisoned within a “restrictive framework” that is built with metallic materials.
Of the two sets in the series, the former uses shapeless light to allow the audience to experience a spatial theater of science fiction, while the latter invokes the concepts of absorption and resistance to lure the audience into contemplating the uniquely styled, large sculptures.

Artworks

Reincarnation
Buddhist Altar No. 2
The Moment
The Final Warrior
The Gate
The Undying Heart
Tornado
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