可以·幕后计划第六回——李抗个人项目「麻燕环塔绕我心」将于3月21日在可以画廊第零号筒仓启幕。此次项目是与艺术家的首次合作，将呈现李抗于2025年创作的近30件木板油画作品，展期将持续至4月30日。
Ke Yi · Behind the Scenes Project: Episode VI—Li Kang's Personal Project Circling the Tower, Circling My Heart open on March 21 at Silo Zero. This project marks the first collaboration with the artist. It will showcase nearly 30 wood panel oil paintings created by Li Kang in 2025, and the exhibition will last until April 30th.
李抗出生于皖北古地临泉，成长环境中所蕴含的古朴气息与岁月感景观，似乎在潜移默化中塑造了他对事物的感知方式。如今常年工作和生活于北京的他，在繁忙之余始终保持着一种近乎执拗的生活节奏：独处摆满陶器的工作室，或是背起画包踏上访古之路。他的行李中总是备着几块提前定制好的木板。觅到有兴趣的景，支起画架便开始创作。近年来，他的足迹遍及太行庄和山村、版纳曼丢古寨、桂北秀水古村、山西等地的古寺庙宇与名人故居。这些留存着时间痕迹的故物旧景，使他沉浸其间，久而久之，它们逐渐成为李抗绘画创作的主要素材。
Li Kang was born in Linquan, an ancient area in northern Anhui Province. The rustic atmosphere and the sense of nostalgia embedded in his childhood environment seem to have subtly shaped his way of perceiving things. Now, living and working in Beijing for most of the year, he maintains a rather stubborn pace of life even in the midst of busyness: alone in a studio filled with pottery, or carrying a painting bag and setting out on a journey to explore ancient places. In his luggage, he always keeps a few pre-customized wooden boards. When he finds something interesting, he sets up the painting easel and starts creating. In recent years, his footprints have covered ancient temples and the residences of famous people in Taihang Village and mountain villages, Mandiu Ancient Village in Xishuangbanna, Xiu Shui Ancient Village in Guangxi North, and Shanxi Province. These relics and scenes that retain the traces of time have immersed him in them, and over time, they gradually become the main materials for Li Kang's painting creation.
如果要用一个词来概括这次展览，“怀古”或许最为合适。画面中的建筑多为年久却依然保持气度的庙宇、历史遗构或旧宅。风雨的清洗使其边角钝化、色彩褪落，后期人为修缮与结构改造也不断叠加其上。合理的，不合理的，但都成为了当下所见的面貌。这些承载岁月痕迹的旧迹被放到当下，并经由艺术家眼睛和画笔转化为图像时，便逐渐生发出不浮于表面的表达维度。
就如矗立于晋北近千年的应县木塔，她身上承载了时代变迁的细微，战火的侵扰与后世结构的改造使塔身逐渐产生倾斜，这一现状令人心痛。这背后的原因，探究出来放在当下去思考，问题依然还是存在。对于李抗而言，这些遗存是让他进入历史语境的入口。通过描绘这些古旧的物像，重新唤起大众对当下变化的问题意识，也让自己在生命过程里变得更为主动。
If we were to summarize this exhibition with a single word, "nostalgia" might be the most appropriate choice. The buildings depicted in the pictures are mostly ancient temples, historical ruins or old residences that still maintain their grandeur despite their age. The elements of wind and rain have worn down their edges and faded their colors, and subsequent human renovations and structural modifications have been superimposed on them. Both reasonable and unreasonable, they all constitute the current appearance. When these traces of time are placed in the present and transformed into images through the eyes and brushes of the artists, they gradually rise an expression dimension that goes beyond the surface.
Just like the nearly thousand-year-old Yingxian Wooden Pagoda standing in northern Shanxi, it bears the subtle marks of historical change. The ravages of war and later structural alterations have caused the pagoda to gradually tilt, a situation that is deeply distressing. The reasons behind this, when examined and reflected upon in the context of the present, reveal that the issues still persist. For Li Kang, these remnants serve as an entry point into a historical context. By depicting these ancient and timeworn objects, he not only rekindles the public’s awareness of the transformations and issues of the present, but also becomes more proactive within the course of his own life.
