主 办：上海证大现代艺术馆 艺术银行
时 间：2007年6月30日—7月15日
地 点：上海证大现代艺术馆4号厅（浦东新区芳甸路199弄28号）
开 幕：2007年6月29日下午19：00（星期五）
展览简介：
李小松说自己是一个爱给自己找麻烦的人，他秉承其父在电子技术方面的修养，在高科技弥漫的今天经常鼓捣那些被朋友们开玩笑称为“低科技”的东西，他的许多作品中都有自己设计的简单机械和动力装置，这在艺术创作以观念先行大行其道的今天显得难能可贵。
展览名称“脑震荡”就是来源于艺术家一件同名的装置作品：一个洁白的脑花。在机械动力的作用下，硅胶制的脑花模型仿佛在思考着——在那可笑的若有若无的颤抖下昭然若揭。不过李小松仿佛正在进行转变，此次展览还展出了艺术家新近创作的3件录像作品，它们保持了艺术家创作中一贯的诙谐品质，相比较从前的作品依然不失感性，并且多了几分思考。李小松四川美术学院毕业后曾经在上海工作了三年，后又移住苏州。现在他经常往返两地跑动，他说自己的生活就一直是震荡着的。不过他好像毫无悔意，并且乐此不疲。
Brain-quake: Li Xiaosong Solo Exhibition
Presented by: Shanghai Zendai Museum of Modern Art
Art bank
Dates: June 29, 2007 – July 15, 2007
Venue: Shanghai Zendai Museum of Modern Art
(No. 28, Lane 199, Fangdian Road, Pudong New Area, Shanghai)
Opening: June 29, 2007 7:00pm
Li Xiaosong comments himself as that type of person who likes to ask for trouble. He inherits his father’s gene of electronic techniques and is obsessed to “low-tech” stuff which is called by his friends as a joke. With simple mechanism and motorization, his works is very different with the popular concept arts.
This exhibition is named after one of his installations “Brain-quake”: a white brain. Under the motorization, this silicone made brain seems like thinking----in that funny and unnecessary variation. However, Li Xiaosong is changing as well. There are 3 new videos showing in this exhibition. The humorous essence and sensibility remain in artist’ works as always and more thoughts can be felt as well.
After his graduation from Sichuan Fine Art School, Li Xiaosong had worked in Shanghai for 3 years then he moved to Suzhou. Now he is always commuting between Shanghai and Suzhou. It is a “quaking” life as he said but of no regret and he is enjoying it.
开放时间 / Opening Time：10：00 - 18：00 星期一休息 Closed Mondays
联系 / Contact：
Tel: 086, 21, 5033 9801 Fax: 0086, 21, 5033 9803
[url]http://www.zendaiart.com
.
www.artbank.cn
嗨~！低科技与脑震荡生活
苏文祥
这个展览名称“脑震荡”并非来自人们通常所熟知的，受了剧烈刺激后的那种病理症状。实质上它是艺术家复制的一个纯白的大脑花，当然，它们按照“脑震荡”这个词语原意所有的，可以联想到的外部特征然后描述的那样——剧烈的抖动着。似乎事情一点儿都不严肃，在机械模具的催促下，一张空洞的脑花状的皮囊企图持续保持思考——在那可笑的若有若无地颤抖下昭然若揭，大玻璃罩子则是披着伪考古学的外衣。
“我总结一下我就是一个爱给自己找麻烦的人。”（引自李小松的私人博克）。
李小松秉承了他父亲在电子技术方面的修养，在高科技弥漫的今天仍然念念不忘那些被朋友们开玩笑称为“低科技”的东西，他的许多作品中都有自己设计的简单机械和动力装置，这在艺术创作以观念先行大行其道的今天显得难能可贵。《X分钟一次》里第一次出现了脑花的形象，那是由血管组成的，伴随着心跳声，里面的“血”若干分钟会自下而上奔腾一次；《强权者游戏》里施虐的二维动画，它们由数千个二极管组成的图像交替变化，那暧昧又可爱的小灯泡一亮一灭完全不像是施虐，倒是像挑逗观众的玩笑神经。严肃的事情总是在李小松这里被娱乐化了。类似的例子还有2005年的一组摄影作品《我挡》，面庞稚嫩的“明星”主角和学生气的记者，场景是娱乐圈里需要经常应付的状态：如何面对狗仔队的追赶；更不用说，他还曾经请人在美术馆的展厅里大踢高空足球了（《六比○》，行为装置，2004）。
然而，这样天马行空的想象经常会受到来自各种限制的挑战，无论是经济压力还是作品实施的可能性。在享受作品完成和展出短暂的狂欢后，大部分时间里，李小松只剩下那些不可捉摸的作品方案，有些方案甚至永远也实现不了。其实也没什么，不该存在的就让它烂掉吧。不过在许多时候，他的想法总是能让人感到眼前一亮。
通常在许多朋友眼里，李小松被认为是一个吊儿郎当的人、一个不太认真的人，不过现在人们对他的印象正在逐渐改变。在他新的名为《云上》录像作品中（云上，录像，6分30秒，2007年），一个赤裸上身的光头出现在一片白色的云雾中，仿佛著名的电视连续剧《西游记》里的佛祖如来——那正是艺术家本人（艺术家长的很像一个和尚，只是稍瘦），或者我们说，他越来越痛苦的表情看起来又像是受难。固定不变的镜头画面看起来既端庄又略微有些滑稽，艺术家伫立在云端，又好似漂浮于其上，汹涌翻滚的烟雾偶尔出现一些微妙的质感上的变化，艺术家对自我身体的镜像重新进行了审视。这一切都来自崇明岛，那里的农民为给虾田除菌而烧起的一把大火。
艺术家似乎真的逃离了那些“低科技”的想象而离生活越来越靠近，童年时代残存至今的英雄主义和好斗时常被唤起，不过毕竟要面对现在的现实，少年之勇即使被提及也经常是一笑了之。但它们却可以被李小松用其它可能的方式重温。有时候他甚至开始关注起影响我们生活的时髦词汇，例如战争、恐怖主义等等。录像作品《无限正义》就是源自艺术家饲养宠物的经验：他和女友共同养了一只金毛，有时候他们扔出去一块食物或一个玩具，狗都会迅速扑过去，狗会对玩具进行把玩或者把它们每次都叼回来。于是就有了玩偶拉登隐藏在树丛中一次次被狗找回的命运，那只是艺术家设计的玩偶！但利用了狗的忠贞。我们不能不想起美国，这个在“9.11”后匆忙发动的两场战争，消灭了一部分敌人的同时却产生了另一部分敌人的国家。究竟谁是我们的敌人！？特别是进入冷战时期，仿佛所有的大国都曾面临这样的难题。而在李小松的作品里面，狗的“敌人”就是那两只玩偶，但在现实世界，美军通常只能面对那个名为“拉登”的人的一盘录像带或一段录音。
我们不能不想，有时候战争，甚至人类的整个生活形式就是一套按部就班的仪式，一切都已经被设计规划好了，只是不断的上演开幕与闭幕而已。这样的观点也许太宿命论了。但人类的确是通过仪式感来表明审慎或他们对一个事情的重视，比如通过战争这样的仪式来表达我们是强大的、无所畏惧的。然而，忽略仪式感的空洞化表现则是精神危机的反映。另一部录像作品《病症》同样与仪式感保持着巨大的联系，但与《无限正义》的空洞化不同的是，《病症》是作者与自我意识的斗争与决裂，当念到一个病症名称时，一个与之对应的稻草人就被点着烧掉。“心生则种种魔生”，作者需要通过这样巫术般的仪式来与自我通灵，因为自我已经按捺不住地苏醒了。
不过，假如就此认为李小松即将要变成一个严肃的人，那也错了。他依然保持着他极具诙谐的品质，乐呵呵的两条眉毛就快要长成一条。不过假如他皱眉了板着脸，也许一件新的作品就要产生。而我们则尽管期待了。
2007 / 6
Hey! Low-tech and Brain-quake Life
Su Wenxiang
The name of the exhibition, “Brain-quake”, does not refer to the common symptom produced by a violent shock on the brain. In fact, it is a counterfeited white human brain made by the artist, quivering violently, as the word “concussion” may suggest. A hollow brain made of silica gel and driven by a motor, it keeps “thinking”. The funny vibration of the brain seems to reveal that the artist doesn’t mean to be serious at all, and the big glass mantle is nothing but a pseudo-archeology veil.
“I’ve concluded that I just like finding troubles for myself.” (cited from Li Xiaosong’s blog).
Having inherited his knowledge of electric techniques from his father, Li has a persistent interest in things jokingly called by his friends as “low-tech”, and has designed simple machines and dynamic devices for many of his works. This seems so rare today as works filled with “concepts” has prevailed in contemporary art. The image of human brain first appeared in Li Xiaosong’s Once Every X Minutes (Installation, 2005), a work showing the “blood” in vessels surging up every few minutes with the “heartbeat”. In the 2D animation of his Power broker's game (Installation, 2006), thousands of diodes were switched on by turns to make different pictures, and the cute little bulbs on and off at intervals seemed to be teasing the audience instead of telling sadistic stories. Serious things always become something entertaining in Li Xiaosong’s works. Similar cases are I reject to be exposed (Photography, 2005)，a series of photographs showing a common star-and-paparazzi (here played by Li and his student) game on public occasions, and his 6 : 0 (performance and installation, 2006), in which Li invited two men to “play football” above people’s heads by fastening both the men and the ball onto a tall rack.
Though imagination has no limit, its realization is often harnessed by budget or feasibility of the plan itself. After having a short revel with the completion of the works and their exhibition, Li has to spend most of his time with all his plans, some of which are unlikely to realize forever. But does it matter? Just let the things unable to be realized die off! Most of his plans, however, are still very impressive ones.
In the eyes of many of his friends, Li Xiaosong has spent much of his time fooling around and never gets serious about things, but this impression has been gradually changed. In his newly made work In Cloud ( video, 6’ 30”, 2007)，a man with a bald head and naked upper part of his body appears. In the white misty cloud he looks like the famous Buddha in a popular TV series based on the classical Chinese story Journey to the West. This is the artist himself, who resembles a thin monk in appearance. The growing pain shown in his facial expression seems to be telling us the torture he is suffering in the eyes of the audience. The still scene looks very serious, but somehow, is funny at the same time. The artist stays still amid the cloud, but looks floating in the air. In the surging cloud which sometimes changed its pattern slightly, he conducts an introspection of his inner-self. In fact, the “cloud” was the smoke coming from the Chongming Island of Shanghai where the farmers burnt the grass to kill the pests in the shrimp area.
The artist seems to have got rid of his “low-tech” imaginations and come back to the real life, and the vestige of his childhood heroism and aggressiveness often reappear in his works. But one has to face reality, and the boldness of a young boy is often laughed off the moment it is mentioned. Li, however, has found his own way to review it and has even paid his attention to some of today’s popular topics, such as the war and the terrorism. The artist makes use of his experience of pets-raising in his video Unlimited Justice (Video, 2007). Li and his girlfriend have kept a dog. Every time they throw off a piece of food or a toy, the dog will go at it very quickly and bring it back to them with his mouth. Taking advantage of the dog’s faithfulness, the artist then made a doll of Bin Laden, hid it behind the trees and let t
苏文祥
这个展览名称“脑震荡”并非来自人们通常所熟知的，受了剧烈刺激后的那种病理症状。实质上它是艺术家复制的一个纯白的大脑花，当然，它们按照“脑震荡”这个词语原意所有的，可以联想到的外部特征然后描述的那样——剧烈的抖动着。似乎事情一点儿都不严肃，在机械模具的催促下，一张空洞的脑花状的皮囊企图持续保持思考——在那可笑的若有若无地颤抖下昭然若揭，大玻璃罩子则是披着伪考古学的外衣。
“我总结一下我就是一个爱给自己找麻烦的人。”（引自李小松的私人博克）。
李小松秉承了他父亲在电子技术方面的修养，在高科技弥漫的今天仍然念念不忘那些被朋友们开玩笑称为“低科技”的东西，他的许多作品中都有自己设计的简单机械和动力装置，这在艺术创作以观念先行大行其道的今天显得难能可贵。《X分钟一次》里第一次出现了脑花的形象，那是由血管组成的，伴随着心跳声，里面的“血”若干分钟会自下而上奔腾一次；《强权者游戏》里施虐的二维动画，它们由数千个二极管组成的图像交替变化，那暧昧又可爱的小灯泡一亮一灭完全不像是施虐，倒是像挑逗观众的玩笑神经。严肃的事情总是在李小松这里被娱乐化了。类似的例子还有2005年的一组摄影作品《我挡》，面庞稚嫩的“明星”主角和学生气的记者，场景是娱乐圈里需要经常应付的状态：如何面对狗仔队的追赶；更不用说，他还曾经请人在美术馆的展厅里大踢高空足球了（《六比○》，行为装置，2004）。
然而，这样天马行空的想象经常会受到来自各种限制的挑战，无论是经济压力还是作品实施的可能性。在享受作品完成和展出短暂的狂欢后，大部分时间里，李小松只剩下那些不可捉摸的作品方案，有些方案甚至永远也实现不了。其实也没什么，不该存在的就让它烂掉吧。不过在许多时候，他的想法总是能让人感到眼前一亮。
通常在许多朋友眼里，李小松被认为是一个吊儿郎当的人、一个不太认真的人，不过现在人们对他的印象正在逐渐改变。在他新的名为《云上》录像作品中（云上，录像，6分30秒，2007年），一个赤裸上身的光头出现在一片白色的云雾中，仿佛著名的电视连续剧《西游记》里的佛祖如来——那正是艺术家本人（艺术家长的很像一个和尚，只是稍瘦），或者我们说，他越来越痛苦的表情看起来又像是受难。固定不变的镜头画面看起来既端庄又略微有些滑稽，艺术家伫立在云端，又好似漂浮于其上，汹涌翻滚的烟雾偶尔出现一些微妙的质感上的变化，艺术家对自我身体的镜像重新进行了审视。这一切都来自崇明岛，那里的农民为给虾田除菌而烧起的一把大火。
艺术家似乎真的逃离了那些“低科技”的想象而离生活越来越靠近，童年时代残存至今的英雄主义和好斗时常被唤起，不过毕竟要面对现在的现实，少年之勇即使被提及也经常是一笑了之。但它们却可以被李小松用其它可能的方式重温。有时候他甚至开始关注起影响我们生活的时髦词汇，例如战争、恐怖主义等等。录像作品《无限正义》就是源自艺术家饲养宠物的经验：他和女友共同养了一只金毛，有时候他们扔出去一块食物或一个玩具，狗都会迅速扑过去，狗会对玩具进行把玩或者把它们每次都叼回来。于是就有了玩偶拉登隐藏在树丛中一次次被狗找回的命运，那只是艺术家设计的玩偶！但利用了狗的忠贞。我们不能不想起美国，这个在“9.11”后匆忙发动的两场战争，消灭了一部分敌人的同时却产生了另一部分敌人的国家。究竟谁是我们的敌人！？特别是进入冷战时期，仿佛所有的大国都曾面临这样的难题。而在李小松的作品里面，狗的“敌人”就是那两只玩偶，但在现实世界，美军通常只能面对那个名为“拉登”的人的一盘录像带或一段录音。
我们不能不想，有时候战争，甚至人类的整个生活形式就是一套按部就班的仪式，一切都已经被设计规划好了，只是不断的上演开幕与闭幕而已。这样的观点也许太宿命论了。但人类的确是通过仪式感来表明审慎或他们对一个事情的重视，比如通过战争这样的仪式来表达我们是强大的、无所畏惧的。然而，忽略仪式感的空洞化表现则是精神危机的反映。另一部录像作品《病症》同样与仪式感保持着巨大的联系，但与《无限正义》的空洞化不同的是，《病症》是作者与自我意识的斗争与决裂，当念到一个病症名称时，一个与之对应的稻草人就被点着烧掉。“心生则种种魔生”，作者需要通过这样巫术般的仪式来与自我通灵，因为自我已经按捺不住地苏醒了。
不过，假如就此认为李小松即将要变成一个严肃的人，那也错了。他依然保持着他极具诙谐的品质，乐呵呵的两条眉毛就快要长成一条。不过假如他皱眉了板着脸，也许一件新的作品就要产生。而我们则尽管期待了。
2007 / 6
Hey! Low-tech and Brain-quake Life
Su Wenxiang
The name of the exhibition, “Brain-quake”, does not refer to the common symptom produced by a violent shock on the brain. In fact, it is a counterfeited white human brain made by the artist, quivering violently, as the word “concussion” may suggest. A hollow brain made of silica gel and driven by a motor, it keeps “thinking”. The funny vibration of the brain seems to reveal that the artist doesn’t mean to be serious at all, and the big glass mantle is nothing but a pseudo-archeology veil.
“I’ve concluded that I just like finding troubles for myself.” (cited from Li Xiaosong’s blog).
Having inherited his knowledge of electric techniques from his father, Li has a persistent interest in things jokingly called by his friends as “low-tech”, and has designed simple machines and dynamic devices for many of his works. This seems so rare today as works filled with “concepts” has prevailed in contemporary art. The image of human brain first appeared in Li Xiaosong’s Once Every X Minutes (Installation, 2005), a work showing the “blood” in vessels surging up every few minutes with the “heartbeat”. In the 2D animation of his Power broker's game (Installation, 2006), thousands of diodes were switched on by turns to make different pictures, and the cute little bulbs on and off at intervals seemed to be teasing the audience instead of telling sadistic stories. Serious things always become something entertaining in Li Xiaosong’s works. Similar cases are I reject to be exposed (Photography, 2005)，a series of photographs showing a common star-and-paparazzi (here played by Li and his student) game on public occasions, and his 6 : 0 (performance and installation, 2006), in which Li invited two men to “play football” above people’s heads by fastening both the men and the ball onto a tall rack.
Though imagination has no limit, its realization is often harnessed by budget or feasibility of the plan itself. After having a short revel with the completion of the works and their exhibition, Li has to spend most of his time with all his plans, some of which are unlikely to realize forever. But does it matter? Just let the things unable to be realized die off! Most of his plans, however, are still very impressive ones.
In the eyes of many of his friends, Li Xiaosong has spent much of his time fooling around and never gets serious about things, but this impression has been gradually changed. In his newly made work In Cloud ( video, 6’ 30”, 2007)，a man with a bald head and naked upper part of his body appears. In the white misty cloud he looks like the famous Buddha in a popular TV series based on the classical Chinese story Journey to the West. This is the artist himself, who resembles a thin monk in appearance. The growing pain shown in his facial expression seems to be telling us the torture he is suffering in the eyes of the audience. The still scene looks very serious, but somehow, is funny at the same time. The artist stays still amid the cloud, but looks floating in the air. In the surging cloud which sometimes changed its pattern slightly, he conducts an introspection of his inner-self. In fact, the “cloud” was the smoke coming from the Chongming Island of Shanghai where the farmers burnt the grass to kill the pests in the shrimp area.
The artist seems to have got rid of his “low-tech” imaginations and come back to the real life, and the vestige of his childhood heroism and aggressiveness often reappear in his works. But one has to face reality, and the boldness of a young boy is often laughed off the moment it is mentioned. Li, however, has found his own way to review it and has even paid his attention to some of today’s popular topics, such as the war and the terrorism. The artist makes use of his experience of pets-raising in his video Unlimited Justice (Video, 2007). Li and his girlfriend have kept a dog. Every time they throw off a piece of food or a toy, the dog will go at it very quickly and bring it back to them with his mouth. Taking advantage of the dog’s faithfulness, the artist then made a doll of Bin Laden, hid it behind the trees and let t
李松松的弟弟？
