北京｜李俊谊：无处中有

李俊谊：无处中有

Li Junyi：Being in Nothingness

展期：2026年01月03日—02月02日

艺术家：李俊谊

地点：萃岛画廊（Treeland Gallery）｜北京798艺术园区

展览围绕“有无相生”哲学，呈现李俊谊对世界由无到有转化的探索。其作品以“不均匀性”涂覆构建绘画秩序，在不确定性中捕捉心理感觉，展现“第三种真实”的可能，让无形养分于画面滋长。
Exploring “being and non-being interdependent”, the exhibition presents Li Junyi’s exploration of the world’s transformation from nothingness. Her “uneven” painting order captures psychological sensations in uncertainty, revealing “third reality”.
المعرض يكتشف فلسفة “الوجود والعدم مترابطين”، معرضًا مساعي لي جونغ يي في تحول العالم من العدم إلى الوجود. تتكون أعمالها من “تطبيقات غير متساوية” لبناء تنظيم ص画意، تلتقط المشاعر النفسية في عدم اليقين، وتظهر إمكانية “الواقع الثالث”.

01.关于展览

在宏观上，“泰初混沌；然后理智来临，创立秩序。”世界由无到有的转化，无中有，又有中无，“有无相生”为万物的常态。这一常态，无时无刻不在李俊谊的精神深壑回绕，她无暇中霎时的推敲游溢出生命的酿泉，以鲜为人知的原动力不断涌聚存在的潜形。她的艺术不囿于视觉张力的遮映、或吞噬，自然跃向未知的迁徙地。回到她的画面，一条被无固定色彩皴染的蜿蜒之路，古朴中旷达悠远、平夷中浑厚如初，凝固的颗粒在四周弥散，一个微观世界存储的养分肆任滋长。“形而上”的无穷，“形而下”的无尽；看不见的可见，看见的刹那不见。李俊谊在自己的艺术上重塑着浓烈的边缘，她跨越日和夜去描述“第三种真实”的可能。她徜徉其中，似乎不再求证事物的“余割”，以一种“不均匀性”的涂覆，逐步扩展着自己的绘画秩序。

如果说作品《废墟之夏》是《余烬》燃烧之后的递进，那么《被封印的时光》是《绚烂一场》主体挣挫的消炼。来自残留的飞光通往黑色的境域，黑色是无，也是有。它跳出缺陷的屏障，成为无；它吸取足够的热量在山川间运行，成为有。可以说，黑色不是黑色，它是客体，头戴华冠，与万籁盛放。或许，李俊谊无所谓“所指”，至于“能指”在这里无法传声有效。

此刻，没有恒定的对象，在无对象中生成，存在的对象有着“永恒的不安性”，于是，对象的转移，在时空中结晶。无处中有已折射出丛林、坡垄、瑞兽、星汉……一切流变，又纷纷构成她的自由。艺术家真正的自由，绝不受制于“符号性”的牵扰。只有在自由里，顽铁才生光。

当我们去感知事物的常新，“天下莫不沉浮，终身不故”。艺术的本质，何尝不是承载着不确定性。在不确定性里，心理层次的感觉尤为可贵。恰好，李俊谊具有“异类相知”的潜能，她在无意之中创作了不合理的合理。

文/南巢

On a macro level, the world was born from chaos, until reason emerged to impose order. This eternal cycle, where being arises from non-being, and non-being returns to being, reverberates through the spiritual depths of Li Junyi. In unguarded moments, this meditation overflows like a living spring, propelled by a latent force that gathers and shapes the potential of existence. Her art is not limited to visual tension alone, whether through concealment or engulfment, but instead moves instinctively toward uncharted realms.In her paintings, a winding path emerges, washed in shifting hues, simple yet expansive, serene yet deeply primal. Particles appear suspended in its orbit, whilst a self-contained microcosm teems with nourishment. Here, the infinite metaphysical and the boundless physical converge; the invisible briefly takes form, only to dissolve at the moment of perception. Li Junyi redefines the charged edges of her practice, moving between day and night to imagine the possibility of a third reality. Within this space, she wanders without the need to prove the “cosecant” of things. Instead, through uneven strata of pigment, she gradually unfolds a pictorial order of her own.

If Summer of Ruins rises from the Ashes of Embers, then Sealed Time distills the inner struggle of A Burst of Radiance. A lingering light opens into a realm of blackness, a tone that is at once nothingness and presence. It transcends imperfection to become void, yet gathers enough warmth to course through mountains and rivers, taking on substance. Black, then, is not merely black. It is a form crowned with splendor, resonant with all existence. Li Junyi appears unconcerned with the “signified,” whilt the “signifier” itself recedes into silence.

Here, nothing remains fixed. Forms arise from objectlessness, embodying a state of “eternal restlessness,” with their transformations crystallizing within time and space. From emptiness emerge reflections of jungles, slopes, mythical beasts, and star-filled skies, ever shifting, yet together composing her vision of freedom. For the artist, true liberty exists beyond the constraints of symbolism. Only in freedom can even rigid iron begin to gleam.

To perceive the perpetual renewal of all things is to understand that “everything under heaven rises and falls, never remaining the same.” At its core, art is an embrace of uncertainty, and within that uncertainty the sensations of the inner world grow precious. Li Junyi possesses a rare affinity for this condition, an ability to reveal, almost inadvertently, a profound logic within what first appears illogical.

By Nan Chao

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