《烈焰虚空—观看无法完成》李荣南法国巴黎大皇宫巡展-法国独立艺术沙龙展

更新时间：2026-03-08 19:19  浏览量：3

2026年《烈焰虚空一一观看无法完成》李荣南巴黎大皇宫巡展 巴黎法国独立艺术沙龙展

2026 Blazing Void — Viewing Cannot Be CompletedLi Rongnan Touring Exhibition at the Grand Palais, Paris Presented at the Salon des Artistes Indépendants, Paris, France

文：李荣南（艺术家、策展人）

在当代算法主导的视觉生态中，图像早已不再是被“观看”的对象，而是被设计为可计算、可预测、可迅速消耗的操作单元。即时可读性、意义压缩与注意力捕获，构成了当代视觉文化的默认逻辑。在这一背景下，我的绘画实践有意脱离“内容生产”与“意义表达”的传统角色，转而介入一个更为根本的层面：观看本身的运行机制。

《烈焰虚空——观看无法完成》并非试图再生产新的视觉叙事，而是通过绘画作为媒介，对观看的“操作系统”进行结构性干预。我将“失败”提升为一种明确的方法论——它并非技术缺失、模糊美学或反表现的姿态，而是一种被精确设计的观看失效机制。观者在面对这些作品时，越是试图整合图像、建立意义，越会暴露自身观看方式的被训练性、程序性与历史建构性。

这一实践与Jonathan Crary关于“观察者技术”的研究、Michel Foucault对主体位置生产的分析，以及Bernard Stiegler关于感知与技术共构关系的理论形成清晰的思想链条。但我的工作并不止步于理论指认，而是将这些问题直接嵌入绘画的物质层面、结构层面与观看经验之中，使批判在感知层面被实际触发，而非停留在概念表述。

在我自创的理论框架“释放主义（Liberationism）”中，绘画始终处于一种张力之中：一方面，我强调色彩、节律与生命能量的释放，这在《万物生》系列的有机流动与动态结构中得以体现；另一方面，在《观看之后》《烈焰虚空》等系列中，我又刻意阻断这种“释放”所可能带来的审美舒适感，使能量在观看层面被悬置、卡顿、甚至失效。

这两种看似对立的冲动并不构成矛盾。对我而言，真正的“释放”并非让观者顺畅地沉浸于图像之中，而是首先打破被算法、媒介与历史训练出来的观看自动化。当既有的感知路径被瓦解，一种更原初、未被完全格式化的感知可能性，才得以浮现。

从《观看之后》系列、《烈焰虚空》东京巡展，到参与日韩联合博览会与香港 Affordable Art Fair，我的实践持续在不同文化与制度语境中被检验与推进。巴黎大皇宫的展示并非阶段性总结，而是一次将绘画重新定位为认知装置的尝试——在这里，绘画不再提供答案，而是制造无法被快速解决的问题；不再服务于意义的确认，而是迫使观看本身被重新审视。

李荣南《观看无法完成》90x90cm 布面丙烯 2024年

Blazing Void: When Viewing Cannot Be Completed

Grand Palais, Paris – Touring Exhibition

Text by Li Rongnan(Artist & Curator)

In today’s algorithm-driven visual ecology, images are no longer primarily objects to be“looked at.” They are engineered as operational units—calculable, predictable, and rapidly consumable. Immediate legibility, semantic compression, and attention capture have become the default logic of contemporary visual culture. Against this background, my painting practice deliberately departs from the traditional role of image-making as content production or meaning generation, and instead intervenes at a more fundamental level: the operational mechanism of viewing itself.

Flaming Void — After Viewing does not seek to produce new visual narratives. Rather, it uses painting as a medium to enact a structural intervention into the“operating system” of perception. Here,“failure” is elevated to a precise methodology—not as technical deficiency, aesthetic vagueness, or an anti-representational gesture, but as a deliberately constructed breakdown of viewing. The more viewers attempt to synthesize the image and stabilize meaning, the more clearly the trained, programmed, and historically constructed nature of their own modes of seeing is exposed.

This practice forms a coherent theoretical dialogue with Jonathan Crary’s analyses of observer technologies, Michel Foucault’s examination of subject-position production, and Bernard Stiegler’s reflections on the co-constitution of perception and technology. However, my work does not remain at the level of theoretical reference. These questions are embedded directly within the material, structural, and experiential dimensions of painting, allowing critique to be activated at the level of perception itself rather than remaining a purely conceptual proposition.

Within my self-developed theoretical framework of Liberationism, painting exists in a constant state of tension. On one hand, I emphasize the release of vitality, rhythm, and chromatic energy, as seen in the organic flows and dynamic structures of the All Things Arise series. On the other hand, in works such as After Viewing and Flaming Void, I deliberately interrupt the comfort of this“release,” suspending, stalling, or even collapsing energy at the level of viewing itself.

These two impulses, though seemingly opposed, are fundamentally unified. For me, true liberation does not consist in seamless immersion or pleasurable visual consumption. It begins with the disruption of perceptual automatisms shaped by algorithms, media systems, and historical training. Only when established pathways of perception are dismantled can a more primordial, not-yet-formatted possibility of sensing begin to emerge.

From the After Viewing series and the Tokyo touring exhibition of Flaming Void, to participation in Japan–Korea joint art fairs and the Hong Kong Affordable Art Fair, my practice has been continuously tested and developed across diverse cultural and institutional contexts. The presentation at the Grand Palais in Paris is not a retrospective conclusion, but an attempt to reposition painting as a cognitive apparatus—one that does not provide answers, but generates questions resistant to immediate resolution; one that no longer confirms meaning, but compels viewing itself to be reexamined.

李荣南《观看无法完成》90x90cm 布面丙烯 2024年

李荣南（李南）

Li Rongnan (Li Nan)

艺术家、策展人

Artist, curator

1983年生于中国山东

Born in 1983 in Shandong, China

毕业山东大学（威海）艺术学院油画专业学士学位

Graduated from Shandong University (Weihai) Art College, Bachelor of Arts in Oil Painting

生活工作在北京、日本、上海 从事油画、水墨创作

Living and working in Beijing, Japan, Shanghai engaged in oil painting and ink creation

观看系统理论（Vision Systems Theory）提出者。其创作与理论实践聚焦人类视觉结构与认知装置，通过绘画、跨媒介艺术与策展实验，探索观看如何被构造以及视觉体验如何塑造认知。

Founder of Vision Systems Theory. His artistic and theoretical practice focuses on human visual structures and cognitive devices, exploring how seeing is constructed and how visual experience shapes cognition through painting, cross-media works, and curatorial experiments.