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早在90年代初，李红军就已经意识到，民间艺术与现当代艺术有着密切的关系，现代艺术每发展一步，都是向传统的成果的回首，向艺术本体的回归。他在中国传统民间美术的语言方式与西方现代艺术创作方法的比较中，看到了中国传统艺术语言系统向现当艺术语境转换的可能性。因而，民间美术一直成为李红军艺术生命中的主要养分。转瞬间时间已经掠过了风流云散的二十年，李红军声名日显，但是他在艺术创作中的这种对于传统美术的谦恭态度并没有发生丝毫的改变。

1996年到2006年的这十年间，李红军为人所知的艺术活动几乎是一片空白。直到2006年中央美术学院实验艺术招收李红军为硕士研究生为止，他一直隐居在陕西的乡间，照顾病弱的妻子，研究淳朴的民间艺术，坦然、平淡而与世无争地活着。

有意见认为2006年以后李红军的声名卓著可以被看成是这之前他低调生活的某种回报，这种观点没有根据，但是很能令人信服。从李红军的作品之中很容易就能看出他的那种与世无争的生活态度。正如《宋史》中记载的，文彦博夸奖文同说：“与可襟韵洒落，如晴云秋月，尘埃不到”的话，在这样一个物欲横流的时代里，这种品质不是隐性的，社会依赖它而维持理性和节制。为艺就是为人。

李红军的作品就像是他的为人，看似简单，但是柔顺、丰富和层次井然。他的作品化繁归简，看起来很像某种根据特殊运算得出的数学模型。李红军据此试图表现出一种对于简单三维空间拓扑结构的敬意。何谓拓扑结构？在这里我们不妨假设一个（或几个）点共享某种运动逻辑的原则，在传统艺术的范畴之中我们往往只关注该点的位置，进而确定另外一个点的位置。但是在拓扑结构的世界观之中，我们不仅仅要记录下这个点的位置，我们同样要关注这个点处于这个位置的时间，还有它和相邻点在某一位置上的相对顺序，或某一顺序下的先后位置。这样，当这个点在这所有因素中的运动状态被统计起来的时候，我们就得到了这么一个古怪但是发人深思的物象模态原型。

李红军成功地找到了自己的创作方法,作品逐渐彰显出了材质语言与观念表达的延展性和持续性。他用单一的色调和无寓意的图形表现出了一种充沛的情感。正如李红军在所有的场合里都念念不忘传统艺术对于他的“恩”一样，他的艺术创作在一方面是一种个性的、创作焦虑的宣泄，另外一方面也同样是一种对于传承文明的坚如磐石的责任感。李红军的创作体现出了一个生存在物欲时代的艺术家的良心。

文/ 王新友

2010年10月24日

Preface

Since the early 90s Li Hongjun has been aware of the affinity between folk art and contemporary art. Each development of contemporary art is a looking back on the traditional achievements and a regression to the original art. Taking for comparison between the language pattern of Chinese Traditional Folk Art and the creative method of Western Modern Art, he has seen the possibility which Chinese Traditional Art Linguistic System converts into Art Context. Therefore, folk art has always been the main nutrient in Li Hongjun’s art career. Two decades flies, Li Hongjun’s reputation becomes more and more famous, but his courteous attitude to the traditional art has no change in the process of his creation.

From 1996 to 2006, Li Hongjun’s art activities are almost a blank to the people around. While until he became a master degree student in the Experimentation Art Department of Central Academy of Fine Arts, he has been buried alive in the countryside of Shaanxi Province and looked after his sick and weak wife, meanwhile, studying the unsophisticated folk art and standing aloof from the worldly affairs.

There are views that Li Hongjun’s outstanding reputation since 2006 could be regarded as some kind of return of his low-pitched life previously. These kinds of views have no basis, but much more convinced. From Li Hongjun’s works, we can easily see his aloof attitude towards life. Even as the saying recorded in the “History of Song”, Wen Yanbo compliments that Wen Tong is a noble-minded, frank and generous man just like sunny cloud and autumn moon without dust. In this kind of era with much more lust, this quality is not recessive, and the society depends on it to maintain logos and abstention. Engaging in art creation is a conduct of oneself.

Li Hongjun’s works just like his humanness, which seems simple, but facile, abundant and ordered. Li Hongjun attempts to show a kind of respect to the simple three-dimensional Topology. What is Topology? Here we may assume one (or several) point which shares some certain principles of sport logic. We always pay attention to the position of this point in the category of traditional art and then to make sure the position of another point, while in the world view of Topology, we not only record the position of this point, but also pay attention to the time when this point locates in this position as well as its relative order to the adjacent point in a certain position or the successive position in a certain order. In this way, when the state of movement of this point in all factors is statistics up, we will obtain a weird but thought-provoking prototype of imagery model.

Li Hongjun has been found his own creative way successfully, and his works clearly show the ductibility and durative in the language of materials and the expressing way of conception. He uses solo hue and figure without implication to express a strong emotion. As we have seen, Li Hongjun is obsessed with the “benefaction” of traditional art in all occasions. On the one hand, his art creation is a catharsis for individuality and creative anxiety; on the other hand, it is also a kind of rock-firm responsibility for inheriting civilization. Li Hongjun’s creation embodies the conscience of artists who live in Materialistic Age.

Wang Xinyou

Oct. 24, 2010