学术主持：王璜生
　　策 展 人：皮 力
　　开幕式：2012年6月3日15：30（周日）
　　展 期：2012年6月3日～6月10日
　　地 点：今日美术馆3楼
　　由央美美术馆和今日美术馆主办的“传模移写——李纲实验水墨作品展”将于6月3日在今日美术馆举行开幕仪式，此次展览是李纲2009年来京之后一项重要的展览项目，体现了艺术家对于实验水墨不懈的思考和实践。透过此次展出的作品我们可以看到他思考的成果。
　　“传模移写”这个展览试图用两种方式来呈现艺术家李纲最新的水墨试验的特性。一是艺术家李纲将“印”作为一种主要的结构手法。这些作品共同的面貌使用了很多实物拓印，或者折叠宣纸进行有规律的印染。这是对“传模移写”的一个引申意义上的使用；而另一个则是从谢赫的六法原意出发。五世纪谢赫提出“画有六法”，并将“传移模写”作为一个标准，其实谈论的是如何将删减改订后的画稿变成正式的作品。即使在中国古代画论里面，传移模写也是一个不断开放的概念。传移模写其实也可以被理解为临摹，随着写意绘画的出现，这种临摹从“工整的临摹”变成了“写意的临摹”，从而形成一种“转译”。而今天在艺术家李纲这些以“印”为主要手段的作品中，其实是以现成品为中介，对于物质世界进行质感上的“转译”，从而形成一些非常“精神性”的图像。艺术家李纲这些可以被称作“实验水墨”的作品，其实是延续了中国水墨的内在文脉。这种文脉的延续不是简单的体现为水和墨，而是体现为物质、质感、图像和画面以及精神世界之间的转换。这种转换既是方法论，也是一种观念。在艺术家李纲这里，“传模移写”不再是自我内心世界的意识和图像之间的流动，而是外部世界（现成品）和内心世界的意识（观念）与图像（抽象语言）这三者之间的流动，它们是工业化时代的“心印”，也因此更具有当代特性。

　　There are two reasons why we named Li Gang's exhibition "Transmission and Imitation". The first is Li's use of "prints" as the main structure of his works: the paintings are created with the prints of actual objects, or the folding of xuan papers to form rhythmic patterns. Such methods are manifestations of the meaning of “Transmission and Imitation". The second takes the "Six Principles of Chinese Painting" by Xie He as its basis. An art historian and critic from the 5th century, Xie He proposed the "Six Principles of Chinese Painting" of which "the moving prints" is one principle, meaning how to turn revised drafts into finished paintings. In ancient Chinese painting, the moving prints was a concept that underwent constant redefinition, and it may be understood as a form of copying. With the birth of freehand painting, such copying was transformed from "actual copying" to "freehand copying" in a conceptual reversal. For their use of "prints" as the main method, Li's latest paintings utilise actual objects as the tools to "reverse" textural interpretations of our world, in order to create new, "mental" graphics. In this context, I feel that Li's series can be called "experimental" works, while they are also an extension of the poetics of Chinese ink. The extension of such poetics is not simply manifested in water and ink, but also in the reversal of materials, texture, graphics and paintings and the intellectual realm. This reversal is a theory as well as a concept. In Li's works, "Transmission and Imitation" does not only reveal the exchanges of consciousness and graphics in his inner world, but also the interaction between the outside world (existing objects), the consciousness of the inner world (concepts) and graphics (abstract language). They are the "prints of the heart" during an industrial era, and they embody a contemporary dimension.