颜磊为红砖美术馆制作的新计划，简单地以“利悟利”的名称作为标题。这事对“颠覆”的再一次尝试，而且是更壮观的展示。
他对《有限艺术项目》做了延伸发展，将第十三届文献展的作品，根据现场空间重新在走廊展厅装置和展示。另一组绘画则是他（和员工）从传媒和其他资源里“遇到”和挑选的图像，这些图像悬挂于墙面构成一面而多层次的图像墙，以压倒性的姿态俯视着经过的人流…..
他在中央展厅安置了一件大型装置，进一步颠覆了传统绘画生产与展览的模式．将艺术与现实生活的审美层次结构整个上下颠倒地反转过来：画挂在汽车生产线的旋转带，而喷上工业漆的车门则展示在墙面。这台机器模仿和复制了颜磊在卡塞尔大众汽车厂发现并爱上了的汽车生产线……车门上刻着“焰火3号”、“两头熊猫吃竹子”和“我选择这个地方，如今我把我的心搁在此地”等字样，从车门背后凸起显示，用来标示被工业漆覆盖的“虚构 ”的图画。悬吊在机器上头的画则是第十三届文献展项目的草图。在此，颜磊对工业化无与伦比的完美氛围的迷恋获得了充分展现，并且更加“极端化”。他着迷于汽车厂洁白明亮的展会场，它所散发的美、“暖意”和“纯洁”，远胜于任何艺术空间。他想把它搬进美术馆。这一次，他的愿望得以成真……
位于这件装置的另一侧是八个文献展展厅的模型，里头挂着许多幅小画。这件作品的标题是《XANAX》．是效力最强的抗忧郁药的名称。颜磊设置这些模型是为了“满足”观众的偷窥欲。窥视艺术家称之为“无限艺术”的微观世界，观众可能变得比艺术家更郁闷。或者，如果运气稍微好些，他们的郁闷可能暂时获得排遣……
他对《有限艺术项目》做了延伸发展，将第十三届文献展的作品，根据现场空间重新在走廊展厅装置和展示。另一组绘画则是他（和员工）从传媒和其他资源里“遇到”和挑选的图像，这些图像悬挂于墙面构成一面而多层次的图像墙，以压倒性的姿态俯视着经过的人流…..
他在中央展厅安置了一件大型装置，进一步颠覆了传统绘画生产与展览的模式．将艺术与现实生活的审美层次结构整个上下颠倒地反转过来：画挂在汽车生产线的旋转带，而喷上工业漆的车门则展示在墙面。这台机器模仿和复制了颜磊在卡塞尔大众汽车厂发现并爱上了的汽车生产线……车门上刻着“焰火3号”、“两头熊猫吃竹子”和“我选择这个地方，如今我把我的心搁在此地”等字样，从车门背后凸起显示，用来标示被工业漆覆盖的“虚构 ”的图画。悬吊在机器上头的画则是第十三届文献展项目的草图。在此，颜磊对工业化无与伦比的完美氛围的迷恋获得了充分展现，并且更加“极端化”。他着迷于汽车厂洁白明亮的展会场，它所散发的美、“暖意”和“纯洁”，远胜于任何艺术空间。他想把它搬进美术馆。这一次，他的愿望得以成真……
位于这件装置的另一侧是八个文献展展厅的模型，里头挂着许多幅小画。这件作品的标题是《XANAX》．是效力最强的抗忧郁药的名称。颜磊设置这些模型是为了“满足”观众的偷窥欲。窥视艺术家称之为“无限艺术”的微观世界，观众可能变得比艺术家更郁闷。或者，如果运气稍微好些，他们的郁闷可能暂时获得排遣……
Yan Lei’s new project for Red Brick At Museum uses very simply the name of “Rêverie” as its title. This is a renewed and even more spectacular demonstration of the attempt of “subversion”.
Expanding his Limited Art Project, he will fit out the side galleries with a site-specific re-installation of the paintings presented in DOCUMENTA (13) and a series of paintings with images that he (and his employees) “came across” and selected from mass media and other resources. These images are mounted to form multi-layered image walls, overwhelmingly overlooking the flux of people underneath…
In the central space, he will set up a large installation that will further reverse the convention of painting production and exhibition, and, hence, will turn the aesthetic hierarchy between art
and real life upside-down: paintings are hung from the overhead chain conveyors of a car production line while painted car doors are installed on the walls. The machine is an approximate replica of the car production line that he discovered and loved in the Volkswagen factory in Kassel… On the car doors phrases like “Fireworks N° 3”, “Two Panda Eating Bamboo” and “I choose this place, and now I place my heart here” … are engraved and pop up from behind as a kind of indication of the (imagined) painting covered by the industrial paint. Then, the actual
paintings hanging on the machine are preparation sketches for the dOCUMENTA (13) project. Here his fascination with the extraordinary atmosphere produced by industrialization is amply expressed and “radicalized”. Charmed by the beauty, the “warm feeling” and the “purity” of the bright white “showroom” of the car production line, more than any art space, he wanted to bring it to the art museum. This time, his wish has come true…
Next to it, there is a series of 8 models of exhibition spaces of the Documenta-Halle with miniature paintings. Titled XANAX, the name of the strongest medication for depression, they are installed to “meet” the desire of the voyeuristic gazes of the public. Peeping into the miniature world of what Yan Lei calls Unlimited Art, the viewers will probably become more depressed than the artist. Or, with a bit of luck, their own depression may be temporarily relieved…
Expanding his Limited Art Project, he will fit out the side galleries with a site-specific re-installation of the paintings presented in DOCUMENTA (13) and a series of paintings with images that he (and his employees) “came across” and selected from mass media and other resources. These images are mounted to form multi-layered image walls, overwhelmingly overlooking the flux of people underneath…
In the central space, he will set up a large installation that will further reverse the convention of painting production and exhibition, and, hence, will turn the aesthetic hierarchy between art
and real life upside-down: paintings are hung from the overhead chain conveyors of a car production line while painted car doors are installed on the walls. The machine is an approximate replica of the car production line that he discovered and loved in the Volkswagen factory in Kassel… On the car doors phrases like “Fireworks N° 3”, “Two Panda Eating Bamboo” and “I choose this place, and now I place my heart here” … are engraved and pop up from behind as a kind of indication of the (imagined) painting covered by the industrial paint. Then, the actual
paintings hanging on the machine are preparation sketches for the dOCUMENTA (13) project. Here his fascination with the extraordinary atmosphere produced by industrialization is amply expressed and “radicalized”. Charmed by the beauty, the “warm feeling” and the “purity” of the bright white “showroom” of the car production line, more than any art space, he wanted to bring it to the art museum. This time, his wish has come true…
Next to it, there is a series of 8 models of exhibition spaces of the Documenta-Halle with miniature paintings. Titled XANAX, the name of the strongest medication for depression, they are installed to “meet” the desire of the voyeuristic gazes of the public. Peeping into the miniature world of what Yan Lei calls Unlimited Art, the viewers will probably become more depressed than the artist. Or, with a bit of luck, their own depression may be temporarily relieved…
