没顶美术馆将于2024年6月22日呈现年轻艺术家李雨航的个人项目“自然法”。展览将通过一系列的影像、声音及文字作品，诠释艺术家对语言的边界和对语言的述行性（performatif）的思考。
“自然法”
语言是我的创作和研究的起点。
接触另一种语言使我开始思考语言本身。
我不仅远离了我所熟知的语言，并且远离了语言及其所指的对象。
这个距离是诗的开始，因为它没有语法，是一种元语言。
寻找不属于制定秩序的东西，是一种克服，是人类语言跳入其灵性深渊的时刻。
对于语言的述行性（performativity）的提问，使我从诗歌来到了誓言。
誓言是一种普遍现象，在不同的文化中已经存在了许多世纪，可以追溯到最古老的传统。
宣誓具有公共性，塑造着个人的社会身份。
它涉及神法和人法，在公共场合体现了一种潜在的社会秩序。
寻找誓言的痕迹我来到了三江源游牧地区，这里藏族牧民立誓保护着自然环境。
根据我的实地经验，当地牧民在与自然的互动中遵循着不以人为中心的法则。
在这一地区可以观察到与 “自然-文化”二元对立不同的生态观。这种观点体现在当地人与水的共生关系中，水神“ཀླུ་”（鲁）就是这种关系的代表。水神的脾气约束着人类的活动，在当地的宇宙观中，人与水神签订了契约。如果人们敬仰它，它将保护人类，如果人类活动扰乱了自然，水神将惩罚他们。我进入了水神掌管的世界，遵循着这里的自然法。
然而水神是没有“语言”的。
人的法则以语言为基础，而自然的法则不需要语言。
本次展览在长江入海口回望三江的源头，从语言出发，再回到语言之前。
自然的法则是宇宙的智慧，有其自身的诗意和理性。
——李雨航
关于李雨航
现就读于巴黎高等实践研究学院，研究生毕业于巴黎高等社会科学研究院和马赛国立高等艺术学院。致力于跨领域以及跨学科实践，在创作和研究中互相给予灵感。
其作品曾展出于798CUBE美术馆，上海油罐艺术中心，巴黎国际艺术城蒙马特址，路易威登基金会当代诗歌电台，马赛国际当代诗歌中心，上海民生现代美术馆等。
MadeIn Art Museum is presenting emerging artist Li Yuhang’s solo exhibition, Natural Law, June 22, 2024. The exhibition will interpret the artist’s reflections on the boundaries and the performativity of language through a series of video, sound, and text works.
“Natura Law”
Language is the starting point of my creativity and research.
Being exposed to another language has led me to contemplate language itself.
I am not only distanced from the language I was familiar with, but I am also distanced from the language and the objects it refers to.
This distance is where the poem begins，as it transcends grammar, it is a meta-language.
Seeking that which does not belong to established order is a conquest, a moment when human language plunges into its spiritual abyss.
Questioning the performativity of language has shifted my focus from poetry to oaths. Oaths are a universal phenomenon, existing across different cultures for many centuries, tracing back to the oldest traditions. They possess a public nature, shaping individual social identities. They involve both divine and human law, reflecting an underlying social order in public.
In search of traces of oaths, I ventured into the pastoral region of Sanjiangyuan, where Tibetan nomads pledge to protect the natural environment.
Based on my firsthand experience, the local herdsmen adhere to a principle of non-anthropocentrism in their interaction with nature. In this area, one can observe an ecological perspective that differs from the binary opposition between “nature” and “culture.”
This viewpoint is embodied in the symbiotic relationship between the local people and water, with the water deity “ཀླུ” (Klu) representing this connection.
The temperament of the water deity restrains human activities, and according to the local cosmology, humans have entered into a covenant with her.
If people worship her, she will protect humans, and if human activities disturb nature, the water deity will punish them.
I entered the world governed by the water deity, adhering to the natural laws of the area. However, the water deity does not possess “language.”
Human laws are based on language, whereas natural laws do not require language. This exhibition, overlooking the source of the Three Rivers at the mouth of the Yangtze River, sets out from language and returns to a time before language. Natural laws represent the wisdom of the universe, with their own poeticism and rationality.
Li Yuhang
Li Yuhang currently studying at the École Pratique des Hautes Études in Paris, and a graduate of the École des Hautes Études en Sciences Sociales in Paris and the École Nationale Supérieure des Beaux-Arts in Marseille. She dedicated to cross-disciplinary and cross-domain practice, drawing inspiration from both creation and research.
Her works have been exhibited at the 798CUBE Art Museum, the Tank Shanghai, the Cité Internationale des Arts in Paris at the Montmartre site, the Louis Vuitton Foundation’s Contemporary Poetry Radio, the International Center for Contemporary Poetry in Marseille, and the Shanghai Minsheng Art Museum.