独立
艺术展。Eight independent shows.

Becoming Through Change 向变而生

2016 · 长沙时装周开场纹身专题大秀。中国首家承办时装周纹身专题大秀的纹身机构——雷势把纹身从私密身体艺术带上时装秀场，一次公共展演，也是一次文化定义的努力。

October 2016 · Changsha. Leishi opened the Changsha Fashion Week with a runway segment dedicated to tattoo — the first time a Chinese tattoo studio carried a fashion-week opening. Wang Lei walked our artists' work onto the catwalk: bodies as canvas, ink as wardrobe, a public statement about where this craft belongs in contemporary culture. Becoming through change — the show's title is also Leishi's stance on the medium.

Gobi Heaven 戈壁天堂

2019 年 8 月,雷势文化深入内蒙古巴彦淖尔戈壁腹地,赴一场名为「戈壁天堂」的艺术嘉年华。烈日与骤雨之间,王雷老师带队搭起一座沙漠刺青营地。

没有围栏,也不设展位。雷势带去的「斯芬克斯」装置稳稳立在沙上,俯瞰每一个穿沙而来的人——一次关于人与宿命的沉默发问:万物诞生、停驻、消失,接受才换得来清醒。

针尖入皮,从来不只是消费。在这片远离喧嚣的奇遇之城里,雷势用 made-in-leishi 的方式,让作品和荒野共处五个昼夜。

In August 2019, Leishi Wenhua headed deep into the Inner Mongolian desert for Gobi Heaven, an art carnival held in the dunes outside Bayannur. Wang Lei led the studio’s tattoo team and pitched a working camp between sand and sky, alongside artists, builders and dreamers from outside the tattoo world.

There were no fences, no booths. Under blazing sun and sudden storms, Leishi’s installation piece — the Sphinx, first unveiled at the Langfang International Tattoo Show — stood unmoved on the dune, watching everyone who walked in from the wind. It wasn’t decoration. It was a quiet question about the self and its fate: things arise, hold for a while, decay, vanish. Acceptance is the only way through.

Out there, ink isn’t a transaction. It’s a meeting with yourself. For five days and nights, Leishi worked needles in the open desert — art and wilderness keeping the same hours, the same silence. When the camp came down, the desert kept the marks. The Sphinx came home with new dust on its feet, and the team carried back something they couldn’t quite name — closer to a question than an answer. We brought the made-in-Leishi spirit to a place the city’s noise couldn’t reach, and let it speak in its own voice.

Carnival of Mavericks 麓湖 · 狂人节

2021 年 10 月,雷势与麓湖水城、云隐映画联办的「麓湖·狂人节」在成都小雨中开幕。恰逢国庆,雨没把人浇散,越聚越多——开幕即巅峰。

百位独立艺术家齐聚岛上:涂鸦、机车、改装车、刺青、银饰、嘻哈、雕塑、装置——三天把一座水城炸成视觉巨响。美国「火人节」亮相过的装置作品也空降现场。

王雷老师开幕只一句:艺术不冷峻,它就在身边。这里没展览也没市集,只有一群人和另一群人面对面。饮料瓶、工业废料现场搭成大型环保装置——最狂野的表达,最无声的呐喊。

In October 2021, Leishi Wenhua co-hosted the Carnival of Mavericks with Luhu Water Town and Yunyin Pictures, on Luhu’s island district in Chengdu. The festival opened in light rain during China’s National Day holiday — and from the first hour, the island never thinned out. The drizzle didn’t push people away; it pulled them in.

A hundred independent artists from across China landed on the water-bound island. Graffiti and silverwork, choppers and chicano lowriders, hip-hop and sculpture, tattoo and large-scale installation — three days that turned a quiet water town into a visual roar. Even installation pieces that had once stood at America’s Burning Man, in Black Rock Desert, found their way here.

Wang Lei opened with a short line: art isn’t cold or distant; it stands right beside you. There were no booths to walk past, no market to browse — just makers and onlookers, face to face. Empty plastic bottles and industrial scrap from the island itself were welded into giant ecological installations: the wildest possible statement, and the quietest possible scream. Three days of people making things together, in the rain — a town that decided not to look away.

Personal Sculpture 个人雕塑

王雷入纹身之前的雕塑创作·从2002年起的体量·结构·表面训练，为后来黑灰写实与独立装置提供骨架。

Wang Lei's sculpture work, made before he turned to tattooing — volume, structure, and surface practice from 2002 onwards. The training that built the spine of the realism and the installation work that came later.

Sphinx 斯芬克斯

作为"表达者"，王雷喜欢用各种艺术表达形式为自己、为所爱的人和事发声，于是在全国举办独立艺术展。2019《斯芬克斯》主题艺术展从选题、创意、策划、采购到布展，由王雷与团队完成。

Wang Lei treats himself as an “expressor” — someone who has to speak through whatever form the work demands. So Leishi began curating independent art shows around the country. Sphinx, 2019, was its first fully self-curated outing: Wang Lei and the team owned every step from concept to siting to install.

Ship of the Desert 沙漠之舟

2019 年 8 月 25 日 — 9 月 2 日 · Black Rock Desert, Nevada · Burning Man 火人节。雷势抵达美国内华达州黑石沙漠，组建了火人节历史上第一个纹身主题营地。主理人王雷与团队打造的大型艺术装置「斯芬克斯」被运至戈壁深处——日升日落与狂风暴雨之间，装置岿然不动，与穿行的国际旅人完成跨越文化的对话。中国纹身文化第一次以独立策展规模出现在 Burning Man，也是雷势「刺青即当代艺术」主张走向国际的一次具象表达。

August 25 – September 2, 2019 · Black Rock Desert, Nevada · Burning Man. Leishi flew the team to the Nevada playa and set up the festival's first-ever tattoo-themed camp. Wang Lei and crew hauled the Sphinx installation deep into the dunes — sun, dust, sudden storms — and the piece held its ground for nine days while travelers from every continent passed through. First time a Chinese tattoo brand stood at Burning Man with a curated independent presence; first time the position “ink is contemporary art” got carried internationally on Leishi's own terms.

Unveiled State 无蔽状态

2023 ·「无蔽」(ἀλήθεια) 是海德格尔提出的概念——真理在思想中显露自身的那一瞬间，遮蔽与去蔽的辩证。「无蔽状态」以这一哲学概念为母题，将刺青解读为一场身体在皮肤层面进行的「显露」:那些原本被压在心里的、被衣物覆盖的、被语言绕开的部分，在针尖落下之时，以最不容辩驳的方式回到光之下。装置、影像与刺青作品共同搭建一个「显露与隐藏」的空间——观者在其中行走，不仅是欣赏作品，而是经历一种被自身存在重新看见的过程。

2023 · Beijing. Heidegger's ἀλήθεια — unveiledness — names the instant a truth shows itself in thinking, the dialectic between concealment and disclosure. Unveiled State takes that philosophical anchor and reads tattoo as exactly this kind of disclosure: the things pressed down inside, covered by clothing, talked around — returning to the light the moment the needle lands, undeniable. Installation, screen work, and tattoo pieces together built a space about showing and hiding — visitors don't simply look; they pass through and find themselves seen.

Classic of Mountains and Seas 山海经展

2025 · 新加坡。雷势国际化进程中最具东方文化密度的一次策展——把一部跨越神话、地理、异兽与药物的古典文献，转译为可以在身体上承载的当代图谱。雷势刺青师海东的山海经主题画作《鸿辰一梦》在现场亮相，以丹画语汇与水墨笔法重构山海异兽的形象，接待了包括新加坡旅游局工作人员在内的国际观众。从苍白之血到山海经，雷势文化的策展脉络始终在尝试同一件事:把刺青放在它本应所在的位置——文化与艺术的交汇处。

2025 · Singapore. Leishi's most density-of-Eastern-culture curatorial outing in its international run — translating the Classic of Mountains and Seas, an ancient text crossing myth, geography, monstrous beasts, and pharmacology, into a contemporary atlas the body can carry. Resident artist Hai Dong's Hong Chen Yi Meng series appeared on site, rebuilding the bestiary's figures through dan-painting vocabulary and ink brushwork. International audiences passed through, including staff from the Singapore Tourism Board. From Pale Blood to Shan Hai Jing, the studio's curatorial line keeps trying the same thing: put tattoo where it has always belonged — at the seam where culture meets art.