1994年生于江苏，2018年毕业于上海视觉艺术学院，现工作生活于上海与北京。李汉威的创作善于使用商业广告的形式进行隐喻，展示了图像传播方式的多样性，针对互联网经济的各种特征，描述身份与品牌之间的复杂关系，拒绝让算法制造广告。科技对于人的身体、文化视野、生存空间的入侵，以及由此产生的对于当代人——特别是简体中文互联网世界的使用者——感官的重构，贯穿李汉威迄今为止的创作生涯。李汉威的复杂又多层次的装置将工作、生活和欲望的叙事编织在一起，转化为视觉形式。遍布于简体中文互联网中的信息和情绪被他巧妙地通过拼贴的手法融合在一起，从而形成了具有其强烈个人风格的简体中文互联网媒介现象学。
个展包括: “新传播”，chi K11 Shanghai，上海，中国，2022；“新绘画”，没顶画廊，上海，中国，2022；2019液态健康，歌德开放空间，上海，中国，2022
近期群展包括：制作真实，谢子龙影像艺术馆，湖南长沙，中国，2023；没有完美的诅咒，HeK巴塞尔电子艺术中心，线上，2023；信使，剩余空间，武汉，中国，2023；示范：做决定技术的艺术，复星艺术中心，上海，中国，2023；幻觉乱码，颂艺术中心，北京，中国，2023；我们从别人那里借梦想，像债一样，没顶美术馆，上海，中国，2022；春天狂想曲，金杜艺术中心，北京，中国，2022；不准停电，明当代美术馆，上海，中国，2021；USB 多端口链接展， 没顶画廊、Gallery Func、乔空间、in the PARK，上海，中国，2021；浪潮与浪潮，chi K11 Shanghai，上海，中国，2021；Generation Now，魏玛文化论坛2021，Eigenheim Weimar，魏玛，德国，2021；过去的未来主义——中国当代艺术中的过去与未来，北京当代艺述单元，北京，中国，2021；世袭领地，宝龙美术馆，上海，中国，2021；循环播放，CHAO艺术中心，北京，中国，2021；Undefined未定义，Kiyoshi Art清艺术空间，东京，日本，2020；空间领导者，APSMUSEUM，上海，中国，2020；幻象颗粒，没顶画廊，上海，中国，2020；正在加载中，ART POWER 100，昆泰·嘉瑞文化中心，北京，中国，2020；唐人街到红色国际主义，OCAT，深圳，中国，2020；机构的推荐，盒子空间，深圳，中国，2020
Born in Jiangsu province in 1994, Li Hanwei graduated from Shanghai Institute of Visual Arts in 2018, and currently lives and works in Shanghai and Beijing. Li’s practice is based on adapting the forms of commercial advertisements and films as metaphors. Through the study of communication methods, the artist uses CG images to establish a worldview in the fictional world where counterfeit of the real world and science-fiction coexist, as a way to present the intersection of contemporary culture forms and individual identities. A major interest throughout Li’s career is the invasion by science and technology of the human body, cultural vision, and living space, along with the ensuing reconstruction of the sensibilities of contemporary people, particularly users of the simplified-Chinese Internet. His complex and multi-layered installations weave together various narratives of work, life, and desire into a visual format. The informational and emotional flows on online platforms are fused skillfully by ways of collage, thus forming a media phenomenology of simplified-Chinese Internet with a distinctive personal touch.
Solo Exhibition include: New Painting, MadeIn Gallery, Shanghai, China, 2022; New Communication, chi K11 art museum, Shanghai, China, 2022; “Liquid Health”, Goethe Open Space, Shanghai, China, 2019
Group Exhibitions include: Making Reality, XPM, Changsha, Hunan, China, 2023; There Is No Perfect Spell, HeK, Online, 2023; Messengers, Surplus Space, Wuhan, Hubei, China, 2023; Demonstration: The Art of Decision Making Techniques, Fosun Foundation, Shanghai, China
Unknown Pleasures, Soul Art, Beijing, China, 2023; We Borrow Dreams from Others, Like Debt，MadeIn Art Museum，Shanghai，China, 2022; Spring Rhapsody, KWM Artcenter, Beijing, China, 2022; Wave Wave, chi K11 Art Museum, Shanghai, China, 2021; Do Not Black Out, McaM, Shanghai, China, 2021; USB Multi-Port Linking Exhibition, MadeIn Gallery, Gallery Func, QIAO SPACE, in the PARK, Shanghai, China, 2021; Generation Now, Kultursymposium Weimar 2021, Eigenheim Weimar, Weimar, Germany, 2021; Futurism of the Past, Beijing Contemporary Art Expo 2021 STORY, Beijing, China, 2021; Hereditary Territory, Shanghai Powerlong Museum, Shanghai, China, 2021; Looping, CHAO Art Center, Beijing, China, 2021; Undefined, Kiyoshi Art, Tokyo, Japan, 2020; Ensemble Urban, APSMUSEUM, Shanghai, China, 2020; Illusive Particles, MadeIn Gallery, Shanghai, China, 2020; Sino-Wharf: from Chinatown to Red Internationalism, OCAT, Shenzhen, Guangdong, China, 2020; Recommendations of Institutions, Boxes Art Space, Shenzhen, Guangdong, China, 2020