羅敏：OBSERVE
開幕時(shí)間：2020-12-20
開展時(shí)間：2020-12-19
結(jié)束時(shí)間：2021-01-24
展覽地點(diǎn)：178 Bleecker Street 2nd floor New York, NY 10012
參展藝術(shù)家：羅敏
主辦單位：紐約Time Arts （紐約時(shí)代）
羅敏在紐約
文 / 李蕊
2020的一次暫停鍵，讓人們冷靜的望向外界看向自身，再次成為了真正意義上的“觀看”者，這一理性審視，從而更加凸顯了觀看原本中立的意義。世界在災(zāi)難中需要重新自我修復(fù)，同樣，藝術(shù)也需要找回理想的開端，那個(gè)真正有歸屬感的精神領(lǐng)域，也是藝術(shù)家羅敏多年來(lái)所探求的方向。 在日常中，羅敏關(guān)注著紐約的建筑、紐約的天際線、紐約的26號(hào)碼頭、紐約的行人，如同置身事外的疏離感帶給她一種冷靜，她真實(shí)的感受著外界與自己內(nèi)在的變化，思考尋找著“繪畫”最初的本質(zhì)，那是從西方的繪畫程式中抽離出來(lái)，去除既有的技法與個(gè)人風(fēng)格，舍棄偏見的思想立場(chǎng)。 于是，她嘗試在一種新媒介“合成紙”上去尋找這種答案，過(guò)程緩慢而又艱澀。在陌生的紙張上，她結(jié)合了丙烯、中國(guó)顏料、墨的特性，留下既不討巧他人、也不炫耀自己技法的作畫痕跡。面對(duì)密集簇?fù)淼慕ㄖ?，甚至如同笨拙的孩童用上了直尺，耗費(fèi)近兩個(gè)月的時(shí)間來(lái)完成一幅《窗外通往新澤西》作品，只是在衡量著繪畫這一“描繪”的意義。在羅敏深遠(yuǎn)意境的美學(xué)中，她的作品更為趨向?qū)懸獾谋磉_(dá)，構(gòu)成了獨(dú)特的張力。而人性化依舊是羅敏作品中的精神靈魂，不變的是她對(duì)事物背后的隱喻意義的追求，和用這種平實(shí)的繪畫方法強(qiáng)化這隱喻的力量。 米蘭昆德拉曾說(shuō)：“表面是清晰明了的謊言，背后卻是晦澀難懂的真相?！绷_敏的新作，以一種干凈洗練的色彩與生動(dòng)的形態(tài)開啟故事的開端，促使我們深入的去讀取畫作背后隱喻的語(yǔ)言。她用女性藝術(shù)家獨(dú)有的細(xì)膩、充滿溫情的手法，詮釋了對(duì)這個(gè)熙來(lái)熙往繁華都市中遇見的孤獨(dú)、寂寥的另一面，或許透過(guò)這些現(xiàn)實(shí)的存在表象，往往被人忽視的一面才更為真實(shí)。一如日常的生活中她對(duì)自己的內(nèi)在反省，那一只因?yàn)槭д`操作而被她偷偷替換的《綠水壺》，看似幽默的自嘲了她試圖掩飾自己失誤的一刻，誰(shuí)說(shuō)又不是對(duì)現(xiàn)實(shí)的一種隱喻? 羅敏，這位成熟的當(dāng)代藝術(shù)家，她恪守內(nèi)心的理想信念。在她的繪畫中充滿了她對(duì)生活那種鮮活的感受，留下了經(jīng)過(guò)她的感覺(jué)和記憶過(guò)濾過(guò)的景象。她以一種回歸藝術(shù)最本質(zhì)的態(tài)度，來(lái)喚醒人們內(nèi)心對(duì)世界的再一次的重新審視。她又一次向我們展現(xiàn)了，繪畫其實(shí)是種心靈的自由，同樣，這也是藝術(shù)與人的自由。2020.12.7
隨?記
文 / 羅敏
2020年是一道魔咒，從年初到年末，人類從大慌亂中開始，而后是席卷全球……一切的惡都浮出水面，反思和懺悔只是假象，傷疤會(huì)好的，痛比傷忘得更快。好吧，盡情發(fā)揮，假想我們真的站在了游戲高潮。 此時(shí)我抽離于一個(gè)遙遠(yuǎn)的角落，從清晨到日落，最是喜歡那無(wú)人時(shí)的街道和寂寥的碼頭，沒(méi)有風(fēng)格，沒(méi)有修飾。我用簡(jiǎn)單的語(yǔ)言和陌生的紙，俯身在潔凈的玻璃窗邊去仔細(xì)描繪?！懊枥L”這個(gè)動(dòng)詞有多土呀!但那是我年少時(shí)經(jīng)常使用的，所以我不嫌棄。用這種方式畫房畫街畫海水，畫碼頭邊的少年與狗，他們是這個(gè)凄清世界的最好，我由此去找回理想的開端。 綠色的壺是一個(gè)意外。兒子從LA買回一只和家里完全相同的黑色電咖啡壺，價(jià)格不菲，但在一個(gè)月內(nèi)，我把這兩只電壺都盛滿水，錯(cuò)位地放在旁邊的天然氣爐上點(diǎn)燃了。完全相同的荒誕錯(cuò)誤我竟在短短的時(shí)間內(nèi)犯了完全一樣的兩次，而且兩次看到燃燒起來(lái)的鍋底，我都同樣頭腦一片空白不知何故。我驚愕于自己的錯(cuò)誤，兩次都是第一時(shí)間把燒壞的壺扔掉，抹去一切作案現(xiàn)場(chǎng)，心虛不已。事后我買回一只綠色的燒水壺，放在那個(gè)作案的燃?xì)饣痤^位置，看上去一切完美，真相徹底消失，再也不會(huì)有錯(cuò)。其實(shí)每每看到綠鐵壺我就想起這個(gè)案底，當(dāng)然，一切都已掩藏和銷毀，因?yàn)檎嫦鄬?shí)在不利于健康，歲月需要靜好。2020.11.29
Min?Luo?in New York By Rui LI The year 2020 is like a pause button, encouraging people to slow down in our fast-paced world and take time to be present with themselves. We become “observers” to this world as well as our lives. The rational examination of “observing” implies the neutrality attitude. The world needs to repair itself amidst disasters. Similarly, art also needs to go back to the ideal beginning. The spiritual realm that represents a sense of belonging is what artist Min Luo has been seeking for these years. During the quarantine, Luo pays extra attention to New York’s architectures, skylines, piers, and the pedestrians, as if the alienation from the outside world brings her calmness. She has been experiencing the changes of the outside world and within herself, exploring the essence of the art. The journey of exploration is not only extract from the Western canon, techniques, and personal style, but also discard from the prejudiced ideology. Attempting to find an answer, she tried to create arts on a new medium – synthetic paper. The process was slow and difficult. On this unfamiliar paper, she combined the characteristics of acrylic, Chinese pigments, and ink, leaving traces of painting that neither flattered others nor showed off her techniques. In the creation of densely clustered buildings in New York, she even used a ruler, like a clumsy child. It took her nearly two months to complete a piece of “Outside the Window Leading to New Jersey,” only to measure the concept of the depiction. A natural master of the artistic conception of aesthetics, Luo expresses representation through her unique freehand brushwork. Humanization is still the core of her artworks. Despite the changes in media, what remains unchanged is her pursuit of the metaphorical meanings behind any subject and the utilization of simple yet powerful painting methods that strengthen the metaphorical languages. As writer Milan Kundera once said, “On the surface, an intelligible lie; underneath, the unintelligible truth.”Min Luo’s new series presents us with the story of clean and refined colors and vivid forms, only urging us to decipher the depth of the metaphorical languages underneath the painting. Using the delicate yet gentle techniques that especially speak to female artists, she expresses the loneliness that she has encountered in this prosperous city. Perhaps only underneath the surface of reality shows the often-overlooked truth. Just like how she self-reflects in her life, the “Green Kettle” that was secretly replaced by her because of her mistakes in burning the other two kettles seemingly humorous self-deprecating moment when she tried to bury her mistakes. Isn’t this another metaphor for reality? A mature contemporary artist, Luo abides by her inner ideology. Her paintings are full of her vivid feelings of life, depicting the scenes filtered by her memories and emotions. With an ongoing search of returning to the essence of art, she awakens people’s inner world to reexamine the outside world. She demonstrates to us that painting can be an expression of freedom from the soul, as well as freedom of art and people.2020.12.7
Notes By Min Luo The year 2020 seems like a curse, from the beginning of the year till the last few days. It started as a panic among mankind, then swept the whole world… All evils surfaced, regrets and repentance are just illusions. Pain is forgotten where scars heal. Sure, let’s get it – just imagine we are standing still at the climax of the game. Meanwhile, I was pulling away from a far corner. From sunrise to sunset, I prefer empty streets and lonely piers when the city is asleep with no people wandering. No styles. No decorations. Using simple language and unfamiliar paper, I leaned over my window to depict. How cliché is the verb depict! But it was used frequently in my childhood, so I don’t dislike it. In this way, I depicted houses, streets, seas, as well as the teenagers and dogs on the piers. They are the best in this bleak world, so I could travel to where all this started. The green kettle was an accident. My son bought back a black coffee maker from LA that was exactly the same as the one at home. They were not cheap. Within a month, I burned both kettles by filling them with water and placing them on the heated stove, which burned them. I made this absurd mistake twice in a short amount of time. My mind went blank both times. I was amazed by my mistake. Both times, I threw away the burnt kettles as if I was erasing evidence from a crime scene. I felt guilty. After I burned the second kettle, I bought a green kettle and replaced it on the exact same spot where I committed the “crime.” Everything seemed to be perfect, and the truth is buried. There would be no more mistakes. However, every time I land my eyes on the green iron pot, I think of the “crime.” Of course, no evidence can be found, because there’s some truth is not needed in a peaceful and healthy life.2020.11.29
關(guān)于藝術(shù)家/ABOUT THE ARTIST 羅敏 ，中國(guó)當(dāng)代藝術(shù)家，曾在亞洲和歐洲多個(gè)國(guó)家舉辦過(guò)個(gè)展和聯(lián)展。 近期個(gè)展：