　　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，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，過程緩慢而又艱澀。在陌生的紙張上，她結(jié)合了丙烯、中國顏料、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：“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)熙來熙往繁華都市中遇見的孤獨(dú)、寂寥的另一面，或許透過這些現(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，誰說又不是對(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)過她的感覺和記憶過濾過的景象。她以一種回歸藝術(shù)最本質(zhì)的態(tài)度，來喚醒人們內(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，最是喜歡那無人時(shí)的街道和寂寥的碼頭，沒有風(fēng)格，沒有修飾。我用簡(jiǎn)單的語言和陌生的紙，俯身在潔凈的玻璃窗邊去仔細(xì)描繪。“描繪”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 but-ton, encour-ag-ing peo-ple to slow down in our fast-paced world and take time to be present with them-selves. We become “observers” to this world as well as our lives. The ratio-nal exam-i-na-tion of “observ-ing” implies the neu-tral-i-ty atti-tude. The world needs to repair itself amidst dis-as-ters. Sim-i-lar-ly, art also needs to go back to the ide-al begin-ning. The spir-i-tu-al realm that rep-re-sents a sense of belong-ing is what artist Min Luo has been seek-ing for these years.

Dur-ing the quar-an-tine, Luo pays extra atten-tion to New York’s archi-tec-tures, sky-lines, piers, and the pedes-tri-ans, as if the alien-ation from the out-side world brings her calm-ness. She has been expe-ri-enc-ing the changes of the out-side world and with-in her-self, explor-ing the essence of the art. The jour-ney of explo-ration is not only extract from the West-ern canon, tech-niques, and per-son-al style, but also dis-card from the prej-u-diced ide-ol-o-gy.

Attempt-ing to find an answer, she tried to cre-ate arts on a new medi-um – syn-thet-ic paper. The process was slow and dif-fi-cult. On this unfa-mil-iar paper, she com-bined the char-ac-ter-is-tics of acrylic, Chi-nese pig-ments, and ink, leav-ing traces of paint-ing that nei-ther flat-tered oth-ers nor showed off her tech-niques. In the cre-ation of dense-ly clus-tered build-ings in New York, she even used a ruler, like a clum-sy child. It took her near-ly two months to com-plete a piece of “Out-side the Win-dow Lead-ing to New Jer-sey,” only to mea-sure the con-cept of the depic-tion. A nat-ur-al mas-ter of the artis-tic con-cep-tion of aes-thet-ics, Luo express-es rep-re-sen-ta-tion through her unique free-hand brush-work. Human-iza-tion is still the core of her art-works. Despite the changes in media, what remains unchanged is her pur-suit of the metaphor-i-cal mean-ings behind any sub-ject and the uti-liza-tion of sim-ple yet pow-er-ful paint-ing meth-ods that strength-en the metaphor-i-cal lan-guages.

As writer Milan Kun-dera once said, “On the sur-face, an intel-li-gi-ble lie; under-neath, the unin-tel-li-gi-ble truth.”Min Luo’s new series presents us with the sto-ry of clean and refined col-ors and vivid forms, only urg-ing us to deci-pher the depth of the metaphor-i-cal lan-guages under-neath the paint-ing. Using the del-i-cate yet gen-tle tech-niques that espe-cial-ly speak to female artists, she express-es the lone-li-ness that she has encoun-tered in this pros-per-ous city. Per-haps only under-neath the sur-face of real-i-ty shows the often-over-looked truth. Just like how she self-reflects in her life, the “Green Ket-tle” that was secret-ly replaced by her because of her mis-takes in burn-ing the oth-er two ket-tles seem-ing-ly humor-ous self-dep-re-cat-ing moment when she tried to bury her mis-takes. Isn’t this anoth-er metaphor for real-i-ty?

A mature con-tem-po-rary artist, Luo abides by her inner ide-ol-o-gy. Her paint-ings are full of her vivid feel-ings of life, depict-ing the scenes fil-tered by her mem-o-ries and emo-tions. With an ongo-ing search of return-ing to the essence of art, she awak-ens people’s inner world to reex-am-ine the out-side world. She demon-strates to us that paint-ing can be an expres-sion of free-dom from the soul, as well as free-dom of art and peo-ple.

2020.12.7

Notes

By Min Luo

The year 2020 seems like a curse, from the begin-ning of the year till the last few days. It start-ed as a pan-ic among mankind, then swept the whole world… All evils sur-faced, regrets and repen-tance are just illu-sions. Pain is for-got-ten where scars heal. Sure, let’s get it – just imag-ine we are stand-ing still at the cli-max of the game.

Mean-while, I was pulling away from a far cor-ner. From sun-rise to sun-set, I pre-fer emp-ty streets and lone-ly piers when the city is asleep with no peo-ple wan-der-ing. No styles. No dec-o-ra-tions. Using sim-ple lan-guage and unfa-mil-iar paper, I leaned over my win-dow to depict. How cliché is the verb depict! But it was used fre-quent-ly in my child-hood, so I don’t dis-like it. In this way, I depict-ed hous-es, streets, seas, as well as the teenagers and dogs on the piers. They are the best in this bleak world, so I could trav-el to where all this start-ed.

The green ket-tle was an acci-dent. My son bought back a black cof-fee mak-er from LA that was exact-ly the same as the one at home. They were not cheap. With-in a month, I burned both ket-tles by fill-ing them with water and plac-ing them on the heat-ed stove, which burned them. I made this absurd mis-take twice in a short amount of time. My mind went blank both times. I was amazed by my mis-take. Both times, I threw away the burnt ket-tles as if I was eras-ing evi-dence from a crime scene. I felt guilty. After I burned the sec-ond ket-tle, I bought a green ket-tle and replaced it on the exact same spot where I com-mit-ted the “crime.” Every-thing seemed to be per-fect, and the truth is buried. There would be no more mis-takes. How-ev-er, every time I land my eyes on the green iron pot, I think of the “crime.” Of course, no evi-dence can be found, because there’s some truth is not need-ed in a peace-ful and healthy life.

2020.11.29

關(guān)于藝術(shù)家/ABOUT THE ARTIST

羅敏，中國當(dāng)代藝術(shù)家，曾在亞洲和歐洲多個(gè)國家舉辦過個(gè)展和聯(lián)展。

近期個(gè)展：

　　2020年 “觀看” 紐約時(shí)代畫廊美國2018年 “幸存的詩意” 米格畫廊巴塞羅那2017年 “它界之花——羅敏個(gè)展” 馬拉加阿拉勞林羅賓松文化中心西班牙2016年 “看見時(shí)光——羅敏作品展” 復(fù)言社北京2015年 “歸心兩暢——羅敏油畫作品展” 北京畫院美術(shù)館北京2013年 “路過既成為風(fēng)景——羅敏紙本繪畫展” 今日美術(shù)館北京2011年 “日常之鏡——2011 羅敏繪畫展” 今日美術(shù)館北京

Min Luo , Chi-nese Con-tem-po-rary Artist, has held solo and group exhi-bi-tions in mul-ti-ple coun-tries in Asia and Europe.

Recent Solo Exhi-bi-tions:

2020“Observe”, Timearts Gallery, Amer-i-ca2018 “The Sur-viv-ing Poet-ry”, Miguel Mar-cos Gallery, Barcelona, Spain2017 “Flow-ers of Anoth-er World–Luo Min Solo Exhi-bi-tion”, Robin-son Cul-tur-al Cen-ter of Alhau-rín de la Torre, Mala-ga, Spain2016 “See-ing the Time–Exhibition of Luo Min′s Art-works”, Fuyan Asso-ci-a-tion, Bei-jing2015 “Back to the Heart–Luo Min′s Oil Paint-ing Exhi-bi-tion”, Bei-jing Art Muse-um, Bei-jing2013 “Pass-ing by, It Becomes a Scenery–Luo Min′s Paper Art Exhi-bi-tion”, Today Art Muse-um, Bei-jing2011 “Mir-ror of Dai-ly Life–Luo Min′s Paint-ing Exhi-bi-tion in 2011”, Today Art Muse-um, Bei-jing　

26號(hào)碼頭No.1 26 pier No.1 合成紙丙烯 Synthetic Paper and Propylene 12x9 in 2020

26號(hào)碼頭No.2 26 pier No.2 合成紙丙烯 Synthetic Paper and Propylene 12x9 in 2020

26號(hào)碼頭No.3 26 pier No.3 合成紙丙烯 Synthetic Paper and Propylene 9x12 in 2020

26號(hào)碼頭No.4 26 pier No.4 紙本水彩 Paper Watercolor9x12 in 2020

窗外通往新澤西The Window Leads to New Jersey 合成紙丙烯 Synthetic Paper and Propylene 24x36 in 12x9 in x10 2020

窗外通往新澤西The Window Leads to New Jersey 合成紙丙烯 Synthetic Paper and Propylene 12x9 in x10 2020

窗外通往新澤西The Window Leads to New Jersey 合成紙丙烯 Synthetic Paper and Propylene 24x36 in 2020

綠壺 Green Kettle 合成紙中國顏料和墨 Synthetic Paper + Chinese Pigment + Chinese Ink 18x24 in2020

綠壺 Green Kettle 合成紙中國顏料和墨 Synthetic Paper + Chinese Pigment + Chinese Ink 18x24 in 10x10 in x4 2020

紐約

滬公網(wǎng)安備
31010102006431號(hào)