主辦單位：紐約暗流畫廊

　　開幕時間：2020年12月4日17:00-21:00

　　展覽日期：2020年12月4日-2021年1月2日 周四-周日13:00-19:00

　　展覽地址：70 John st. Brooklyn, NYC

　　Sponsor: Undercurrent Gallery, New York

　　Opening Reception: 5-9 PM, December 4th, 2020

　　Exhibition Date: December 4th, 2020 -- January 2nd, 2021

　　Thursday -- Sunday,1 -- 7PM

　　Exhibition Address: 70 John St. Brooklyn, NYC

　　展覽前言

　　一個生命在我們居住的建筑幾何圖形上留下印記，要多久,，要到什么程度,，才能給我們留下溫暖的軀體的印象? 在暗流畫廊舉辦的羅一個展《無家可歸》的十幅作品中，藝術(shù)家描繪了一幅揭示等級結(jié)構(gòu)內(nèi)部和之間不確定存在的褪色的風(fēng)景,。羅一用一種不安的,、近乎強(qiáng)迫性的繪畫手法所創(chuàng)作的作品，其媒介似乎在畫板上模壓成型,，它們記錄著我們在生命邊緣化過程中的共謀,。在畫作近乎崩解的視覺高潮中,，身體和場所的邊界模糊讓我們見證了人體的消解。在《糾纏》和《游吟詩人》這些作品中,，我們看到所有的支撐性基礎(chǔ)設(shè)施都消失了,，只留下一個不斷變化并正消融的人影，而個體的匿名性也反映了環(huán)境的正式崩潰,。羅一的作品如同堆疊在僵硬的塊面上,，因此顯然并非是對一個場景的審美描繪，相反,，它們與美術(shù)館的腳手架有著內(nèi)在聯(lián)系,，從而力邀我們參與到這些孤立故事之中或周圍。在這些沉甸甸的城市景觀中,，羅一將被忽視的人物形象浮現(xiàn)出來,，并將其植入我們不得不面對的現(xiàn)實(shí)中。

　　關(guān)于紐約這座城市,，可以有很多說法,，但最適用于此的是對其建筑及其內(nèi)部生活的不斷重組的忠誠: 正如德塞托所描述的，一種持續(xù)的,，被認(rèn)為不合適的東西迅速被拋棄的垂直性,。隨著這座城市所進(jìn)行的無情的變革，它的居民在脆弱的微散居住狀態(tài)中疲于生存,。那些居住在公共空間和私人空間裂隙中的人,，表現(xiàn)出了一種不確定性，往好了說,，這種不確定性是對“共同選擇”的挑戰(zhàn),，往壞了說，是政治失敗的證明,。羅一對人類存在的形而上學(xué)的關(guān)注,，以及她對媒介的安靜而敏捷的處理，讓她的觀眾感到刺痛不安,。人與基礎(chǔ)設(shè)施之間的邊界變得不可分割,，無面且孤獨(dú)的身影隱退于城市網(wǎng)格中,。我們在城市的日�,；顒又性庥鲞@些孤獨(dú)的身影，并認(rèn)識到我們與他們的脫離,。當(dāng)這位藝術(shù)家把無面者的歷史集中在沒有人情味的城市風(fēng)景中時,，我們不得不做出選擇:我們是要介入這些人物不可避免的解體，讓他們消解在自己的背景中,，還是只是遠(yuǎn)遠(yuǎn)旁觀?羅一筆下那些常常處于停滯狀態(tài)的人物,，站在有條件的人類行為的需求與獎賞之外，促使我們質(zhì)疑自己對這個體系的加入。

　　阿德里亞娜·弗隆

　　The preface

　　How long, and to what degree, must a being imprint itself upon the geometries of our lived architecture before imparting suggestions of a warm body? In the ten paintings that comprise Homeless, Loy Luo's solo exhibition with Undercurrent, the artist portrays a faded landscape that reveals an indeterminate existence within and between hegemonic structures. With an unquiet, almost compulsive painterly hand, Luo creates paintings whose medium seems to molder onto the panels, recording our complicity in the peripheralization of living beings. Disintegration comes to its visual crescendo where the delineation between body and locale seems to muddy and blur, having us witness the dissolution of human bodies. In pieces such as Entanglement, and The Troubadour, we see all supportive infrastructure fall away, leaving the figure in a constant flux of disintegration, the anonymity of the individual reflecting the formal breakdown of the environment. Stacked upon wooden blocks, Luo’s paintings refute their status as mere aesthetic depiction of a scene, instead becoming intrinsically linked with the gallery’s scaffolding and thus insisting upon our participation both within and around these stories of isolation. In these heavy cityscapes, Luo tenderly surfaces figures who have been overlooked and inserts them in corporeality we cannot help but face.

　　Many things can be said about the city of New York but the most applicable here would be an allegiance to the unceasing restructuring of its buildings and the lives within them: as De Certeau describes it, a constant verticality in which those deemed unfit are swiftly discarded. As the city performs relentless alterations, its inhabitants strain to survive inside fragile micro-diasporas. Those who inhabit the chasm between public and private space embody an indeterminacy that, at best, defies co-option and, at worst, is testament to political failure. Luo’s metaphysical preoccupations with human existence and her quiet, agile handling of the medium elicit a needling dis-ease in her viewer. Faceless and solitary, the boundaries between person and infrastructure becomes indissoluble, causing the figure to recede into the grid of the city. We know these solitary figures from our daily movements around the city and recognize our disengagement from them. As the artist centralizes faceless histories in her impersonal cityscapes; we grapple with a choice: do we intervene in the inevitable disintegration of these figures into their encroaching backgrounds or simply watch from afar? Luo's figures, often in stasis, stand outside of both the demands and rewards of conditioned human behavior, pushing us to question our accession to this system.

　　Adriana Furlong

　　圖：游吟詩人 綜合材料 36“48” 2020

　　IMAGE: Troubadour Mixed Media, 36“X48”, 2020

　　藝術(shù)家陳述

　　紐約無家可歸者的形象令人震驚,。在這個人類引以為豪的文明世界里,，底層生活場景極大激發(fā)了我的創(chuàng)作熱情。我經(jīng)�,？吹胶芏嘤芯�神問題的無家可歸者手舞足蹈,，大聲吟詠，驕傲地象行走于天街,。他們讓我想起古代游吟詩人,，所以每當(dāng)我看到他們，總是心懷敬畏,。我一直認(rèn)為藝術(shù)家也是天生的流浪者,，他們也有各種心理問題，因?yàn)樗麄儗ψ约核�處時代的問題比普通人更敏感,。

　　2020年一月我來紐約,，突如其來的疫情帶給像我這樣的旅行者前所未有的無家可歸的體驗(yàn)。一開始,，從中國傳來疫情爆發(fā)的消息,，親友們出于關(guān)心建議我不要回國。兩個月后,，紐約成為疫情中心,，親友們因?yàn)榇蠖鄶?shù)人的安全考慮希望我不要回家。后來更有各種斷航,、天價票,、隔離檢測標(biāo)準(zhǔn)設(shè)置等種種措施極盡所能地阻擋著人們的回歸路。疫情對親情,、人情的尖利挑戰(zhàn)以及所引起的糾結(jié)創(chuàng)痛早已令人失語地超出了過往思想者們對人性思考的所有深度,。

　　作品的“無臉”特征既吻合大時代下身份缺失帶來的迷惑感受，也雙關(guān)著失去尊嚴(yán)的隱喻,。而這一靈感最初來自疫情原始恐慌中的所見:當(dāng)大多數(shù)人都已使用面具來保護(hù)自己免受病毒感染時,，無家可歸者一如既往的透明的臉上卻依然不戴面具。我突然想到,，利用面具掩示真實(shí)自我的人常在社會中獲得成功,，而袒露真實(shí)自我的人卻常成為失敗者，這不得不令人對社會運(yùn)作體系中的身份系統(tǒng)產(chǎn)生懷疑,。而當(dāng)目睹“卡西莫多(Quasimodo)”駝背的身體散發(fā)出雕塑般的莊嚴(yán),，“游吟詩人（Troubadour）”孤立于歷史廢墟上的身影令人唏噓時，這些世俗社會定義的無用者的存在讓我關(guān)聯(lián)到提倡無用之用的中國古典哲學(xué),。

　　事實(shí)上,，除了一些人被迫流離失所,，不得不睡在公共空間，帳篷,、睡袋,、甚至硬紙盒里，疫情更讓無數(shù)人都收獲了類似無家可歸的經(jīng)歷: 我們很沒有面子地在外面吃飯,，坐街邊臺階上休息,，沒有廁所可用，而且總是可恥地孤獨(dú)……

　　羅一 

　　Artist Statement

　　The images of New York's homeless shocked me. In this so-called civilized world that human beings are proud of, the scenes of underclass life both greatly appalled me and also inspired my passion for creation. I often see homeless people with mental health problems dancing, chanting loudly and walking proudly down the street. They remind me of ancient minstrels, so whenever I see them, I am always in awe. I have always believed that artists are also born homeless, and they also have various psychological problems, because they are more sensitive to the problems of their own times than ordinary people. 

　　When I arrived in New York in January 2020, a sudden outbreak brought travelers like me an unprecedented feeling of homelessness. At first, when news of the outbreak came from China, relatives and friends advised me not to return home out of concern. Two months later, when New York became the center of the epidemic, my friends and family wanted me not to go home out of concern for the safety of others at home. Later, there were a variety of obstacles such as canceled flights, sky-high ticket prices, quarantine testing standards, etc., to prevent people from returning. The acute challenge of the epidemic to family relationships and relations to others, and the unusual entanglements and wounds it has caused, is beyond the depth of previous thinkers' thinking about human nature. 

　　The "faceless" feature of these paintings should be consistent with the confused feeling brought about by the loss of identity during this unique time, and is also a pun on the human notion of dignity. The inspiration for these works originally came from my observations in the original panic of the epidemic: while most people had used masks to protect themselves from the virus, the homeless didn't wear masks over their faces. It occurred to me that those who mask their true selves often succeed in society, while those who reveal their true selves often fail, which raises doubts about the identity in the social system. And when I saw the hunchback body of ”Quasimodo” standing, sculptural and solemn, or the lonely figure of “Troubadour" on the historical ruins, I saw the connection between the useless presence defined by the secular social order and the useless as articulated by Chinese classical philosophy on the inherent value of the useless. 

　　In fact, aside from the fact that some people have been displaced and have to sleep in public Spaces, in tents, sleeping bags and even cardboard boxes, the epidemic has also brought the experience of homelessness to countless others: we eat out, rest on street steps, have no toilets to use, and are often always shamefully alone......

　　Loy Luo