在12月2日,，佳士得香港2023秋季拍賣圓滿結(jié)束，總成交額30億港元,，成交金額比率近90%,；展現(xiàn)了市場的強勁需求和高度活躍度。此次拍賣誕生了1件億元級別的拍品和54件超過千萬港元的成交拍品,，同時,，30%拍品成交價超過了高估價；與2022年秋季相比,，買家數(shù)量增長了近10%,。
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羅一｜“無家可歸”者的紐約“流浪記” 孤獨的人觀看孤獨的人 Lonely people watch lonely people “人們冒著冬夜之雨，甚至不夸張地說冒著生命危險前來觀摩,，孤獨的人觀看孤獨的人,，游吟者在游吟者畫像前縱聲歌舞。”12月初,，在紐約暗流畫廊并不“豪華”的展廳里,，羅一個展“無家可歸”系列畫作被放置在地板上，仿佛天橋下那些隨意躺臥在路邊的流浪者,，靜等著觀眾的到來,。 "People braved the winter rain and literally risked their lives to come, lonely people watched lonely people, a troubadour sang and danced in front of paintings of troubadours.”At the beginning of December 2020, in the not-so-luxurious room of Undercurrent Gallery in New York, Loy Luo's "homeless" series of paintings were laid out on the floor, like homeless people lying on the roadside under an overpass, waiting for the audience to arrive. 暗流畫廊前廊 Undercurrent Gallery Front porch 2020年1月，一個赴美旅行轉(zhuǎn)換心情的臨時決定成為羅一一段特殊經(jīng)歷的開始,。從紐約肯尼迪機場下飛機后,，羅一租了一輛汽車，駛向東岸幾座城市，開啟了參觀畫廊,、博物館的旅程,。原本她打算一路游到西海岸，但隨之傳來國內(nèi)疫情的消息,，使她以一葉知秋之心境預見世界之大不安,，于是逃到到紐約以北的山區(qū)，寄居在美國家庭的House里惶恐憂懼半月有余,。 In January 2020, Loy Luo made a decision to temporarily travel to the United States, seeking a change of scenery. This was the beginning of a unique experience for the artist. After landing at New York's Kennedy Airport, she rented a car and drove to several cities on the east coast, where she began her avid tour of galleries and museums. Originally, Loy planned to drive all the way to the west coast, but then came the news of the pandemic. Foreseeing the coming of an increasingly anxious world, she escaped to the mountains not far north of New York City, where she “sheltered” in the homes of several American families for a couple of weeks, feeling terrified. 開幕現(xiàn)場,，戴口罩的羅一 Loy Luo wearing a mask at the opening 2月下旬，盡管恐懼,，羅一還是帶著對藝術(shù)交流的渴望回到紐約城,。各種嘗試和思索后，她開始實施百人肖像行為計劃,，即在疫情恐慌的紐約街頭給各種戴面具和不戴面具的人畫素描肖像,。7月15日，名為《另一個我》的百人肖像行為展在紐約白盒子藝術(shù)中心開幕,，展期延續(xù)了兩個月,。在這期間，羅一開始了《無家可歸》展的籌備與創(chuàng)作,。 In late February, in spite of her worries, Loy Luo returned to New York City with a desire for artistic exchange. After a lot of trial and thought, she embarked on the 100 Portraits Project, a project to sketch people who wore or didn’t wear a mask on the streets of New York in the midst of the coronavirus outbreak. On July 15, "The Other I," a performance exhibition of 100 portraits, opened at the White Box Art Center in New York for two months. During this period, Loy Luo started the preparation and creation of her next project - an expression of the concept of “homeless”. 《無家可歸》展覽現(xiàn)場 "Homeless" exhibition 羅一開始無家可歸系列繪畫的創(chuàng)作同時以疫情中無家可歸者身份實施無家可歸之行為,，進行到第四個月時，紐約暗流畫廊的合伙人通過了《無家可歸》的個展方案,，并列入畫廊12月展覽計劃,。暗流畫廊的撰稿人阿德里亞娜·弗隆認為，隨著紐約這座城市所進行的無情的變革,，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,。但羅一從個人經(jīng)驗的角度認為，藝術(shù)家是天生的流浪者,，他們也有各種心理問題,，他們對自己所處時代的問題比普通人更敏感,。 Luo began creating a series of homeless paintings while illegally living in her studio as a homeless person during the time of COVID-19. In the fourth month, the partners of New York's Undercurrent Gallery approved the solo exhibition plan of "Homeless" and included it in the gallery's exhibition plan for December 2020.Undercurrent Gallery contributor Adriana Furlong wrote: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. However, Luo believes from the perspective of personal experience that artists are born wanderers with their own psychological struggles, and because of that are more sensitive to the problems of their time than ordinary people. 在《無家可歸》者中縱情歌舞的“游吟”歌手 A "minstrel" singer who sings and dances in The Homeless 顯然,，在“無家可歸”作品中，“無臉”特征吻合了大時代下身份缺失帶來的迷惑感受，也雙關(guān)著失去尊嚴的隱喻,。但當羅一“目睹’卡西莫多(Quasimodo)’駝背的身體散發(fā)出雕塑般的莊嚴,、‘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,�,！笔堑模@些“無家可歸”者作品中的那種支離混沌感并不體現(xiàn)絕望的孤獨,，而是羅一式孤獨：帶著一點堅韌的孤獨,，還帶著一點面對這個動蕩不安的世界時，永遠保持樂觀的也許微弱卻溫暖的孤獨,。 Obviously, Loy Luo's faceless figures suggest a loss of both identity and dignity in the modern world, but when the artist saw a kind of sculptural majesty in “Quasimodo”’s hunchbacked body, and the 'Troubadour' standing lonely among the ruins of history, Loy was reminded of the meaningfulness of those whose existence is labeled as otiosity, which is discussed in classical Chinese philosophy. The intention of the works is not so much to emphasize the despair of those who are homeless. Instead it is loneliness tempered with a bit of resilience; not overly strong, perhaps, but somehow always warm and optimistic in the face of this turbulent world. 羅一在紐約街頭 Loy Luo is on the streets of New York 藝術(shù)背面：死亡,、存在、表達 The back of the art: death, existence, expression 在異國親歷疫情讓羅一對死亡和存在有了與以往不同的認知,。通過對疫情期間人性的觀察她感受到,，真的直逼死境容易使人突然間精神潰散、執(zhí)迷肉身,。她因此獲得對將死之人最后的心理掙扎,、陰暗、扭曲等的理解及對生命脆弱的同情,。也因此更堅定認知,，無論任何借口，對戰(zhàn)爭和暴力的慫恿推崇都是人類最大的惡行,，是逼人為獸罪的惡行,。 Living through a pandemic in a foreign country has given Luo a different perspective on death and existence. Through observing human nature during this hard time, she felt that a person's spirit could suddenly break down and become obsessed with the body. She gained an understanding of the last psychological struggles, shadows, distortions of the dying, and a a sympathy for the fragility of life. It also makes us more determined to recognize that all the promotion of war and violence is man’s greatest evil - an evil that leads human beings to lose the connection to their spiritual selves and instead act like animals. 羅一在展廳 Loy Luo is in the exhibition hall 新的認知也可以用來解釋她在不同階段創(chuàng)作面貌的改變，羅一說,，由于擔憂災難中個體性被群體埋沒,，所以她以極大熱情啟動了初衷為珍視個體性的百人肖像計劃。在最初的恐怖氛圍里她并沒有意識到把表象細節(jié)的特殊性等同于個體性有什么問題,，反而是懷著真誠的對生命的敬畏之心極力刻畫每一張獨一無二的面孔,；也許是特定時節(jié)某種強迫癥般的精神執(zhí)拗以及過度認真，使羅一那個階段的肖像素描形成了另一種精神氣場,，一種類似于肉身在場感帶來的樸素的感動,。 The new cognition can also be used to explain the change of her creative appearance in different stages. Loy Luo said she started the "100 People Portrait Project" with great enthusiasm because she feared that individuality would be lost to the community during the disaster. In the initial atmosphere of horror, she did not realize that there is a problem with equating a person’s individuality only with their appearance. However, she tried to depict each unique face with a sincere reverence for life. Perhaps it was her obsessive-compulsive stubbornness and excessive earnestness which also formed another kind of spiritual characteristic, a kind of simple emotion similar to the presence of the body. 《另一個我》個展肖像作品 "The Other I" solo exhibition portrait works 羅一猜測，人對精神的感知和對死亡的恐懼密切相關(guān),，越恐懼越容易淪陷于表象世界,，而越安全，反而越發(fā)親近更純粹之精神,，這時表象真實反而不那么重要,。她說,，當突如其來的生死威脅就在眼前時，人可能會依賴對表象肉身的執(zhí)著來轉(zhuǎn)移驅(qū)散內(nèi)心驚恐,；而當威脅減弱或適應恐怖后,，才有能力去體驗真實自己的真實情緒，并試圖表達,；又只能在感受到更大的安全后,，才再次復蘇對生命恒常面對的價值問題的思考，這時候藝術(shù)表達開始趨向冷靜,、抽象,、或真正的深刻。 Luo conjectured that people's perception of the spirit is closely related to the fear of death. The more afraid people are, the more likely they are to fall into the world of appearances. The safer they are, the closer they are to the purer spirit, the reality of appearances is not so important. She said that when the sudden threat of life and death is at hand, people may rely on the attachment to the physical appearance to divert and disperse the inner fear; And when the threat is reduced or people have adapted to the terror, they are able to experience their true emotions and try to express them. Only when they feel more secure can they revive their thinking on the value problems that life always faces. At this time, artistic expression begins to become calm, abstract, or really profound. 《另一個我》展的大幅素描 A large sketch in the "The Other I" exhibition 藝術(shù)家在布魯克林DUMBO藝術(shù)區(qū)工作室 The artist works at her studio in Dumbo, Brooklyn 不是畫展的畫展 A painting exhibition that is not a painting exhibition 2020年的經(jīng)歷境遇,，導致了羅一創(chuàng)作理念,、狀態(tài)和形式的改變。我們可以看到,，她來紐約后連續(xù)舉辦的三個個展(其中一個是在線展)都不像以前那樣是抽象藝術(shù),。然而，羅一強調(diào)她的新作品并不是被很多人理解的具象藝術(shù),，甚至也不是具象表現(xiàn)主義,，她認為畫廊展出的鉛筆肖像和以無家可歸者形象為主題的繪畫其實是借殼繪畫的觀念甚至行為，這些畫是一個完整系統(tǒng)中的元素或裝置,。 The experience in 2020 has led to the change of Loy Luo's creative concept, state and form. We can see that the three consecutive solo exhibitions she held after coming to New York (one of which is an online exhibition) are not abstract art as she did before. However, Luo stressed that her new works are not just pieces of Figural art that may be understood by many people, it is not even representational expressionism. She says, the pencil portraits and homeless-image-themed paintings, in the exhibition, are outside forms, behind which are some concept or performance art. These paintings are elements of a complete system. 她提醒人們注意她在《另一個我》展覽中通過視頻裝置作品記錄的一個疫情街頭的行為,，以及同時展出的報紙現(xiàn)成品的時效提醒等。她透露《無家可歸》展背后是一個持續(xù)了半年之久的無家可歸的擬真生活狀態(tài),，與此同時,，展覽中的細節(jié)也反映出一種意圖，即把繪畫本身裝置化,，或身體化,。 In “The Other I” show, she reminded us to pay attention to the video installation works which recorded a performance on the street in the outbreak as well as the newspaper ready-made works displayed in the show which remind us of the close connection between the works and the temporal context. She disclosed that behind the "Homeless" exhibition was the simulated life situation of her own illegal homelessness that had been going on already for half a year. At the same time, the details, in the exhibition, also reflect the intention that treats the paintings themselves as ready-mades, maybe bodies glimpsed in passing. 《另一個我》個展的視頻裝置 Video installation for the solo exhibition “The Other I” 看展姿勢：表現(xiàn)主義、大寫意,、符號學 Exhibition postures: expressionism, freehand style, semiotics 羅一說此次展覽最大的收獲是她與來訪的紐約藝術(shù)家們的交流,。讓羅一欣慰的是，她看到參觀者們欣賞作品時的專注,、嚴肅和作品間呼應出的和諧調(diào)性,。除了Dumbo 藝術(shù)區(qū)的藝術(shù)家鄰居來參加開幕式，Sergey Kir 等藝術(shù)家朋友說是看到媒體展訊專程趕來,，他們分享給羅一那些她并不知情的媒體訊息,。陸續(xù)前來觀展的參觀者們熱情分享其觀展感受：James Howard Collins，Markus.Nikol’a Mironovic認為畫面情緒飽滿,，Vytenis Jankunas,、John Ensor Parker說畫面構(gòu)思充滿寓意,；Mark Crawford, John Mazlish說這些畫面讓人聯(lián)想到戈雅、蒙克,；Paul Chepolis談到畫面抽象具象元素的銜接巧妙,；Michael Ser, Philip Rothenberg欣賞不同材料間的沖突和諧,；Queenie Wang問藝術(shù)家是否有中國潑墨大寫意的背景經(jīng)歷,，等等。 Loy Luo said the biggest gain of the exhibition was her communication with visiting artists from New York. To Luo's delight, she saw the attention, seriousness, which is harmony with the atmosphere of the show. In addition to the artist neighbors from Dumbo Art District who attended the opening ceremony, Sergey Kir and other visitors said that they came to the show because they saw some art media posts, and they shared with Loy Luo some media information that she did not know. Artists also shared their feeling about Loy’s art: James Howard Collins, Markus, Nikol 'a Mironovic thought the paintings full of emotion; Vytenis Jankunas, John Ensor Parker said the images were full of meaning; Mark Crawford, John Mazlish said the images were reminiscent of Goya and Munch; Paul Chepolis talked about the ingenious convergence of abstract and representational elements in the picture; Michael Ser, Philip Rothenberg appreciates the conflict and harmony between different materials; Queenie Wang asked if the artist had a background in Chinese splash-ink brushwork, etc. 《無家可歸》作品局部細節(jié) partial details of the works from “Homeless” 參觀者對展覽方式很敏感,，覺得把放在地板上的畫很吻合“無家可歸”的主題; 還有畫下的木塊,，用毛筆在地上寫下的畫名，以及其他不引人注目但隨處可見的中國書法元素等,，它們被觀者識別和提及為具有特殊意義的符號,。似乎有意識地使用符號學的解讀方法在紐約藝術(shù)界很普遍。例如,，“紅墻”左邊的黑色彎曲條被Steve West看作是一根巨大的拐杖,，以至于角落里的流浪漢夠不到它。又如《青銅睡佛》中的模糊藍色身影被Scott Endsley解讀為一個保護者,，盡管這種解讀可能與藝術(shù)家的原意恰好相悖,。 Visitors were sensitive to the style of the exhibition and felt that resting the paintings essentially on the floor was appropriate to the theme of "homeless"; There are also the wooden blocks under the paintings, the names of the paintings written on the ground with a ink brush, and other unobtrusive but ubiquitous Chinese calligraphy elements, which were identified and mentioned by the viewers as symbols with special meanings. It seems that the conscious use of semiotic methods of interpretation is common in New York art circles. For example, the black curving strip on the left of "Red Wall" was seen by Steve West as a crutch so large that the homeless man in the corner could not reach it. Or the fuzzy blue figure in "The Bronze Sleeping Buddha " is read by Scott Endsley as a protector, even though this interpretation may be contrary to the artist’s original intention. 《無家可歸》展放置地面的作品 works of ”Homeless" on the floor 羅一說，每當她路過墻壁有涂鴉印記的街角,，看到那張擺放地面的展覽海報時,，就想起阿德里亞娜展覽前言里的開篇：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? Whenever she passed the street corner near the gallery with a graffiti on the wall and the poster of the exhibition below it on the ground, Loy was reminded of Adriana’s opening line of the exhibition 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?”. 她說，在當代藝術(shù)的語境中,，要捕捉到源于藝術(shù)家個人生活經(jīng)驗,，同時又與外部世界產(chǎn)生共鳴的能指，需要藝術(shù)家對自己誠實,，同時對時事敏感,。在她看來，“面具”和“無家可歸”是當下意義層次豐富的能指,。 She says that in the context of contemporary art, to capture the signifier which originated from the individual life experience of the artist but also resonates with the external world requires the artist to be honest with him- or herself and sensitive to the time. "Mask" and "homeless" are the signifiers with rich levels of meaning in the current time, in her eyes. 春天有多遠 How far is spring Some lines from The Book of Songs, a collection of classical Chinese poems, say, “When I left there were budding willows by the road; when I returned, rain and snow”. Although in January when Loy Luo left China, it was far from willow to bud, the world was still peaceful. But when her visa expired here in July 2020, the pandemic was at its peak after nearly five months from its start in the U.S., so she could not go back to China and had to extend her visa for six months. And then, although she had planned to return after the Homeless exhibition, she discovered the flight she had booked three months in advance was cancelled because of the renewed pandemic. Spring seems far away in New York in January, but Loy's harvest is still very warm. 在畫廊和藝術(shù)家均無期待的情況下，《無家可歸》展驚喜地獲得了諸如：Artforum, Artcard.cc, Artindumbo, allevent.in, larryqualls.blogspot.com, twocoatsofpaint.com, expoartist.org, inoox.com等美國專業(yè)藝術(shù)媒體的展訊推送,，以及不少藝術(shù)自媒體的轉(zhuǎn)發(fā),。而中國藝術(shù)評論家夏可君和藝術(shù)家董鶴、李振中則在葦草智酷段永朝先生的組織下和羅一進行了線上藝術(shù)交流活動,。 Both Luo and the gallery owners were happily surprised by the art media’s coverage of the “homeless" exhibition opening: Artforum, Artcard. Cc, Artindumbo, allevent. In, larryqualls.blogspot.com, twocoatsofpaint.com, expoartist.org, inoox.com, etc., as well as pushed forward by some social media. Chinese art critic Xia Kejun and artists Dong He and Li Zhenzhong - hosted by Duan Yongchao - had an online art exchange with Loy Luo under the organization of the Chinese NGO CoolReeds. 令人鼓舞的是,，大約在“無家可歸”展開幕的同時，暗流畫廊向感興趣的藝術(shù)家發(fā)出了申請未來展覽的通知,，最終收到了近70份申請,。值得指出的是，美國的非營利畫廊為他們認為優(yōu)秀的藝術(shù)家提供展覽——不一定,是眾所周知的或受歡迎的——而且畫廊的日常導覽工作由志愿者擔任, 人們相信這種非盈利制度可以更好地維護藝術(shù)的純潔,。 It is very encouraging to note that Undercurrent had sent out a general notice for interested artists to apply for future shows there around the same time as Homeless opened and ended up receiving almost 70 returns. It could be noted that non-profit galleries in the United States offer exhibitions to artists they believe are excellent - not necessarily because they are well-known or popular - and also that the daily tours of the galleries are conducted by volunteers, which people believe can better maintain the purity of art. 盡管整個紐約城都因疫情處于大蕭條中,，畫廊還是在展覽初期就收到藝術(shù)贊助人Christopher Pelham先生的熱心捐贈，臨近展覽結(jié)束,，畫廊陸續(xù)收到作品收藏意向,。撤展當天，紐約上州一位藝術(shù)資助人開車到畫廊,，將羅一的作品及行李接到為其提供的工作室,。 Although New York City is certainly suffering under the effects of the pandemic, the gallery received a generous donation from art patron Christopher Pelham at the beginning of the exhibition, and continued to receive requests of pieces from the show for collections up to the end of the exhibition. On the day of the show's departure, a patron friend from upstate New York drove to the gallery to help take Ms. Luo's work and luggage to a new studio temporarily provided for her to embark on the next phase of her creativity. 羅一作品 Loy Luo’s works The Son of the God, Mixed-Media, 36” *48”, 2020 《圣子》91*122 cm 綜合材料 2020年 Red Wall, Mixed-Media, 36” *48”, 2020 《紅墻》91*122 cm 綜合材料 2020年 Dumbledore, Mixed-Media, 36” *48”, 2020 《鄧布利多》91*122 cm 綜合材料 2020年 Quasimodo,Mixed-Media, 36” *48”, 2020 《卡西莫多》91*122 cm 綜合材料 2020年 《陰影區(qū)域》91*122 cm 綜合材料 2020年 The Shaded Area, Mixed-Media, 36” *48”, 2020 Troubadour, Mixed-Media, 36” *48”, 2020 《游吟詩人》91*122 cm 綜合材料 2020年 The City Mountain, Mixed-Media, 36” *48”, 2020 《城市山》91*122 cm 綜合材料 2020年 |
