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“独自叩门”罗书杭个展

  • 展览海报
  • 《开门见山1》 罗书杭
  • 《开门见山2》 罗书杭
  • 《开门见山3》 罗书杭
  • 《开门见山4》 罗书杭
  • 《开门见山5》 罗书杭
  • 《开门见山6》 罗书杭
  • 《开门见山7》 罗书杭
  • 《开门见山8》 罗书杭
  • 《开门见山9》 罗书杭
  • 《开门见山10》 罗书杭
  • 《青苔1》 罗书杭
  • 《青苔2》 罗书杭
  • 《青苔3》 罗书杭
  • 《下沉1》 罗书杭
  • 《下沉2》 罗书杭
  • 《下沉3》 罗书杭
  • 《下沉4》 罗书杭
  • 《灰尘1》 罗书杭
  • 《灰尘2》 罗书杭
  • 《灰尘3》 罗书杭
  • 《灰尘4》 罗书杭
  • 《灰尘5》 罗书杭
展览时间:
2020-08-01 - 2020-08-30
开幕时间:
2020-08-01 15:30
展览城市:
福建 - 厦门
展览机构:
三影堂厦门摄影艺术中心
展览地址:
厦门市集美区杏林湾商务营运中心2号楼3楼(从楼群中间大平台上)
策 展 人:
肖瑞昀
参展人员:
罗书杭

展览介绍

前言

文/肖瑞昀

从《独自叩门》到《开门见山》,罗书杭展开的是一段关于身体空间的叙事之旅。

《开门见山》让绘画图像与影像之间产生了互文,甚至是一种跨越时间和空间的对话。这样一种互文方式,形同传统绘画中的"题跋"。"题跋"的出现标志着画作的另外一个转变,从单一的图像,转变为图像和文本共同构成的一个卷轴。1 如果将一幅卷轴看作一个整体,历代的藏家对画作进行的题跋,便包含了跨越时间的文本内容。

罗书杭的创作某种程度可以视为另一种题跋的方式,同样是后来者对前人画作的注解。只是题跋的内容不是以文学及书法,而是影像;也不是在原本作品的画面之外,而是嵌入到了画面之中。

因此,原本的语境被化解了。在传统的山水画中,自然景象与人物融为一体,而且通常是一些文人雅士。罗书杭作品中出现的却是再普通不过的人:买菜的阿姨、做工的师傅、穿着睡衣的男子、站在山头的女学生……这些融入其中的现实影像,重新构建了一个语境,让传统与当代形成一种极具张力的矛盾。

罗书杭的另外几组作品都表现了基于真实之物的虚幻之感:《下沉》是抽离日常经验之后的物体样貌,《青苔》则展示所见之景的重合。展览的整体呈现是一种宁静的氛围,那是传统绘画元素以及宣纸材料带来一种幽微的质感,以及展览透过一个立轴的动态视频,放置的那一轮若影若现的明月。然而,当细细观赏这些作品,总有一个画面成为观看者的"刺点"2 ,甚至转化成为某种不确定的情绪。在视频作品《灰尘》中,观者似乎化身为宇宙中的尘埃,这种不安感伴随着现场声音越加强烈。

摄影记录的是时间的切片,罗书杭的作品则将时间的褶皱铺展开来。 "独自叩门",欢迎到门内此间漫游、驻足及观赏。

注:

1 巫鸿《重屏--中国绘画中的媒材与再现》

2 罗兰·巴特《明室》


Luo Shuhang

Preface

Text/ Xiao Ruiyun

From Outside the Door to Once Upon a Land, Luo Shuhang ventured into a narrative journey concerning body and space.

In his work, Once Upon a Land, there is intertextuality between the painting and the image, and even a dialogue that transcends space and time. Such kind of intertextuality is similar to the "colophons" in traditional paintings. The appearance of colophons demonstrates an important transformation of the painting: it no longer purely consists of pictorial images but integrates visual and textual portions in a single scroll. 1 If a single scroll is considered as a whole, the colophons on the paintings added by the collectors in the past include texts that traverse time.

To some extent, Luo's work can be regarded as another form of the colophon, which is also a commentary made by the later generations on the paintings of their ancestors. The difference, however, is that the content of the colophons is not literature or calligraphy, but image; also, the colophons are not outside of the original work but embedded within.

Therefore, the original context is resolved. In the traditional landscape paintings, nature and figures are very well integrated, and usually those figures represent the literati. Nevertheless, what appears in Luo's work are ordinary people: women buying groceries, masters working, men in pajamas, female students standing on the top of the hill, etc. These realistic figures blend into the original paintings, reconstruct the context, and form a tension between the traditional and the contemporary.

Luo's other series of work all demonstrate the illusion that derives from things in reality: Sink shows the appearance of objects after stripping away from daily experience, and Moss shows the overlap of things we see. The overall presentation of the exhibition is immersed in a tranquil atmosphere, which is a subtle texture brought by the elements in traditional paintings and materials like Xuan paper. The ethereal moon demonstrated in the video on a vertical axis also contributes to the tranquility of this exhibition. However, when viewing these works carefully, there is always a frame that could turn to be the "punctum"2 for the viewers, and it could even transform into some kind of uncertain emotion. In his video work, Dust, the viewer seems to be transformed into dust in the universe, and this sense of uneasiness is accompanied and augmented by the sound on the scene.

The art of photography records the slices of time, and Luo's work spreads out the folds of time. People Outside the Door, welcome in, and please enjoy.

Note:

1 Wu Hung, The Double Screen: Medium and Representation in Chinese Painting

2 Roland Barthes, Camera Lucida: Reflections on Photography

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(责任编辑:杨红柳)

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