OBSERVE觀看
藝術家 | Artist：羅敏 Min Luo
畫廊 | Gallery：紐約時代 TIME ARTS
開幕 | Opening：2020.12.19 6-8pm
時間 | Dates：2020.12.19-2021.1.24
地址：178 Bleecker Street 2nd floor New York, NY 10012
預約參觀：請發郵件至newyork@timeartsus.com
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 ，24x36 in ×10，2020
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
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。世界在災難中需要重新自我修復，同樣，藝術也需要找回理想的開端，那個真正有歸屬感的精神領域，也是藝術家羅敏多年來所探求的方向。
在日常中，羅敏關注著紐約的建築、紐約的天際線、紐約的26號碼頭、紐約的行人，如同置身事外的疏離感帶給她一種冷靜，她真實的感受著外界與自己內在的變化，思考尋找著“繪畫”最初的本質，那是從西方的繪畫程式中抽離出來，去除既有的技法與個人風格，捨棄偏見的思想立場。
於是，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。面對密集簇擁的建築，甚至如同笨拙的孩童用上了直尺，耗費近兩個月的時間來完成一幅《窗外通往新澤西》作品，只是在衡量著繪畫這一“描繪”的意義。在羅敏深遠意境的美學中，她的作品更為趨向寫意的表達，構成了獨特的張力。而人性化依舊是羅敏作品中的精神靈魂，不變的是她對事物背後的隱喻意義的追求，和用這種平實的繪畫方法強化這隱喻的力量。
米蘭昆德拉曾説：“表面是清晰明瞭的謊言，背後卻是晦澀難懂的真相。”羅敏的新作，以一種乾淨洗練的色彩與生動的形態開啟故事的開端，促使我們深入的去讀取畫作背後隱喻的語言。她用女性藝術家獨有的細膩、充滿溫情的手法，詮釋了對這個熙來熙往繁華都市中遇見的孤獨、寂寥的另一面，或許透過這些現實的存在表像，往往被人忽視的一面才更為真實。一如日常的生活中她對自己的內在反省，那一隻因為失誤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，誰説又不是對現實的一種隱喻？
羅敏，這位成熟的當代藝術家，她恪守內心的理想信念。在她的繪畫中充滿了她對生活那種鮮活的感受，留下了經過她的感覺和記憶過濾過的景象。她以一種回歸藝術最本質的態度，來喚醒人們內心對世界的再一次的重新審視。她又一次向我們展現了，繪畫其實是種心靈的自由，同樣，這也是藝術與人的自由。
2020.12.7
26號碼頭No.2 26 pier No.2 ，合成紙丙烯 Synthetic Paper and Propylene ，12x9 in ，2020
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，而後是席捲全球……一切的惡都浮出水面，反思和懺悔只是假像，傷疤會好的，痛比傷忘得更快。好吧，盡情發揮，假想我們真的站在了遊戲高潮。
此時我抽離于一個遙遠的角落，從清晨到日落，最是喜歡那無人時的街道和寂寥的碼頭，沒有風格，沒有修飾。我用簡單的語言和陌生的紙，俯身在潔凈的玻璃窗邊去仔細描繪。“描繪”這個動詞有多土呀！但那是我年少時經常使用的，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，他們是這個悽清世界的最好，我由此去找回理想的開端。
綠色的壺是一個意外。兒子從LA買回一隻和家裏完全相同的黑色電咖啡壺，價格不菲，但在一個月內，我把這兩隻電壺都盛滿水，錯位地放在旁邊的天然氣爐上點燃了。完全相同的荒誕錯誤我竟在短短的時間內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。我驚愕于自己的錯誤，兩次都是第一時間把燒壞的壺扔掉，抹去一切作案現場，心虛不已。事後我買回一隻綠色的燒水壺，放在那個作案的燃氣火頭位置，看上去一切完美，真相徹底消失，再也不會有錯。其實每每看到綠鐵壺我就想起這個案底，當然，一切都已掩藏和銷毀，因為真相實在不利於健康，歲月需要靜好。
2020.11.29
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
綠壺 Green Kettle，合成紙中國顏料和墨 Synthetic Paper + Chinese Pigment + Chinese Ink ，18x24 in，2020
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 Luohas 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
26號碼頭No.1 26 pier No.1 ，合成紙丙烯 Synthetic Paper and Propylene ，12x9 in ，2020
26號碼頭No.4 26 pier No.4，紙本水彩 Paper Watercolor，9x12 in ，2020
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
26號碼頭No.326 pier No.3，合成紙丙烯 Synthetic Paper and Propylene ,9x12 in ，2020
翻譯 /周韻旸
Translated by Datura Zhou
羅敏，中國當代藝術家，曾在亞洲和歐洲多個國家舉辦過個展和聯展。
近期個展：
2020年“觀看”紐約時代畫廊美國2018年“倖存的詩意”米格畫廊巴塞羅那
2017年“它界之花——羅敏個展”馬拉加阿拉勞林羅賓松文化中心西班牙2016年“看見時光——羅敏作品展”復言社北京
2015年“歸心兩暢——羅敏油畫作品展”北京畫院美術館北京2013年“路過既成為風景——羅敏紙本繪畫展”今日美術館北京
2011年“日常之鏡——2011羅敏繪畫展”今日美術館北京
Min Luo, Chinese Contemporary Artist, has held solo and group exhibitions in multiple countries in Asia and Europe.
Recent Solo Exhibitions:
2020“Observe”, Timearts Gallery, America
2018“The Surviving Poetry”, Miguel Marcos Gallery, Barcelona, Spain
2017“Flowers of Another World--Luo Min Solo Exhibition”, Robinson Cultural Center of Alhaurín de la Torre, Malaga, Spain2016“Seeing the Time--Exhibition of Luo Min´s Artworks”, Fuyan Association, Beijing
2015“Back to the Heart--Luo Min´s Oil Painting Exhibition”, Beijing Art Museum, Beijing2013“Passing by, It Becomes a Scenery--Luo Min´s Paper Art Exhibition”, Today Art Museum, Beijing
2011“Mirror of Daily Life--Luo Min´s Painting Exhibition in 2011”, Today Art Museum, Beijing
紐約Time Arts
178 Bleecker Street 2nd floor New York, NY 10012
NewYork@timeartsus.com
www.timeartsus.com
時代藝術（Time Arts ）2017年成立於紐約，作為國際間藝術品領域的參與者，其設立的畫廊旨在包容呈現獨特思維與創意的多功能藝術空間，致力於探索多元文化背景下藝術創作的影響力，攜手具有世界公民意識的藝術家參與全球藝術的發展進程。
Established in 2017, as a participant of international artistic community, Time Arts is a multi-functional space built uniquely to accommodate creativity and imagination. Time Arts which bases in New York is dedicated to artistic creation, residencies, exhibitions, and community exchanges. Time Arts is committed to exploring the influence of artistic creation under the multicultural background and developing the progress if global art together with artists.
