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「展讯」苏州博物馆罗荃木个展 | 蜂蜜是如何酿成的

苏州博物馆于2020年10月18日推出艺术家罗荃木的个展“蜂蜜是如何酿成的”。该展览将较为全面地呈现罗荃木近十多年以来的创作。从近几年新创作的“肖像”系列到“养蜂人、工厂”系列，展出六十余幅绘画作品。同时还邀请了艺术批评家、策展人朱朱担任该展览的策展人。展览将持续到12月20日结束。

无论是早期描绘标本之类的静物画，还是后来的“养蜂人”和“工厂”系列，罗荃木都向我们展示出一种创制氛围的能力，物像和场景似乎刚从停滞的、被催眠般的时间感中复苏过来，重新回到我们的眼前——达成这种画面效果的原因之一，在于他经常从旧图片中汲取灵感，旧图片被转换成图像之后，仍然保留了“此曾在”（Interfuit，引自罗兰·巴特《明室》）的意味，然而，他对图片的选择并不仅仅是趣味化的审美，其中牵涉到个人记忆和现实经验的代入，最有说服力的例子在于“工厂”，它直接联系到画家本人在工厂工作过的经历。

Whether in his early still-life depictions of museum specimens or in his later “Beekeeper” and “Factory” series, Luo Quanmu ably evokes the atmosphere of something being manufactured, wherein objects and settings seem to have revived only moments ago from a stationary, trancelike interval to resume their existence before our eyes. One reason he can achieve this is that he frequently looks through old pictures for inspiration. Having been converted to new images, they retain a sense of former presence (what Barthes termed “interfuit” in his book Camera Lucida). However, his choice of pictorial sources is not just a matter of aesthetic appreciation, for they have to do with the interpolation of personal memory and real-life experience. The most persuasive examples are found in his “Factory Series,” which is directly connected to the painter’s experience as a factory worker.

经由图片的缓冲，罗荃木其实避免了现实主义的怀旧，他从相对陌生化之后的历史图像作出反观，赋予画面以双重的自传意味，首先是通过那些似曾相识的车间和工人，锐化了自己当年最深切的体验：封闭空间里呈机械化的生命状态，同时，这里还存在着另一个维度的辨认，当他成为一个艺术家之后，仍然有着与工人相通的属性，那就是作为生产者，仍然处在长年的劳作和专注的付出之中——所以，我们从他的“工厂”系列中获得的观看体验，正是两种维度或者焦点之间的逡巡，某些画面里，是苦涩的梦魇感占据了上风，某些画面里，是仪式化的、献身于未知与神秘的紧张感被颂扬着。

Through the buffering of pictorial material, Luo has in fact avoided naturalistic nostalgia. Starting with the estranged look of a historical picture, he works reflectively to imbue the painted surface with a dual autobiographical sense. Firstly, through those machine shop workers with whom he seems personally acquainted, he sharpens his deepest personal impressions of those years; he evokes a state of mechanistic activity within a closed space. At the same time, one can find his recognition of another dimension: having become an artist, he still shares attributes in common with those workers. That is, as a producer, he still finds himself in the midst of protracted labor and dedicated exertion. Thus, the viewing experience we get from his “Factory Series” is a back-and-forth movement between two dimensions or foci. In some of the canvases, a harsh nightmarish quality sets the tone, but in others one senses praise for ritualized devotion and expectancy toward the unknown and its mysteries.

事实上，这构成了罗荃木的绘画核心所在：他的创作是将经验客体化和将客体经验化的双重运动，就像两套时针在同一个钟面沿相反方向走动，引发着唯一的钟摆处在来回不断的颤栗之中，当钟摆静止下来，则意味着两者达成了某种平衡和叠合，而一幅画得以被视为完成。

In fact, this constitutes the core of Luo Quanmu’s paintings: his creations embody a dual thrust of treating experience objectively and of treating objects experientially. This is like two sets of clock hands moving in opposite directions on a clock face, driven by the sole pendulum which is continuously wavering and altering its stroke. The pendulum’s cessation of motion signifies the achievement of a certain balance or superimposition, at which point a painting can be seen as finished.

罗荃木

1965 年生于江苏南通。1990 年毕业于南京师范大学。现生活工作于南京。

曾在北京今日美术馆，上海/北京/台北亦安画廊及 Gallery JChen 等艺术机构举办个人展览。曾多次受邀参加日本福冈亚洲美术馆、意大利曼特尼亚美术馆、北京蜂巢当代艺术中心、成都当代美术馆、 当代唐人艺术中心(泰国曼谷)、法国巴黎泰勒基金会、北京国家会议中心、旧金山亚洲艺术博物馆、英国伦敦路易斯布罗恩基金会、 维也纳奥地利Kunstraum Noe Niederösterreichische美术馆、南京博物院等重要展览。

Lou Quanmu

Born in Nantong, Jiangsu Province in 1965, graduated from Nanjing Normal University in 1990, and now lives and works in Nanjing.

He has held individual exhibitions in Beijing Today Art Museum, Yian Gallery located in Shanghai / Beijing / Taipei , and Gallery JChen. He has also been invited to participate in significant group exhibitions in Fukuoka Asian Art Museum in Japan, Mantenia Art Museum in Italy, Beehive Center for Contemporary Art in Beijing, Chengdu Contemporary Art Museum, Tang Contemporary Art (Bangkok, Thailand), Taylor foundation in Paris, France, National Convention Center in Beijing, Asian Art Museum in San Francisco, Louise Brohn foundation in London, Kunstraum Niederoesterreich Art Museum in Vienna, and Nanjing Museum.