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题记：“别跟任何人说任何事。要是你说了，你就会开始想念所有人。”
——塞林格
麦田里的守望者
文：陈海燕
历史上，无名小卒与帝王贵胄寄望“生居苏杭，死葬北邙”，邙山墓塚相接已无卧牛之地。洛阳有句老话说：“谁谁邙山看麦去了”，指某人走了，化为邙山麦田里的守望者。而蒿里，聚敛魂魄无贤愚，又是谁家地？历史是死亡的合集，书写与影像的背离、道法与魔法的争斗、遗忘与记录的选择，不过是生与死、爱和恨，用想象力滋养的一首首挽歌。
守望者—河南 永城 烈士，艺术微喷 艺术纸，老镜框The catcher—Henan, Yongcheng, MartyrsInkjet Print on Fine Art Paper, Old Frame2024
2005年，罗永进踏勘的镜头聚焦地表各种人造突出物，包括陵、冢、林、茔，六合之内存而不论，这一拍近二十年，创作推延，只为“着力即差”。斗转星移，亲朋好友时有离去，而爱宠猪猪亦走完狗生。过去已灭，未来未至，现在空寂，人生看得几清明？守望者—湖北 武当山 道，艺术微喷 艺术纸，老镜框The catcher—Hubei, Wudang Mountain, DaoInkjet Print on Fine Art Paper, Old Frame2024
曾鲜活于家庭相册中的老照片，与枯寂无声的安息之地，切割时光碎片的影像间性，被笨拙地并置在一起，装入斑驳岁月的老镜框。朗照的共时性幻觉，投射出蝉鸣永不消歇的寂寞午后，一帧又一帧，拼贴着艺术家本人主观的空间意象与历史想象，沉默着将叙事的四维时空显影成微缩平面，将复杂的体验最小化，阉割了同情，疏淡了情绪，万境归空。去审美化的苦行实践，却与观者的感知关系脆弱，正如碎片集锦式的照片被游荡的注意力一扫而过。名利权谋与生死场域的闹剧，举世滔滔，夜莺也无心歌唱。抑或恢弘的帝王陵寝，愀然的只有神道上残破的石刻翁仲，瞧见岁月的神启之光，怎样平静地用一把冰斧击碎所有谵妄的拟像。荒烟蔓草，生养死葬，长沟流月去无声。The catcher—Hunyuan, Earth HouseInkjet Print on Fine Art Paper, Old Frame2024
罗永进臆想将展览移置广袤的麦田中央，从播种、出苗、抽穗、开花、灌浆，直至成熟，完成一场生命的时空叙事。艺术作为一种经验转换，可供挥霍的有蓝天与白云，孤悬在滚滚麦浪里的小屋吱呀一声，门开了，里头空空。静默处，昏暗墙面的老镜框泛起一片金光，照见银盐漫漶深处的刹那永恒。原来，祂才是麦田里的守望者。甲辰处暑於沪上书乐窝
守望者—江苏 苏州 西山 窗，艺术微喷 艺术纸，老镜框The catcher—Xishan, Suzhou, Jiangsu, WindowInkjet Print on Fine Art Paper, Old Frame2024
Title: “Don't tell anyone anything. If you do, you'll start missing everyone.”
——Salinger
In history, unknown soldiers and emperors and nobles hoped to “live in Suzhou and Hangzhou, die and be buried in Mangshan”.The tombs became so crowded in Mangshan that there left little place for cows to lie down. There is an old saying in Luoyang: Somebody is watching the wheat in Mangshan. That means he is dead and buried in the wheat field there. The place gathers all souls no matter they are wisdom or fool. History is a collection of death, the deviation between writing and image, the struggle between justice and evil, the choice between forgetting and remembering, but it is nothing more than a elegy nourished by imagination for life and death, love and hatred.
守望者—江苏 苏州 西山 文人，艺术微喷 艺术纸，老镜框The catcher—Jiangsu, Suzhou, Xishan, LiteratiInkjet Print on Fine Art Paper, Old Frame2024
In 2005, Luo Yongjin's exploration started to focus on different artificial structures above the earth, including various tombs. He has been doing this for nearly 20 years waiting for the right time. As time goes by, relatives and friends pass away including his beloved pet. The past is gone, the future has not arrived and the present is empty. Life is unpredictable.守望者—江西 景德镇 生产，艺术微喷 艺术纸，老镜框The catcher—Jiangxi, Jingdezhen, ProductionInkjet Print on Fine Art Paper, Old Frame2024
The once vivid old photos from family albums, the silent resting places and the fragments of place and time, are awkwardly juxtaposed together and put into the old frames. In a lonely afternoon with never ending cicada chirps, the synchronic illusion of photos projects, frame after frame , the artist's subjective imagination of space and history and silently develops the four-dimensional narrative into a miniature plane, minimizing complex experiences, castrating sympathy, diluting emotions, and making all realms empty. The practice of de aestheticizing asceticism has a fragile relationship with the viewer's perception, just like a photo album leafed through by a wandering attention. The farce of fame, fortune, power, life and death is raging in the world, and even the nightingales have no desire to sing. Or perhaps among the magnificent imperial tombs, only the broken stone carvings of Weng Zhong on the spiritual path, seeing the divine light of time, dare to calmly shatter all the delusional phantoms with an ice axe. In the wild, we live and die and disappear silently.
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守望者—江西 阎立本 陈寅恪，艺术微喷 艺术纸，老镜框The catcher—Jiangxi, Yan Liben, Chen YinqueInkjet Print on Fine Art Paper, Old Frame2024
Luo Yongjin imagines to relocate the exhibition to a building in the center of a vast wheat field, witnessing the whole life of wheat and completing a temporal and spatial narrative. Art, as an experiential transformation, can squander the blue skies and white clouds.The small building hanging alone in the rolling wheat waves. The door opens and the inside is empty. In the silence, the old mirror frames on the dim wall shimmer with golden light, enlightening the eternal moment from the depth of gelatin silver prints. Actually, they are the catchers in the rye.
August, 2024
翻译（中-英）: 罗永进
Translater（Chinese-English）: Luo Yongjin
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