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站台中国当代艺术机构将于6月22日开幕劳大伦第三次个展《深入浮岛觅神仙》，呈现其近两年工作的具体面向。
在起伏布满褶皱和团块的山水间，未知的主体寻觅其中。岛是水中山，部分隐藏在水面之下而未可知。而“浮岛”提示着即将步入一处非现实之地。这是一个以劳大伦为主体视角展开的虚拟世界。也是劳大伦对现实世界的选择性再现。或者说，这是我们每个人面对虚拟世界的时候都会采用的一种天然经验。在面对未知的时候运用已有的知识，将现实世界的眼睛挪用至虚拟世界生成，用理性去构建感性的偏好和习惯。
在其2022年的个展《Birth》中，虚拟与现实世界相互渗透下闯入的虚拟主体“劳大伦”就已在美学领域中寻觅至一处“新世界”，在模糊和混沌中剥离出一种生成状态的真实本质。草木、地形、生物，在二元切换中围合成型，以有形拟无形。这里的静物、身体和风景既是最小单位，也是最凝练的整体，将庞杂的系统缩至一处，如同一颗蕴藏着能量的种子，等待着时间节点的揭示。
而这片非物质的世界似乎已发展为一种动态，它不断自我更迭、生成和更新。山石、器物、未知的生命等等参与者作为虚拟实体构建着这个世界，它们从一种计算的结果，似乎开始回归艺术家本人的眼睛，自我也在其中显现。我们或许可以将其视作一场劳大伦面对虚拟世界时旷日持久的写生。看似以物作砖瓦，实际上却沿着艺术家业已先行的世界观织就了群体和聚落，成为了“山水”。
如果说曾经劳大伦在这片新的大陆上种下了来自现实世界的果实，而未来更是一场不可言的生长。现实时间永不停步，它无法准确的回溯或者快进，就如同生命无法重复自己和过去。在经历了再生成和再发现的反复轮转后，或许这片土地将产生真正的、与现实相对的另一种时间。
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Platform China Contemporary Art Institute will open LODTALAD's third solo exhibition, "Delve Into the Floating Island In Search Of Immortals," on June 22nd, presenting the specific facets of his work over the past two years.The exhibition title derives from one of LODTALAD's works of the same name, where an unknown subject searches amidst a landscape of undulating wrinkles and clumps. An island is a mountain in the sea, partially hidden beneath the surface and unknown. The term "floating island" hints at stepping into an unreal place. This is a virtual world from LODTALAD's perspective, selectively representing the real world. Or rather, it reflects the natural experience we all employ when facing the virtual world, using existing knowledge to transpose the vision of the real world into the virtual, constructing preferences and habits with rationality.In his 2022 solo exhibition "Birth," the virtual and real worlds interpenetrated as the virtual subject "LODTALAD" sought out a "new world" within the realm of aesthetics. In the blur and chaos, he peeled away the essence of a generative state. Plants, terrains, and organisms formed a cohesive whole through binary switching, shaping into form and imitating the formless. The still life, bodies, and landscapes here are both the smallest units and the most condensed wholes, reducing a complex system to a singular point, akin to a seed brimming with energy, awaiting the reveal of a time node.This immaterial world seems to have developed into a dynamic state, continually renewing and updating itself. Rocks, artifacts, and unknown life forms participate as virtual entities, constructing this world. They appear to transition from calculated results to elements perceived through the artist's eyes, with the self also manifesting within. We might view this as LODTALAD's prolonged sketching in the virtual world. What seems like using objects as bricks is, in fact, weaving communities and settlements according to the artist's pre-existing worldview, becoming "landscape."If LODTALAD once planted fruits from the real world on this new continent, the future promises an ineffable growth. Real-time marches on relentlessly; it cannot rewind or fast forward accurately, just as life cannot repeat itself or the past. After the cycles of regeneration and rediscovery, this land may produce a true alternate timeline, contrasting with reality.
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劳大伦《山川-浅绛》｜ LODTALAD, Mountains-Pale
纸本彩铅 Color pencil on paper
52.5×74cm，2021
劳大伦近年来的创作围绕元宇宙、虚拟世界、数字人等论题展开，通过借用1980年代以来电子和电脑游戏画面建构了自身的视觉图像编码系统，进而完成了一系列独具个人语言风格和理论框架的绘画作品。之所以选择早期的电子和电脑游戏画面作为创作的基点，源于劳大伦对元宇宙、虚拟世界概念的思考和界定，他想追溯人拥有虚拟身份乃至意识的起源。相较于今天游戏画面拥有更加逼真细腻的图像渲染，劳大伦对早期游戏画面展现出的低像素的锯齿感情有独钟。这多少有些图像考古的意味，就像研习书画者都更重“古意”，是为古雅、古拙、古朴、古茂的延伸之意。劳大伦力图夯实这一创作主题的基石，由此进一步延展语言和观念的内涵。此次展览主要展出的是劳大伦近两年来的新创作，主题围绕中国仙侠系列网络游戏画面上出现的山水图像展开。如果说此前劳大伦的绘画在图像上呈现出的是元身份或者是无身份的话，那么这些新作品他尝试着将中国文化身份的信息融入其中。换而言之，劳大伦似乎意识到图像的文化属性问题在自身的创作中愈加凸显，他必须面对和挖掘图像及其背后隐藏的文化史信息。当然，在过去劳大伦是自由取用的，他依赖于自身建构的图像解码和编码系统，使图像成为撕裂的碎片，意在消除对特定内涵的指涉。伴随着对自我艺术创作理论空间的深入探究，劳大伦亟需聚焦一个更具体的主题进行无障碍转译或转化，才能更充分佐证其艺术的生命力和创造力。劳大伦《逍遥游》｜ LODTALAD, Joy Ride
纸本彩铅 Color pencil on paper
125×95cm，2024
有意思的是，劳大伦择取了中国山水画图像作为切入点。他早年曾玩过中国仙侠系列网络游戏，对游戏画面上出现的山水图像较为熟悉，这是他开启新创作的起点。最重要的是，通过进一步阅读中国山水画学理论，劳大伦对仙侠系列游戏背后关于仙山崇拜、世外桃源的思想渊源，中国山水画的图式和笔墨语言有了更清晰的认识。从展览中的“山水”画作来看，劳大伦对中国山水画的皴法造型语言体系抱有浓厚兴趣，这似乎与他用像素或者是图像编码的方法创作画面有异曲同工之处。我们也能在新创作上看到皴法的痕迹，但是这与中国两宋时期山水画家力图用更准确的笔法（皴法）塑造山水的真不同，劳大伦更多受到晚明董其昌以降清代山水画注重笔墨程式和法度观念的影响。其中一些山石似乎悬浮在五彩的云图之上，有玄幻飘渺的视觉意味，我们姑且称之为仙山玄境。这似乎又意味着劳大伦的山水画指向的是中国山水画萌芽时期的视觉和空间形态，乃是“天地图形”的浑沌样式。
当然，我们还是要回到劳大伦艺术创作的主线上来。中国山水画有着近两千年的发展史，直至今日仍然是美术学院中国画教学的重要内容和创作母题。劳大伦无意过多讨论中国山水画学的优缺，他要做的完全是凭着直觉信手拈来，这些新创作对于他而言是新切口，但从中国山水画传承发展的线索上看，还是会留下一些耐人寻味的瞬间：一位传统意义上的山水画家是不可能创作出“Y时代-山水”系列的，这些新尝试也只能仰赖于劳大伦这样的旁观者。在这些画作中，我们还是能够看到劳大伦的本体，只是这次他有着侠客的身份和外形，他像庄子《逍遥游》中的大鹏鸟一样，扶摇而上九万里，翱翔于天地之间。劳大伦这种神思飞扬的创作形态既是意识流的，也是其知识和思想状态的必然。应该说，这些山水画既游离于其创作主线之外，又完全在其创作线索之中。需要特别注意的是，这些新创作得意系统完成并非偶然，关于文化身份的意识自觉，必然成为其艺术生涯创作理念的暗线。
劳大伦《无惧远山观路远》｜ LODTALAD, Not afraid of the far mountains, see the way far
纸本彩铅 Color pencil on paper
150×73cm，2023
在劳大伦的创作意识中，与过往划清界限是其思考的基础，他致力于否认基于现实世界和艺术史建构的艺术形式，他试图在虚拟世界开掘自己的艺术方向。问题在于，劳大伦的艺术并不仅在虚拟世界中呈现，而又必须切切实实在现实世界，在展厅空间中展出，而其也必须以肉身的形式出现在展览现场，接受采访并阐述观点。在劳大伦看来，今天我们身处从现实世界向虚拟世界过渡的历史时期，我们必须表现新艺术才能积极回应新课题。显而易见，劳大伦在身份上一定是跨越或超越现代民族国家概念的，他关注和借用中国山水画图像，显然也是受到其具体生活和创作的视觉空间决定的。因为每一位艺术家都必将面对具体的创作问题，而这些潜移默化的思想资源往往是润物细无声的沁入方式进入我们的视野。我们也会以不自知的方式面对这些思想资源，并逐渐甚至成为决定性的力量影响着我们的创作。从这一点上说，劳大伦的“侠客行”系列创作，是一些逐渐浮现的记忆的回响。显然，新创作又会引发新的连锁性反应，一些信息被确认，一些信息被舍弃，这些都将影响艺术家的新思考。
劳大伦在创作中尤其用鼻烟壶的形制描绘了山水和花鸟，这源于一种内绘式的图像样式。其之所以对这样的绘画形式感兴趣，原因还在于他对“壶中天”意象有着较为深入的理解。劳大伦认为小小鼻烟壶内绘画的绝技，敞开的是无可比拟的玄幻新世界的入口，而自己用绘画的形式复现鼻烟壶绘画，呈现的则是对无穷玄幻世界的再幻化。自己已然成为玄幻之境的造物主。这种双重或多重隐喻在视觉和知觉上获得新的勾连，也让劳大伦的创作指向了神话时代和元宇宙虚拟时代的两端。
劳大伦《釉里红瓷瓶 1》｜ LODTALAD, Underglaze Red Vase 1
纸本石墨、彩色铅笔 Graphite and color pencil on paper
72×66cm，2023
劳大伦《粉彩瓷瓶》｜ LODTALAD, Famille rose vase
纸本石墨、彩色铅笔 Graphite and color pencil on paper
69×63cm，2023
LODTALAD: Ode to gallantry
By Wei Xiangqi
In recent years, LODTALAD's creations have revolved around themes such as the metaverse, virtual worlds, and digital humans. By borrowing imagery from electronic and computer games since the 1980s, he has constructed his visual coding system, culminating in a series of paintings with unique personal language and theoretical frameworks. LODTALAD’s choice of early electronic and computer game imagery as his creative foundation stems from his reflections on and definitions of the concepts of the metaverse and virtual worlds. He aims to trace the origin of humans possessing virtual identities and consciousness. Unlike today's game graphics with their highly realistic rendering, LODTALAD is particularly fond of the pixelated, jagged feel of early game graphics. This approach has an element of image archaeology, akin to how traditional painting and calligraphy practitioners value "ancient meaning," extending the notions of antiquity and simplicity. LODTALAD endeavors to solidify this creative theme’s foundation, thereby expanding the language and conceptual content.This exhibition primarily showcases LODTALAD’s new works from the past two years, with a focus on the landscapes depicted in Chinese wuxia (martial arts) series online game graphics. If his previous paintings displayed meta-identity or non-identity in imagery, these new works attempt to integrate elements of Chinese cultural identity. In other words, LODTALAD seems increasingly aware of the cultural attributes of imagery in his work, compelling him to confront and explore the cultural history embedded within. Previously, LODTALAD freely used his image decoding and encoding system, turning images into fragmented pieces to eliminate specific connotations. However, as he delves deeper into his artistic theoretical space, LODTALAD feels the urgent need to focus on a more concrete theme for seamless translation or transformation, to fully substantiate his art’s vitality and creativity.Interestingly, LODTALAD chose Chinese landscape painting as his starting point. Having played Chinese wuxia series online games in his early years, he is familiar with the landscapes depicted in the game graphics, which serve as the starting point for his new creations. Most importantly, through further study of Chinese landscape painting theory, LODTALAD gained a clearer understanding of the ideological roots behind the worship of celestial mountains and utopias in wuxia games, as well as the patterns and brushwork language of Chinese landscape painting. In his "landscape" paintings in this exhibition, LODTALAD shows a keen interest in the modeling language system of Chinese landscape painting's texture strokes, which seems to resonate with his pixel or image coding creation methods. The traces of texture strokes are visible in the new works, but unlike the meticulous strokes (texturing techniques) of Song Dynasty landscape painters who aimed to depict the true nature of landscapes, LODTALAD is more influenced by the brushwork patterns and formal concepts emphasized by late Ming and Qing Dynasty landscape painters from Dong Qichang onwards. Some rocks seem to float on colorful clouds, exuding a mysterious, fantastical visual sense, which we might call the fairy mountain realm. This suggests LODTALAD’s landscape paintings point to the visual and spatial forms of the nascent period of Chinese landscape painting, embodying the chaotic style of " Primordial Natural Patterns."劳大伦《轻舟已过万重山》｜ LODTALAD, The Light Boat has crossed the Mountains
纸本彩色铅笔 Color pencil on paper
130×63cm，2023
However, we must return to the main thread of LODTALAD's artistic creation. Chinese landscape painting has a history of nearly two thousand years and remains an important subject and creative theme in Chinese art academy education today. LODTALAD has no intention of extensively discussing the merits and shortcomings of Chinese landscape painting. Instead, he casually picks and chooses based on intuition. These new creations are a new entry point for him but still leave intriguing moments within the lineage of Chinese landscape painting tradition. A traditional landscape painter could not have created the "Y Generation - Landscape" series; these new attempts rely on an observer like LODTALAD. In these paintings, we can still see LODTALAD’s essence, but this time he has the identity and appearance of a knight-errant, soaring freely like the giant peng bird in Zhuangzi's "Free and Easy Wandering," flying high between heaven and earth. LODTALAD’s imaginative creative state is both a stream of consciousness and a necessary condition of his knowledge and thought state. These landscape paintings float outside his main creative thread yet remain entirely within it. Notably, the systematic completion of these new works is not accidental. The self-awareness of cultural identity inevitably becomes a hidden line in his artistic career's creative philosophy.In LODTALAD’s creative consciousness, drawing a clear line from the past is fundamental. He strives to deny art forms based on the constructed reality and art history, attempting to carve out his artistic direction in the virtual world. The issue is that LODTALAD's art does not only manifest in the virtual world but must also be exhibited in the real world and physical gallery spaces, where he must appear in person for interviews and discussions. According to LODTALAD, we are currently in a transitional period from the real world to the virtual world, and we must express new art to respond positively to new issues. Clearly, LODTALAD’s identity transcends or surpasses the concept of the modern nation-state. His focus on and appropriation of Chinese landscape painting imagery are evidently influenced by the visual space determined by his specific life and creative circumstances. Every artist must face specific creative issues, and these subtly influential intellectual resources quietly permeate our vision, often becoming decisive forces in our creative processes. From this perspective, LODTALAD’s "Ode to gallantry" series echoes gradually emerging memories. New creations will undoubtedly trigger new chain reactions, with some information being confirmed and others discarded, all influencing the artist's new thinking.LODTALAD's paintings, especially those depicting landscapes and birds and flowers within snuff bottle shapes, stem from an interest in the inner painting style. His fascination with this painting form lies in his deep understanding of the "heaven in a bottle" imagery. LODTALAD believes that the unique skill of painting inside tiny snuff bottles opens an incomparable entrance to a fantastical new world. By recreating snuff bottle paintings in his artwork, he presents a re-fantasy of the infinite fantastical world, making himself the creator of this fantastical realm. This multiple-layered metaphor gains new connections in visual and perceptual terms, directing LODTALAD's work towards the dual ends of mythological times and the virtual era of the metaverse.魏祥奇，中国美术馆研究馆员
Wei Xiangqi
Research Fellow, National Art Museum of China
Images copyright © Platform China & LODTALAD劳大伦（LODTALAD）是现实与虚拟交融后所得的现实身份，他在充满了偶然性的创世造物假定场景下，依靠自身逻辑开垦了一片想象的疆域，显像于绘画媒介，剥离出事物的基本要素，构建了他所面临的未知世界。“劳”所对应的“LOD”源自一类高效率的渲染运算方式。在LOD状态下，矢量边缘明晰，内在图像则相对模糊。劳大伦创造了一系列可在此基础上演进的绘画元要素，形成了新的视觉造型意识，从而提炼出虚拟世界特有的美学。它们作为元语言，构建了一系列元图像，处理并关切着复杂的审美问题。劳家辉生于中国广东广州。毕业于中央美术学院版画系。现工作生活于北京、广州。“洛德世界2:敌友大会”（野松画廊，2022），“洛德世界：起航”（海涵艺术空间，2021）“劳大伦：深入浮岛觅神仙”（站台中国，2024），“劳大伦：投入具身世界”（北京保税艺术区，2024），“Birth——劳大伦”（站台中国，2022），“肖像1洛德塔拉德” （fakeproject 2022），“劳大伦 LTLLL”（站台中国-dRoom，2021），“有个叫劳家辉的人开了个虚拟博物馆” （5art space，2019），“玩家的未来“ （C龙口空间，2018）“五月”（站台中国，2024），“拟像”（湖州美术馆，2023），“捕捉”（站台中国，2023），“绘画，你想成为什么？”（21艺术空间美术馆，2023），“变态者绘画指南”（拟像艺术，2022），“手感超链接”(大得画廊，2022)，“繁花六人展” （雅昌艺术中心，2021），“2021 迎春画展”（站台中国，2021） ，“屏幕间100位艺术家礼物” （nextlab，2021），“一个好消息一个坏消息”（798艺术中心，2020），“亚洲当代艺术文献展” （坪山美术馆，2020），“视觉编码” （Kommnalen美术馆，柏林，2019），“后登场”（33当代艺术中心，2019）， “在网络的标志下-拼接与梗” （CLC Gallery Venture，2019），“在路上”（关山月美术馆，2018） ， “柳林风声”（C龙口空间，2018），劳家辉的自助庙宇”（扉美术馆，2018）“纽约艺术书展”（MoMA PS1 纽约，2018），“青衿计划” （北京正观美术馆，2018） “去碑营Ⅱ自我作古” （应空间 ，2018），“日落将至”（泰康空间，2017），“门闩肖像画的隐晦目的”（C龙口空间，2017），“Hello summer三人联展”（八大画廊，2016）， “常青藤中国青年艺术家年展”（天津美术馆，2016），“中国素描艺术大展“（中国美术馆，2016） LODTALAD is a real identity formed from the fusion of reality and virtuality. He entered a hypothetical scene that fulfilled with occasional creations, to dig up an imaginary territory that stem from autologous logic. He revealed things through painting mediums, stripped down to fundamental elements, formed an unknown world that he currently faced to. The "LOD" corresponding to "劳" comes from a class of highly efficient rendering operations. In the LOD state, the vector edges are clear, while the internal image is relatively blurred. LODTALAD has created a series of painting elements that can evolve based on this foundation, forming a new visual aesthetic consciousness, thus refining the unique aesthetics of the virtual world. As a Meta-language, structured by series of Meta-images, relating with complex aesthetic problems.
Lao Jiahui was born in Guangzhou, China. He graduated from Central Academy of Fine Art. Lives and works in Beijing.
Curation:
“LOD World 2: A Convention of Friends and Foes”(Issuing Gallery, 2022), "LOD World: Set sail" (Haihan Art Space, 2021)
Solo Exhibition：
“LODTALAD: DELVE INTO THE FLOATING ISLE IN SEARCH OF IMMORTALS”(Platform China, 2024), “LODTALAD: Being thrown to the Embodied World”(Beijing Art Bonded Zone, 2024), “Birth——LODTALAD”(Platform China, 2022), “Portrait LODTALAD”(fakeproject 2022),“LTLLL”(Platform China-dRoom, 2021),“A Guy Named Locafine Owns a Virtual Museum” (5art space,2019),“Player’s Future “ (C-Space+Local ,2018)
Group Exhibition：
“May”(Platform China, 2023)，“Simulation”(Huzhou Art Museum, 2023), “Capture”（Platform China, 2023），“Painting what do you want to be”（21 Space Art Museum, 2023）, “The perveit’s guide to painting”（Simulacra，2022），“A Tactile Trio”Dade Gallery，2022) “Locafine Automatic Temple”（Fei Gallery，2018），“Blossom” （Artron Art Center，2021），“Spring Fever 2021”（Platform China，2021） ，“100 Artists / 100 Presents ” （nextlab，2021），“Good News and Bad News ”（798 Art Centre，2020），“Asia Contemporary Art Documenta” （Pingshan Art Museum，2020），“Visual Coding” （Kommnalen Art Museum，Berlin，2019），“Post-onstage”（33 Art Centre，2019）， “The Internet— Connections and Double Meanings” （CLC Gallery Venture，2019），“On the Road”（Guan Shanyue Art Museum，2018） ， “Wind In the Willows”（C-Space+Local，2018），“New York Art Book Fair”（MoMA PS1 ，2018），“Elite Youth Artists ” （Beijing Zhengguan Art Museum，2018） “Stéles II: Vire Sans Temps Mort” （Ying Space ，2018），“Bad New Days Ahead”（TAIKANG Space，2017），“the latch（C-Space+Local，2017），“Hello summer”（PATA Gallery，2016）， “Ivy Art China Young Artists Annual Exhibition”（Tianjin Art Museum，2016），“The National Art Exhibition of Drawing“（National Art Museum of China，2016）
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