阿拉里奥首尔｜卢相镐个展「神圣 HOLY」｜展期至4月20日

阿拉里奥画廊首尔自2024年2月29日起至4月20日荣幸呈现韩国艺术家卢相镐（生于1986年）的个展《神圣》。

The exhibition delves into the artist's latest works, where he crafts a unique painterly realm using lowresolution images sourced from the internet. Featuring the artworks created in 2023 and 2024, the exhibition explores the artist’s interpretation of the awe or fear that arises when AI-generated images deviate from established norms, likening these moments to a form of mythical holiness. Through his art, NOH contemplates a shamanic identity that navigates the realms of digital and analog, celebrating the miraculous nature of scenes born from technical glitches. Occupying the 1st, 3rd, and 4th floors of ARARIO GALLERY SEOUL, HOLY spans various mediums—including painting, sculpture, and video—to offer a comprehensive and varied exploration.

在对当代媒体环境深刻洞察的基础上，卢相镐敏锐地响应未知技术的挑战。从2021年起，他将3D视频制作技术纳入其艺术实践，并在2022年开始将AI图像生成的结果转化为绘画创作的素材，显示了他的创作方式与新媒体技术进步之间的密切联系。《神圣》系列（始于2022年）的诞生，标志着从直接在互联网搜寻图像，到基于AI生成图像的直觉性选择的转变。

Working with the digital media environment as a core reference, NOH strives to respond simultaneously to the impacts of unfamiliar technologies. Beginning in 2021, he integrated 3D video production techniques into his practice and, in 2022, began to utilize results from AI image generation programs as a subject matter for his paintings. This indicates that shifts in his creative approach consistently coincide with the advent of new media technologies. Advancing beyond the conventional method of surfing the internet for images, the series HOLY (2022-) emerged from the intuitive selection of images produced by AI, drawing them onto the canvas.

《神圣》积极地拥抱了作为新兴创造力量的AI技术。AI所依赖的材料主要包括网络上的照片和电影剧照，重构后的图像既模仿了现实世界，又构建了更为戏剧化的场景。尽管当前的商业化AI图像生成程序旨在产生“逼真”的效果，技术的不完美却也孕育了一系列现实逻辑偏差的奇异图像，如双头鹿、六指人或巨型燃烧雪人等，展现了以真实的手法呈现非现实事物的矛盾美学。卢相镐透过神话和宗教的视角，对AI所创造的特定场景中呈现的奇迹与恐惧进行了独到的阐释。

HOLY series is the result of actively embracing the presence of AI, a newly emerged creative entity in today's digital imagery. Since the majority of the materials AI usesforimage creation are photos and movie stillsfloating online, the reconstructed imagesresemble the real world while completing more dramatic scenes. Currently commercialized AI image generation programs are trained to produce outcomes that look 'realistic', often resulting in robust scenes akin to photographs. However, due to the imperfections of technology, they also create bizarre images that slightly deviate from the logic of the real world, such as a deer with two heads, a person with six fingers, or a giant burning snowman. Thus, one faces images that depict unreal things in a realistic manner. NOH Sangho sees the wonder and horror presented by specific scenes created by AI through the lens of myth and religious holiness.

《神圣》源于人工智能生成的图像集。卢相镐常将自己既有的艺术作品投入AI图像生成程序进行重新解读，而非简单依赖文字提示。此过程中，他挑选了AI输出中尤为引人入胜的图像，将其转换至画布之上，从而创作出全新的画作。系列中频繁出现的“燃烧的雪人”主题，便是从AI想象中提炼出的图像，成为了贯穿整个系列主题象征的核心。这些充满神秘与幻想的景象，虽然在现实世界中难以遇见，却在数字屏幕到画布的转换中获得了新生。

The HOLY series starts from a collection of images generated by artificial intelligence (AI), NOH frequently inputs his own existing artworks into an AI image generation program to prompt reinterpretation, rather than relying on textual prompts. This innovative method involves selecting particularly compelling images from the AI's output and transposing them onto fresh canvases to create new paintings. A recurring motif in this series is the 'burning snowman,' an image originally conceived by the AI that has become emblematic of the collection's overarching themes. This striking symbol, a large figure of a burning snowman, is repeatedly depicted, signifying the series' core concepts. These enigmatic and fantastical visions, impossible to encounter in the tangible world, move from the realm of digital screens to achieve a renewed existence on the painted canvas.

卢相镐形容自己的作品为“常伴数字屏幕的模拟绘画”，强调了在秉承绘画本质的同时，融合数字元素的重要性。在创作《神圣》系列时，他首次引入了喷枪这一工具。不同于传统画笔，作为一种喷绘油漆的工具，喷枪被视为能够在贴切复现AI生成图像的平滑、坚实外观的同时，也为直觉与偶然性提供了空间。他在油画、水彩和丙烯颜料的实验中，进一步丰富了画布的纹理效果。在某些作品中，通过使用石膏增加立体感或创造粗糙的质感，强调了材料的触觉特性，增强了数字图像与实际绘画之间的感官对比。

NOH Sangho describes his work as "analog painting with a digital screen always attached to it," underscoring the importance of integrating digital elements while fundamentally cherishing the act of painting. For the production of the HOLY series, he employs an airbrush for the first time. This tool, known for spraying paint, is considered suitable for replicating the smooth, solid appearance of AI-generated images, offering a medium that accommodatesintuition and chance unlike traditional brushes. His experimentation with oil, watercolor, and acrylic paints enriches the textures on the canvas. In certain works, plaster is used to add volume or create a rough texture, thus accentuating the tactile qualities of the materials. This method heightens the contrast between the sensation of digital images on a screen and the tangible experience of viewing actual paintings.

这一系列的创作以绘画为核心，同时延展至3D打印的雕塑、3D动画软件制作的视频及装置艺术等形式的重新诠释。画廊四层的装置艺术作品，采用艺术家收集的复古衣橱作为画布，通过添加木构架、挂毯和蜡烛等元素完成作品。这件作品被巧妙地以特定角度置于展览空间内的柱子上，营造出一种由技术故障引发元素奇异交织的视觉印象，模拟了游戏中的故障现象。整体作品意图呈现为异乎寻常的祭坛，将数字虚拟世界中的超现实事件直观地转化至物理空间之内。

The HOLY series is reinterpreted in various formats, focusing on painting, and extending to sculptures produced with 3D printers, videos created using 3D animation software, and installation works. The installation piece presented on the 4th floor of ARARIO GALLERY SEOUL features a vintage wardrobe collected by the artist, which serves as the canvas for the artwork. After painting on it, the artist completes the piece by integrating various elements such as wooden structures, tapestry, and candles. The wardrobe is situated at an angle against a pillar within the exhibition space, giving the impression of elements bizarrely intertwined due to a technical error—a representation of the glitching phenomenon found in games. The overall work is intended to resemble a strange altar. It presents and visualizes within a physical space an example of the surreal events that occur in the digital virtual world.

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阿拉里奥画廊自1989年创立至今，分别于韩国天安、首尔和上海拥有其支点画廊。在过去的三十年间，阿拉里奥画廊始终致力于关注与推广亚洲与国际艺术家，丰富其艺术家名单，并长期培养支持年轻艺术家。其代理的五十余位艺术家来自韩、日、中、印和东南亚地区各国，涵盖自20世纪70年代至今的实验艺术先锋，创作门类包括视觉艺术、绘画、雕塑、影像以及装置等众多艺术类别，突出展现亚洲地区令人瞩目的社会历史文化。

自2005年入驻北京798艺术区起，阿拉里奥通过展示亚洲地区极具代表性的优秀艺术家，迅速成为中国当代艺术发展的重要枢纽。2014年8月，上海徐家汇衡山坊馆正式开馆，2017年7月迁址上海西岸，与来自中国和海外的艺术家一道为中国艺术舞台的多元性注入活力，继续作为中国当代艺术的先驱力量而存在。2022年，由日本艺术家名和晃平及其SANDWICH工作室倾力打造的上海新空间落址西岸国际传媒港，集当代先锋艺术、国际限量艺术衍生品、收藏级家具设计、潮流时装快闪与精品咖啡品牌为一体，致力于打造一个当代都市长效生活方式的策展式艺术商业复合空间。

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