新时代画廊4月展览：呼吸——罗甜甜油画个展

　　开幕时间：2010年4月3日 下午3:30

　　展览时间：2010年4月3日—30日

　　展览地点：北京 新时代画廊

　　电话：+86-10-59789282

　　传真：+86-10-59789285

　　E-mail：newage4355@yahoo.com.cn

　　网址：www.newageartgallery.com

　　呼吸

　　“呼吸是一种围绕着死亡的行为。当你呼出时，你必须吸入等量的空气，不然就会死。当你持续这种等量的关系一直到老，其结局依然是死。

　　我们看上去这么无趣这么平凡，但却做着各自能力范围里最不可思议的事。

　　为什么?因为爱吗?不，爱没有这么凉爽干脆以及暴戾。

　　对此，我的结论，是孤独的绝望。

　　只有绝望，能探向人性最幽微最不可告人的底部，驱谴人去到最非理性却又最合理性的所在。

　　面对着它，就像面对着深渊，多数时候是连追究也不可以有的。

　　沉默之生，暗哑之死，微小又盛大的绝望，在我们的世界里，比比皆是。

　　但即便如此，也请保持呼吸。” (罗甜甜)

　　罗甜甜，出生于1983年，属于中国的80后一代。这一代人，与前辈人相比，随身听、MP3、电脑、网络，使他们“安静”了许多，取代了曾经上一代人的玩世、冲动、火热，更多沉溺于自我的世界中。这种变化，说明着中国社会发展带来的特殊文化境域，也展示着时间流逝背后不同时代年轻人的心态、理想和生存状态。

　　这些80一代的年轻人，并非丧失了年轻人对外界的关注、了解和干预，而是更多采用了个体经验性、个体省思性的方式：一方面，他们几乎将自己内在地封闭起来，注重内心自我的感受;另一方面，时间空间由无限公众化，变成一种似无限秘密化。人们的交流、信息渠道、知识来源、沟通方式等皆与以往不同。由此，这个时代的年轻人既是无限公众化，又是更加无限私密化的一代。

　　罗甜甜的成长和学习，皆在中国西南川渝。这个地方，有一种地缘性的艺术传统：具有对个人和人性本身具体而强烈的关注(如上世纪70年代和80年代西南地区盛行的象征主义、“生命流”艺术)。而在她的艺术中，可感觉到这种传统的一脉相承。也许，西南封闭的地域环境也使得人们更关心自我和生命本身。而在80一代的罗甜甜艺术中，一种从集体到个人，从社会经验到自我体验的变迁，也是一种中国社会发展的文化态势之体现。

　　罗甜甜，也属于中国的独生一代。他们多以艺术表现其现实的成长、生活、情感、困境等，敏锐而真实地展现当代独生一代的普遍存在状态，由此形成了独生一代的现实主义艺术。“独生现实”这种以自我觉醒为核心的复杂心理模式反映在艺术创作中，表现为一种高度的对于个人体验的传达，反映了艺术家不再主要的将观察视点聚焦于显在的重大社会、历史变革和事件，而是重新回归到基于整体时代背景之下丰富多样的个人经历与情感体验的深入挖掘和表达-----我们就是我们自己。

　　她描绘的主体，具有这一代人的自我特征：善良、单纯、吸腻、敏感，迷茫、孤独、幻想、彷徨，自我关怀，她们的终极似乎是绝对完美的自我世界。这种完美的美学经验是在独生子女一代的优越感成长中形成的，但她的画面并没有仅仅是描绘一种天堂般美好快乐的世界，而似乎试图描绘这一代人的存在困境，甚至某种带有哲学悲剧色彩的诗意境地，以及一种准宗教式的悲剧感。她们，80一代，也有自己的准宗教意境，那似乎是一种幻觉中的飘渺虚无，异化疏离感的浪漫主义。

　　“我的作品不仅仅是简洁地再现我的自我体验和实践，而是直接地折射了‘80一代’的特点。作品带有孤独、空幻的自我隐喻。‘孤独’可谓这个群体青春成长语境中的关键词。80一代所处的社会是混合多元感情与思想交织的时代，特定时代背景造成了我们的性格特质和精神错觉，这注定了‘80一代’的艺术方式：凭借自我，直面虚拟自由的人生。我们是在父辈甚为溺爱的眼光下成长，我们有着丰富的物质享受，我们却也有着神经质的敏感，纯真而又唯美主义的气质，我们缺乏上一辈人的沉重，缺乏方向感和归宿感。而这些也正可能成为这一代人最幸运或最不幸之处。”(罗甜甜)

　　Exhibition Listing on April of NEW AGE GALLERY

　　Breathe---Luo Tiantian’s Solo Exhibition

　　Opening: 3:30pm, April 3, 2010

　　Date: April 3-30, 2010

　　Venue: Beijing New Age Gallery

　　8502#, D09 Area, 798 Zhong Er St., No.4 Jiu Xian Qiao Road, Chao Yang District, Beijing. PC: 100015

　　Tel: +86-10-59789282

　　Fax: +86-10-59789285

　　E-mail: newage4355@yahoo.com.cn

　　Web: www.newageartgallery.com

　　“Breathing is something about death. We have to inhale as much as we exhale in order to avoid death which is inevitable when we reach the end of our life even if the balance is still well kept then.

　　Everyone of us, appearing. To be dull and common is doing something unimaginable within the range of our ability.

　　Why? Is it for love? No, love is far less cool, direct and less violent.

　　My answer, in this regard, lies in despair of loneliness.

　　Nothing but loneliness can explore in the ultimate hidden depth of the human nature and drive man to the place that is the most irrational and rational as well.

　　It is like an abyss, and for most of the time, we cannot afford to ask why.

　　Lives of silence, death of indistinctness, despair, both weak and strong, permeate our lives.

　　In spite of all the unpleasantness, please keep your breath.” (Luo Tiantian)

　　Born in 1983, Luo Tiantian belongs to the Chinese 80s. Compared with their fathers, this generation is much “quieter” because of the walkman, MP3, computer, and the Internet. Unlike their cynical, impulsive and passionate parents, they tend to bury themselves in their own world. The difference shows on one hand the special cultural context along with the social development in China, and, on the other hand, the mentality, dreams and life reality of youth in different ages.

　　It is not that the 80s show less interest in, fails to understand or to participate in the outer world, but that they have adopted a different life attitude which centers more on personal experience and individual reflection. On one hand, by shutting themselves in their own world, they focus more on their own feelings; on the other, the once infinitely public time and space have been made equally private. Great changes have taken place in means of communication, information and knowledge sources. Youth in this age become consequently both extremely public and extremely private.

　　Luo Tiantian grew up and finished her school in Sichuan, Southwest in China, where art always enjoys a tradition not easily found in other parts of China--strong concern for the individual and human nature in a concrete form (Symbolism, which was popular in the Southwest in 1970s and 1980s, and Stream--of-Life Art, for instance). This tradition echoes in her art. It might be that the relatively close geographical condition helps people there to reflect more on the self and life itself. In Luo Tiantian’s works, the shift from group to individual, from social experience to that of the individual, moreover, shows the cultural tendency amid the social development in China.

　　Luo Tiantian belongs to the only--child generation, who, by describing via art their growth, life, emotion, dilemma, give a sensitive and truthful representation of their life reality in the contemporary world--the realistic art of the only--child generation is thus formed. As a complicated psychological model based on self-awakening, “the only-child reality”, when employed in art, takes the form of strong expression of individual experience and indicates that artists, instead of focusing mostly on the great visible social and historical changes and events, are returning to explore and express the rich individual life story and emotional experience in the broad context of a contemporary world-we are nobody other than ourselves.

　　The subjects in her works are typical of this generation--kind, simple, delicate, sensitive, disoriented, lonely, fanciful, hesitant, self-caring and taking the absolutely perfect world of self as their ultimate ideal. Such aesthetic experience of perfection is derived from their much too comfortable life reality as only--children. Her paintings, however, are not limited to the blissful paradise of the current world, and, they seem to be description of the different lives of the generation, even with a poetic and philosophical tragedy in addition to a quasi-religious tragic sense. The girls of the 80s definitely have their own quasi-religious artistic conception, which is more or less illusory romanticism, remote, empty and alienated.

　　“My works are more than brief representation of my own experience, and they are direct reflection of the 80s as a generation-metaphors of the self with loneliness and illusion. ‘Loneliness becomes probably a key world for the description of the youth.’ The rich variety of feelings and thoughts lead to our particular personalities and fantasies, which, therefore, defines our art: depending on ourselves and facing the free virtual life. Growing up in the spoiling shower from our parents, we get too much material comfort, but become hyper-sensitive, simple and aesthetic. Unlike our parents, we are light-hearted, disoriented and lacking in a sense of belonging, which probably constitutes our fortune, but it might be our misfortune as well.” (Luo Tiantian)