罗志毅：物·熵
展览时间 | 4月23日—5月23日
开幕时间 | 2017年4月23日下午4：00（日）
Luo Zhiyi ： The Entropy of Matter
Exhibition Time | April 23-- May 23
Opening Time | Saturday， April 23，2017， 4：00PM
策展人：温琴佐·桑弗（意）
Exhibition Plotter： Vincenzo Sanfo（Italy）
出品人：姬赟
Producer： Yun Ji
执行策展：刘豪格
Executive curator：Haoge Liu
展览助理：付海靖、闫小芹
Exhibition Associates： Haijing Fu，Xiaoqin Yan
主办机构：闳约当代艺术中心
Organizer： Honyo Contemporary Art Center
闳约当代艺术中心2017年4月展览很荣幸的请到当代艺术家罗志毅。此次展览由闳约品牌创始人，闳约当代艺术中心馆长姬赟为展览出品人。由著名意大利策展人温琴佐·桑弗担任展览策展人。展览将持续到2017年5月23号。
展览自序
生活经历，知识积累决定世界观，世界观决定每个个体观看世界的方法，如何去“看”这个世界、“观看”的角度和境界便成为作品的切入点。艺术家是社会中的个体存在、带有艺术家个人角度“观看”所发现的现实，经过筛选、提炼、呈现等过程也就变成了作品。
我的观点是回到现实和环境，回到物的本体，通过对物像本体的描绘，揭示物像本体蕴含的信息，表现内在的真实本质 “本来的样子”，但强调的并非我们周遭无所不在的现实和环境，而是思考的有选择的环顾四周，重新尝试对某些事物建立新的定义，超越事物表象，进而穿透现实。
通过近观的视角、写实的方式、接近零度，相对客观的描绘等手段，达到以朴素的物质真实，表现非物质真实的目的。
——罗志毅
作品欣赏
红系列
红之一，200×100cm，，布面油画，2016
红之二+三+四，200×300cm，，布面油画，2016
红之五 100×300cm，布面油画，2016灰烬系列
灰烬之一，100×200cm，布面油画，2011
灰烬之二，100×200cm，布面油画，2011
灰烬之三，100×200cm，布面油画，2012
灰烬之四，100×200cm，布面油画，2012
灰烬之五，100×200cm，布面油画，2012
灰烬之六，150×150cm，布面油画 ，2012
灰烬之七，150×150cm，布面油画，2012
灰烬之八，100×200cm，布面油画，2015
灰烬之九，100×200cm，布面油画，2015
灰烬之十+十一， 160×320cm，布面油画，2015
灰烬之十二 ，100×300cm，布面油画，2016
灰烬之十三 ，120×150cm，布面油画，2016展览作品解读
文：温琴佐·桑弗（意）
寂静可以被画出来吗？
在观看罗志毅的作品时，这个问题浮现在我的脑海中。
当我驻足在莫兰迪的作品前，同样的问题也曾令我深思，它们是如此的朴素、本质、寂静无声。
光的寂静可以被画出来吗？我们可以在维米尔的画作中找到答案。那些隐秘与平静，都被卷在轻涂淡抹的光里。
那么色彩的寂静呢？就像罗斯科曾迷失在寂静中。
正如我所说，当我看到罗志毅的画作时，这些问题便浮现在我脑海里。
寂静的、描绘个人情感的画作，往往都是由简单质朴的东西构成。
他绘画里的寂静，来自过去的生活残留下的记忆。有的轻松愉悦，有的充满暧昧情愫，有的则是藏在心底的隐秘。如他那一系列以烟灰为主题的作品，极其耐人寻味。又如他那组以朱红色鞭炮为主题的作品，勾起了人们共同度过欢乐时光的回忆。在西方我们称之为烟花，它们用以庆祝生活中的美好时刻。
但是关于寂静的主题，如果没有精湛的绘画技巧，就难以表达出更为丰富的内容与层次。在维米尔， 莫兰迪， 罗斯科的作品中，都体现出艺术家极顶尖的艺术修养。正因如此，罗志毅以他优秀的绘画技巧、艺术修养为支柱，支撑起他的种种艺术构想。
在他的作品中，以绘画的主题来说，有时画面的主体没有放在前景，而是置于中景，几乎被神秘的隐藏起来，并不会使人一目了然，因此如果只是匆忙的一瞥他的作品，可能会让人产生视觉上的短路。抽象的画面，自由的形态，似乎没有明显的造型寓意，而实际上，形式以及构成富有美感，第一眼就能直觉的感受到内部构成与空间安排的精妙，这绝不是画家随意为之。
画面中的色调非常稀薄，有一种消逝感，仔细观察内部构造，就会发现它们如同一个微观的宇宙，缩小的世界。混合了香烟的残留物，燃尽的，卷缩的，以及被烧毁的纸片。而所有的这些，最终都化为灰烬和粉尘。这些被遗弃的事物寂静无声，像是失落的文明遗迹。画家将这些遗骸看似随意的弃置于画面中，实则是在对画面的构成深思熟虑后进行的严谨安排。抽象的画面，以及肃穆的黑灰色调，勾画出一个犹如银河系般的图景。
从近处观看罗志毅的作品，观者可发现其卓越作品里潜藏的所有力量。他的绘画语言主导着整个画面。
虽然同是写实，但他并不像很多中国艺术家，选择一些不痛不痒的绘画题材。他的现实主义更神秘，更严肃，这无疑是最困难的。并不像普通的装饰绘画，由无数美女，老农夫、工人、儿童、水果静物，花卉和风景等构成的一系列浪漫诱人的主题。
他的绘画强度，如同维米尔，莫兰迪，罗斯科的作品，很少涉及到装饰感。事实上，他们更在意绘画本身，强调对于材料的运用，并对此安静的深思默想，而这些体现在他们对色彩和光节制的使用上。
这些优秀的作品，述说着画家从事艺术以来走过的艰难的路程，他探寻着这个作为灵感根源的世界，倾注了许多心血。他的作品不仅仅只是一张画，还体现了他对生活的种种思考。他的人生哲学，都是由平日里一些闪着微光，细小的敏感的部分组成，生活的主线流淌着一丝孤独和忧伤。
他的生活态度以及人生哲学，在他近期的以鞭炮的余烬为主题的作品中也体现的更加清晰，这个系列的作品与之前的作品相比完成得快速一些，尽可能节制而考究地使用颜色，剔除了喧闹嘈杂的感觉，而严谨的构成则是他的作品标志性的风格。
在近期的这些作品中使用的朱红色比较暗淡，保持着耳语的轻柔，像是被雾幕过滤了一般，营造出一种易逝感，并不像我们日常所见的红色鞭炮，令人愉悦或者兴奋的呐喊。
在这些画中，红色有着黄昏派的忧郁，饱含着对过去的记忆的留恋，关联着那些已经逝去的过往。而残留的灰烬，正如我所说，已经变成一些毫无用处的无意义的残渣。
在他的作品中，为了片刻的愉悦而产生的残留物，悲哀的被遗弃。那些被轻微烧焦的物体，在时间短暂的怜悯中，逐渐消融、转变、最终化为灰烬。
他的作品不止于表面所描绘的事物，更具有对生命深刻的体悟。对于时间的流逝他有着自己的观点，他的作品隐喻了我们的社会和它短暂的存在。被遗弃的灰烬是他创作的主题。它不是别的，正是对于我们所生活的这个时代的描绘，那些被消耗殆尽的事物，短暂存在之后即被遗弃。正如我们这些可怜的凡人，终将被遗弃，孤独的被命运搁置在世界一隅，而这一切都将被裹挟进那巨大的谜团中——那就是人生。
The Interpretation of the Exhibition
—Vincenzo Sanfo
Can the tranquility be drawn up？
While observing the works drawn by Luo Zhiyi， this question pops up in my mind。
While standing in front of the works drawn by Morandi， the same question also makes me fall into deep thinking， and they are so simple， essential and tranquil。
Can the tranquility of the light be drawn up？ We can find the answer from the works drawn by Vermeer。 That mystery andtranquility is all curled up in the glimpse of light。
Then， what about the tranquility？ It seems like Rothko ever being lost in the tranquility。
Like I said， when observing the works drawn by Luo Zhiyi， these questions pop up in my mind。
The tranquil paintings depicting personal feelings are always composed of the simple and innocent elements。
The tranquility from his painting stems from his memories left by his past life， some of which are easy， pleasant， some are full of ambiguous feelings， and some are mysteries in the bottom of his heart。 For example， a series of his works themed with the cigarette ash are very interesting。 Further， a group of his works themed with the red firecrackers bring the happy times when the people got through together。 In Western countries， they are known as the fireworks to celebrate the beautiful moments in the lives。
However， as for the theme of the tranquility， it is hard to express richer content and level without the sophisticated painting techniques。 The state-of-the-art self-cultivations of the artists are embodied in the works drawn by wermeer， Morandi， Rothko。 Therefore， Luo Zhiyi supports his various artistic conceptions with his excellent painting techniques and artistic self-cultivation。
In terms of the painting themes in his works， sometimes the subject of the picture is put in the medium shot instead of the front shot， which seems being hidden mysteriously， so that it can‘t beapprehended at a glance， therefore， the audience may suffer the visual short circuit while observing his works just at a glance。 It seems that both the abstract picture and free formation don’t have remarkably implied meaning of styling， however， actually， both the forms and compositionsof his works are full of aesthetics， and the audience can feel the delicacy of their internal composition and spatial arrangment instinctively at first sight， which is not what a painter can draw at will。
The tone in the picture is very thin， with a type of fading sense， and it is found that they seem like a micro universe and miniature world while observing their internal structure carefully where the residue of a cigarette and the burned， curled and destroyed paper pieces are mixed together。 Nevertheless， all of these will turn into ashes and dust ultimately。 These abandoned things are tranquil and silent， which seem like the lost cultural relics。 It seems that the painter deserts these remains into the picture randomly， which is actually a cautious arrangement after taking the picture composition into deep consideration.With solemn， dark and grey tone， the abstract picture depicts a view like the Galaxy。
While taking a closer look at the works drawn by Luo Zhiyi， the audience can find out all the strength hidden in his brilliant works。 His painting language dominates the whole picture。
Although it is also realistic， he doesn‘t choose some perfunctorypainting themes like many Chinese artists do。 His realism is more mysterious and more serious， which is undoutedly the most difficult thing to do， instead of ordinary decoration paintings themed with a series of romances and attractions composed of innumerable beauties， old farmers， workers， children， still fruits， flowers and views etc。
His painting intensity is rarely involved in the sense of decoration like the works drawn by wermeer， Morandi and Rothko。 In fact， they care more about the paintings themselves， and emphasize the application of the materials， and take deep consideration silently， which are embodied in their restrained use of color and light。
These excellent works interpret the challenging process the painter has been getting through since the painter devoted to the art， who has been trying his best endeavors for seeking after this world as the source of his inspiration。 His work demonstrates his various thoughts to the life instead of being just a piece of painting。 His life philosophy is composed of some sensitive details with a glimpse of light， and the main line of his life is exuding a gleam of loneliness and sadness。
His life attitude and philosophy have been embodied more clearly in his recent work themed with the ashes of the firecrackers， and this series of works have been completed faster than his previous works with restrained and sophisticated use of colors as possible as he can， without any sense of noise and clamour， but the cautious composition is the symbolic style of his work。
The red used in his recent works is darker， with the gentle whisper， which seems like being filtered by foggy curtain， and creates a kind of fading sense， instead of the common red firecrackers that bring the pleasant or exciting scream。
In these paintings， the red is mixed with the Crepuscolari depression， and full of attachments to his past memories， and related to that past behind。 However， the residual ashes have become some useless and meaningless remains like what I said。
In his works， the remains generated for the moment of happiness have been abandoned sadly。 Ultimately， those objects burned slightly have been melted， transformed and turned into ashes gradually under the temporary sympathy of the time。
His works have profound insight to the life more than the things depicted on the surface。 He holds his own perspective about how time flies， and his work is a metaphor of our society and its temporary existence。 The abandoned ashes is the theme for his creation， which is nothing but a depiction to the era when we are living， and those exhausted things will be abandoned after temporary existence。 Like we are all pathetic mortals， they will be abandoned ultimately， and placed one corner of the world by the fate in lonely manner， however， all of these will be wrapped into an enormous enigma--that is life。
关于策展人
温琴佐·桑弗 Vincenzo Sanfo
温琴佐·桑弗 Vincenzo Sanfo，意大利文化艺术中心主席、国际著名策展人，当代艺术家。从1988年开始，他参与威尼斯艺术双年展和威尼斯电影节的策划。他发起并组织过伦勃朗、雷诺阿、毕加索、米罗、夏加尔等大师的展览，跟古根海姆、卢浮宫、巴黎市政厅、蓬皮杜等世界最著名的博物馆或艺术馆都有合作关系。首届中国北京国际美术双年展策展人，2012伦敦奥林匹克美术大会艺术指导副主席和欧洲策展人。
