"I D" 也趣藝廊 2008/5/17 PM3:00 (更新) @ 羅展鵬Lo Chan Peng

DM圖片:草莓族細胞分裂1號 150X150CM 2008 油彩畫布

也趣藝廊新館:
台北市民族西路141號 TUE-SUN12:00-18:30 (周一公休)

近圓山捷運站

台灣
一個不回頭的島嶼
用數位科技填充城市的空洞
以時尚流行漫溢身軀和靈魂
透過歷史跟當下,互相交雜築構對明日的期盼

我們在這個島嶼中成長,戀愛,憎恨,結合與分離
以及前進
在急速奔騰的洪流中
至少透過善與惡剎那的揉合
還能在迴轉的片刻中回眸
然後繼續邁開大步

Taiwan An island that has no return
A modern cave that full of technical and digital stuffing
The body and soul spill over with fashion and trend element
Try to build the hope of future through complex structure of history and present
We grow, love, hate, meet and separate in this island
And keep moving forward in rush torrent
At least through the slight moment of good and evil
And look back at the turning moment
Then continue stepping away

羅展鵬
2008年新作發表,分享給喜愛藝術的朋友們

 ID 新世代的自我識別—
華建強、周珠旺、羅展鵬、黃沛涵四人聯展

5/15-6/1 開幕茶會：5/17 下午3:00
地點：也趣藝廊｜台北市民族西路141號
電話：02-2599-1171
www.akigallery.com.tw
aki.taiwan@akigallery.com.tw

由製造自己的識別，向外界發聲：「我存在」。

五月，在「ID—華建強、周珠旺、羅展鵬、黃沛涵四人聯展」中，四位新世代年輕藝術家，用繪畫傳達了自己歸屬的形貌。
撇去唯心的世界觀不論，在物理世界中，如何定義物質的存在，端視此物與其他事物的交互關係，例如彼此受力的狀態、空間中的位置座標等。人們因此憑據種種可供識別的條件，以判斷一物存在或不在。在意義上，人的存在也依賴複雜的網絡中，從中尋求自己的身份角色、自身與外在環境的連結、所屬的團體等等，各種可供識別的標籤選項，並且將它化為「存在」這個抽象意涵的外貌，在無盡延緜的時間跟經緯縱橫的空間中，微弱且堅定的拋下了一個錨。就是這裡了，「我」的所在。

In May, AKI Gallery is proud to dedicate the co-exhibition, ”ID identification of the new generation”, which will gather four young but excellent artists, Hua, Chien-Chiang, Chou, Chu-Wang, Lo, Chan-Peng and Huang, Pei-Hang. The works convey their self-symbolic figures.

With the subjective aspect, People define whether a substance exists, according to the relation between it and others. Therefore, people suppose something to be or not to be extremely relying on various conditions and identifications which can be recognized.

Through the role that one plays, community that one belongs to, connection with ones habitat, all these identification help a person locating on the intricate net of interpersonal relationship. As anchoring in the endless sea of time and space, these terms/labels build up the contour of abstract concept, self-existence.

疏離地歸屬：羅展鵬
不久前奪得高雄獎首獎的年輕藝術家羅展鵬，一系列的草莓族青春日誌從2007年9月首次曝光以來，越來越受到關注。初見羅展鵬的作品，一定會令觀者憶起60年代左右的美國藝術家，克羅斯（Chuck Close, 1940-）的照相寫實風格，那種對於真實以及觀看經驗的複製，在抽象表現主義盛行的當時，造成極大的震撼。在後現代或早已是「後」後現代的當代，羅展鵬的所創造的影像，雖有類似照相寫實的外貌，但卻早已遠離、並填塞入了自身賦予的全新意義。
畫面中的特殊視覺感受，例如壓縮超淺的景深、甜膩對比的色彩，羅展鵬繪出了數位影像的特色，就是添加了人工調整。他用這種一絲不苟的疏離目光，將對象--自己所屬的世代，那些美麗的青春肖像，不僅只當成是一個外在客體觀察、描繪，更間接定位了此次文化正是藝術家的歸屬。

The paradoxical sense of belonging: Lo, Chan-Peng

The young artist Lo, Chan-Peng is the top winner of the recent Kaohsung Arts Award, since September of 2007 his series of diary from the strawberry generation has been gaining acclaims from critics. Similar to the realism from Chuck Close’s photos, the special visual sensations from Lo’s photos, such as compressed, shallow depth of field; sweet, almost sugary colour contrast; all these has highlighted the special attributes possessed by digital imaginary. He is not only meticulously observing his own generation as an objective outsider, but also has positioned himself as an artist within such a sub-culture

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