展期 Period：
2024.6.22—2024.7.21
艺术家 Artist：
地点 Venue：
站台中国当代艺术机构 Platform China Contemporary Art Institute
前言 Introduction：
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。
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.
