跳到主要内容

麗莎·露

The River and the Raft

Seoul

9月26日–2019年11月9日

Installation view of Liza Lou at Lehmann Maupin Seoul

74-18 Yulgok-ro 3-gil

Seoul

Lehmann Maupin is pleased to announce The River and the Raft, Los Angeles-based artist Liza Lou’s first exhibition in Seoul. Over her 30 years of working primarily with glass beads, Lou has pushed the boundaries of her chosen medium, exposing its potential as not only a material, but as a conceptual object. Spanning two locations, Lou presents the culmination of a new era in her practice, creating a series that can be classified as both painting and sculpture: a formal non-binary true to the nature of her materials and philosophical line of inquiry about the nature of an artistic practice. There will be an opening reception for the artist on September 26, 2019 from 5pm– 7pm at 74-18, Yulgok-ro 3-gil, Jongno-gu, Seoul and at the Songwon Art Center, 75, Yunboseon-gil, Jongno-gu, Seoul.

Within the Buddhist canon, the Parable of the Raft tells of a man who comes to a river he needs to cross. Having neither a boat nor a bridge, he builds a raft, spending a great deal of time and effort lashing together branches and ropes in the correct configuration, testing his design until it is able to safely transport him across the river. Once he reaches the opposite bank, he is dismayed over what to do with his creation, which was instrumental in his safe passage and the ultimate success of his journey. The question becomes, should he continue to carry it with him, even though it would be debilitating and slow his progress? This is a lesson in letting go, about valuing the investment and time we committed to past pursuits, while accepting their loss so we are able to move forward unencumbered.

Installation view of Liza Lou at Lehmann Maupin Seoul
Installation Views: 1/3
Installation view of Liza Lou at Lehmann Maupin Seoul
Installation Views: 1/3
Wall work by Liza Lou

麗莎·露

Nightsong, 2019

Portrait of Liza Lou

麗莎·露(1969年生於美國紐約;目前於洛杉磯工作及生活)1996年在紐約新當代藝術博物館展出了一比一大小的廚房雕塑作品,引起關注。她開創先河,利用玻璃小彩珠作為雕塑的原材料。通過其緩慢的手工制作過程,廚房成為女性的紀念碑,代表著女性勞工在歷史上一直被忽視。該項目確立了她對物質、社會實踐和監禁的探索。

2005年,露移居至南非的誇祖魯.納塔爾省,她在省內聘請一群精通珠飾傳統工藝的祖魯族女性,共同協作「Security Fence」(2005)的大型雕塑。藝術家與祖魯族女匠一同工作,重新思考在非西方的歷史和社會學框架中實踐藝術,並強調以材料和勞動為主要題材。在過去的十年中,露專註於極簡主義的調色,利用由手汗、油和瑕疵引起的顏色的自然變化作為色調標記制作方式。在她的單色、像素化、編織的「繪畫」中,有玻璃珠微妙的變化和條紋,在作品創作的重覆和無形過程之下,展現人性和美感。

了解艺术家