“串门”— 梁龙个展

本次展出的是年轻的艺术家兼摇滚歌手梁龙的八个多媒体片段的作品。

梁龙从哲学及数字模拟的角度去看待其作品，并且对时间、记忆和一般意义上的生命之神秘发表了他的看法。 在作品“安全出口”中，红黄蓝绿作为四个单独的作品，梁龙描述了他对子宫的看法，这记忆来自于他的学生时代。 子宫（母体）一般意义上来讲就像是母板，人们可以通过物理学、量子论和电脑绘图来得出其公式。后来，子宫（母体）被用来映射超越了平面意义的三维图像，并由此来表达深度及现实主义。 拼图的碎片就像一个谜，所有的碎片可以混杂在一起，可以拼凑，可以按照任何一个人的主观意识来重新布局。 因此，从这种意义上，拼图可以被看作是一种相互作用的装置。拼凑出梁龙人生的碎片可以与其他人的交换，或者其他人可以扮演上帝来重新安排，把他们需要的碎片在他们认为合适的时机里用上。

梁龙在标题里用了“缺失”一词是为了表达我们的生活中无法达到，遥不可及和难以发现的一种状态。就像柏拉图关于洞穴的推论，感官告知我们的现实，实际上只是一种幻觉，而真像只能理智地去发掘。

Liang sees his work in philosophical and digital analogies wherein he comments on time, memory and the mysteries of life in general. In Emergency Exit; Red, Yellow, Blue, Green four separate artworks, Liang depicts his feelings about the Matrix, a memory from his school days.

Matrices in general are like motherboards, whose formulae one can apply in physics, quantum theories and computer graphics. In the latter, matrices are used to project a three dimensional image on a flat surface to produce depth and realism. Jigsaw’s pieces appear like a puzzle whose pieces can be mixed, pieced and re-arranged to create anyone’s subjective reality. Thus, in this sense it can be considered an interactive installation in which pieces out of Liang’s life can be interchanged with someone else’s or someone else can play God and re-arrange them into whatever time line they see fit.

Liang uses the word deletion in the title as a way of expressing the aspect of our life that is unattainable, unreachable and beyond our abilities to find. Like Plato’s analogy of the cave the reality revealed by our senses is only but an illusion, while the truth can only be found intellectually.