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展览预告|鲁鲁个展「洛伦·伊普森」将于4月18日正式开幕

作者：本站编辑      2026-04-13 17:34:53     0
展览预告|鲁鲁个展「洛伦·伊普森」将于4月18日正式开幕

ArtDepot艺术仓库欣然宣布，独家代理艺术家鲁鲁个展”洛伦·伊普森“，将于2026年4月18日在北京空间开幕。展览集中呈现艺术家2025–2026年间的创作脉络，以及根植于个体经验与媒介态度的精神图景。

ArtDepot is pleased to announce the exclusive representation of artist Lu Lu and his solo exhibition Lorem Ipsum, opening on April 18, 2026, at our Beijing space. The exhibition presents the artist's creative trajectory from 2025 to 2026, alongside a spiritual landscape rooted in individual experience and media attitude.

展览信息｜Exhibition Information

洛伦·伊普森
鲁鲁

展览时间｜Duration

2026年4月18日 - 2026年5月17日

开幕式｜Opening Session

2026年4月18日（周六）16:00

策展人｜Curator

赵倩颖‍‍‍‍‍‍
Serena Zhao

主办｜Organizer

ArtDepot艺术仓库
展览地点｜Venue

北京市朝阳区798艺术区七星东街

Qixing East Rd., 798 Art Zone, Chaoyang, Beijing

前言｜Preface

洛伦·伊普森
Lorem Ipsum

对于从小在盘锦生长起来的鲁鲁来说，事物之间并不存在先天的等级秩序——这座城市给他的，是一种平等的目光。东北老花布、西方宗教母题、中世纪骑士......这些来自不同文化、不同时代的视觉元素，在他眼中都可以和平共处。研究生时期的理论训练，让他对美术史图像自然拥有敏感性，但他的视觉来源从不拘泥于经典与传统。这种观念，也进一步延伸为一种开放的媒介态度。在鲁鲁看来，没有哪个是更“本真”或更“权威”的，它们都是可以被使用、被游戏、被重新组合的语言资源。

For Lu Lu, who grew up in Panjin, things do not possess an inherent hierarchy—the city gave him an egalitarian gaze. Northeastern floral cloth, Western religious motifs, medieval knights… these visual elements from different cultures and eras coexist peacefully in his eyes. Graduate training in art history gave him a natural sensitivity to canonical images, yet his visual sources have never been confined to tradition. This attitude extends further into an open media stance. In Lu Lu's view, no medium is more "authentic"  than another — all are linguistic resources to be used, played with, and recomposed.

辽宁省盘锦市街景

在2025年的首次个展《色彩半调》中，鲁鲁通过创作去思考流媒体时代的媒介权力，以及艺术家主体在技术系统中的控制能力。而本次展览的作品，则以更加戏耍的方式，引入了AI生成式图像，再度敞开了图像诠释的可能性。
In his first solo exhibition Color Halftone (2025), Lu Lu reflected on the power of media in the streaming age and the artist's capacity for control within technological systems. The works in this exhibition, however, introduce AI-generated images in a more playful manner, reopening the possibilities of image interpretation.
鲁鲁总是将那些平等挪用来的视觉元素交由AI重新生成，使其从各自的原初语境中彻底抽离，在技术媒介的加工下，制造出一种新媒体时代特有的诗意景观。这是一种具身的、关系性的经验主义，它让意义彻底被个体经验所建构，而不被预先封装在图像内部。
Lu Lu feeds the visual elements he appropriates—without hierarchy—back into AI for regeneration, stripping them from their original contexts. Processed through technological media, they produce a poetic landscape unique to the new media era. This is an embodied, relational empiricism, where meaning is constructed entirely through individual experience rather than pre-packaged within the image.

鲁鲁的调色盘

与此同时，画面被继续重组在网点的有序排列中，这种方式是基于印刷技术的底层逻辑，来重构色块与图形的。有时，他也会尝试删除CMYK色彩模式中的某个通道——这个操作使画面就像是汉字中缺少了笔画的部首，看似不完整，看似无意义，却可以在每一次观看中重建新的内容。
Meanwhile, the picture plane is reorganized into ordered halftone dots, reconstructing colors and forms through the underlying logic of print technology. At times, he deletes one channel in the CMYK mode—an operation resembling a Chinese character missing a radical. Incomplete and seemingly meaningless, it nevertheless generates new content with each viewing.
印刷技术、Photoshop等图像处理软件、生成式AI模型，这些内嵌着特定规则的技术媒介，作为弗卢塞尔意义上的“装置”（Apparatus），不可避免地导致媒介运作的结果将永远溢出艺术家的初始意图。这也正是克莱默尔‌所说的“媒介它律性”，媒介不是中性的工具，而是自带法则的它者。鲁鲁并不试图消除这种溢出，而是将其转化为可利用的资源，任由不同技术之间彼此干扰、再加以调节，在画面中留下层层可读的痕迹。
Printing, Photoshop, and artificial intelligence—these apparatuses with their own built-in rules—inevitably cause the outcome of any media operation to exceed the artist's original intention. This is precisely what Krämer calls the "heteronomy of media." But Lu Lu does not try to eliminate this excess; instead, he turns it into a usable resource. The interferences and adjustments between different technical media can be repeatedly layered into nonlinear couplings. In other words, Lu Lu's creative process is built upon an acknowledgment of the non-human dimensions within cybernetic systems.

占位符（背影）1212，丙烯，塑型膏，生成式图像，截取式图像，油墨，雨露麻，120 × 120 cm，2025-2026

值得一提的是，“洛伦·伊普森”（Lorem Ipsum，又常被称为“占位符文本”）的概念始终贯穿鲁鲁的创作逻辑。这其实是一段被刻意破坏、失去语义的拉丁文。它源自西塞罗的《论善恶之尽》，却在漫长的排版传统中被剥离了原意，只剩下字形、字距和排版的节奏，成为一个纯粹的占位符、一段没有意义的文字。这反而揭示了一种更本质的东西：媒介的物质性。鲁鲁用它刻意制造了一种“空乏意向”，将语义的位置空了出来，等待着观看者自己走进来，成为意义的填充者。

Notably, the concept of "Lorem Ipsum" runs throughout Lu Lu's creative logic. This is a deliberately corrupted, semantically emptied Latin passage, originating from Cicero's De finibus bonorum et malorum but stripped of its original meaning through a long typesetting tradition, leaving only letterforms, spacing, and typographic rhythm—a pure placeholder. A string of meaningless text. This paradoxically reveals something more fundamental: the materiality of media. Lu Lu uses it to deliberately create an "empty intention," vacating the position of meaning, waiting for the viewer to step in and become the filler of meaning.

洛伦·伊普森（群像与纹样），油画颜料，生成式图像，丽坤，油墨，黄麻，180 × 130 cm，2025

鲁鲁在他的笔记中写道：“我需要的是一段类似于文字的视觉，默认的排版符号对我来说恰到好处……我其实已经用了它很多年了，但是从未去翻译过。”鲁鲁并不想追问这段文字原来是什么意思，因为他关心的，从来不是语言说了什么，而是语言做了什么。
In his notes, Lu Lu writes: "What I need is a visual resembling text. The default typographic symbols suit me perfectly… I've been using it for years but have never tried to translate it." He does not ask what the text originally meant, because he cares not about what language says, but about what language does.
基于这一观念，鲁鲁让自己与媒介共同处在一个相互反馈的关系中。他欣然接住媒介的一切偶发与意外，通通转化为可以被每每停留的目光所激活的观看机制。而随着反思过程的展开，那些被重新激活的历史图像，也将在新的媒介环境中，获得第二次生命。
Based on this notion, Lu Lu situates himself and his works within the circuit of "human–technology–world." He readily embraces all contingencies and accidents from media, transforming them into a viewing mechanism activated by each momentary gaze. And as the process of reflection unfolds, the reactivated historical images gain a second life in the new media environment.
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艺术家简介｜Artist profile

鲁鲁
Lu Lu
1995 年出生于辽宁省盘锦市，现居燕郊。贯穿鲁鲁作品的核心，是对 "使用" 这一行为的持续探索。一切图像均可被视为等待被使用的现成材料——无论是具体的形象，工业生产的颜料，还是某种动作和行为，它们都是可供调度的原材料。进而通过数字化的处理，去揭示图像的工业编码本质，再以 "删除" 这一关键动作抽离其确定性。当色彩失去最稳定的锚点，当预设的叙事被主动瓦解，图像便从意义的载体转变为开放的场域。而这些被解构的视觉材料，最终通过 UV喷绘等技术固化于传统绘画的基底之上。
Born in 1995 in Panjin City, Liaoning Province, currently residing in Yanjiao. The work centers on the concept of "use," treating all images—forms, industrial pigments, gestures—as raw material. Digital processing reveals their coded nature, while "deletion" removes their certainty. Once color and narrative are undone, the image becomes an open field. These deconstructed elements are then fixed onto traditional painting surfaces via UV printing.
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