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同行/对抗虚无的神话｜Cole Lu

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Cole Lu(b.1984)出生于中国台湾，目前在纽约生活和工作。她通过创作、写作和发声，创造了新的身份、新思想和新物体，同时保留了原有的存在。Cole擅长将文学和历史文献与自传经验相结合，积极地扭转和重构了殖民历史中受他者支配事物的价值。她构建了新的神话，承载着创伤、转变和重生的回响。

“我坚信古典神话能为我打开一扇通向那些未经佐证的叙事大门。”

——Cole Lu

Travel. Its ancient root tripalium is an instrument of discipline with three stakes. Some said it reflects a journey's extreme difficulty, and some move where the stakes rolls. Upon his arrival, the island is shard with glares, trees everywhere. (Gate), Burnt linen on hardboard, 20 × 16 × 1 1/2 in | 50.8 × 40.6 × 3.8 cm, 2022

同行/对抗虚无的神话｜Cole Lu 博文精选同行崇真艺客

Exhibition view, Millennium Approaches, Nir Altman, Munich, 2022

同行/对抗虚无的神话｜Cole Lu 博文精选同行崇真艺客

It was all he had at first, the geological past. Sometimes he wishes to be less of an imagination and more of a person. Every now and then, he practices narrating life as it suits him. (Pterodactylus), Cherry veneer, 8 1/2 x 11 in 21.6 x 27.9 cm, Framed, 12.8 x 15.3 x 1.06 in 32.5 x 39 x 2.7 cm, 2022

When he was born, he felt everything. The earth has folded over; it has folded three times and opened up in the middle. In the middle is water; the water is green; the green is white, and the white comes from up further. It comes from the glaciers, where his father left both hands behind, studying the distribution of money- historical fiction. Somewhere in there, he uncovered justice, democracy, those unambivalent things. But love, love is a hard thing. (Millennium Approaches), Cast iron, marble, steatite, burnt cypress, 27.3 x 26.5 x 26.1 in, 69.5 x 67.8 x 66.5 cm, 2022

Time was longer when October was the eighth month of the year, when everything was thicker, a year in three hundred and four days. Long days sunk into the earth inside him. He dug and dug and dug until a trickle of music entered the forest from the trees. The vibration of timber encircled him, guiding his hand to guide his hand to sleep. (Gate), Burnt birch, 30 x 40 x 2 in, 76.2 x 101.6 x 5.1 cm, 2022

And there is us, we who look at the ruins and genuinely believe that civilizing mission was buried in them forever, we who see our memory fading and act as if we have cause for hope anew, as if we truly believed that it belongs to only one time and only one country, we who overlook what’s happening around us and do not hear that the cry never falls silent. (Sleep), Burnt linen, rubberwood, 52.3 x 24 x 2.7 in, 133 x 61 x 7 cm (each), 52.3 x 51.9 x 2.7 in, 132 x 133 x 7 cm (overall), 2022

同行/对抗虚无的神话｜Cole Lu 博文精选同行崇真艺客

At the border, when his mother describes the nature of love, all they heard was the sound “bar bar bar.” (The Black Sun), Copper, 4 x 6 x 1/4 inches, 10.2 x 15.2 x 0.6 cm, Framed, 10.3 x 8.4 x 1.06 in 26.2 x 21.5 x 2.7 cm, 2022

Cole对有神论“创造虚无”的概念提出了质疑，而这一概念通常被创世神话论证为是合理的，通常它在物理上和话语上都抹去了人类、文化和语言的先存，使其达到零程度的“虚无”。为了对抗这种概念，Cole提出了一种更复杂的散布于时间和人类中的存在。她的作品形式以姿态的汇编或简短实例的集合进行连续的呈现，跟随虚构的人物们一同穿越她所创造的平行世界。

每一个展览或作品都揭示了不同的元素，拓宽其叙事范围以融合新的地点和新的人物。她(重新)发明、(重新)命名和(重新)书写自己的主题，每部作品都有一个详尽的碎片化标题——这种文学手段进一步颠覆了传统的线性叙事，放大了其富有想象力的视野。

同行/对抗虚无的神话｜Cole Lu 博文精选同行崇真艺客

Night was when his hand grew, bigger and bigger, until the island he was born on fits into his palm. (Geryon), Brass, pine, 21 ½ × 4 ⅝ × 5 ½ inches (54.61 × 11.75 × 13.97 cm), 2022

同行/对抗虚无的神话｜Cole Lu 博文精选同行崇真艺客

In every tale comes the point he can see no further, the complete diary entry after the first day of his injury or the cracking stone slabs where his grandparents wore their honor on it. One can spend a lifetime trying to get through Democracy in America, wash up red in the tide of its dreams. (The Temple of Sleep), Burnt cypress, 83 × 41 ½ × 39 ½ inches (210.82 × 105.41 × 100.33 cm), 2022

同行/对抗虚无的神话｜Cole Lu 博文精选同行崇真艺客 It took him a long time to arrive from not very far away: namely, to learn that what marks a historical milestone is simply an original barbarity laying irretrievably in the dark and when, eyes talked into blindness, to learn that to see was to keep living along the edge of self, with other, maybe lighter thoughts, another voice, another face. (Fountain of Lethe), Burnt birch, 16 × 20 × 1 ½ inches (40.64 × 50.80 × 3.81 cm), 2022

Rope against wood is a sound; it places you in the labyrinth back on the island. The year he straps his wings, the winter holds the night to its word. (Geryon), Black-brushed stainless steel, 24 × 12 inches (60.96 × 30.48 cm), 2022

同行/对抗虚无的神话｜Cole Lu 博文精选同行崇真艺客

The instrument telling the hours also carried a melody, struck a resonate cluster of notes, a chord of stretching hours. To travel back home, he learned to memorize first and second endings. (Time), Burnt birch, cherry column, clock dial, stainless steel convex mirror, 41 ¾ × 8 × 8 inches (106.05 × 20.32 × 20.32 cm), 2022

同行/对抗虚无的神话｜Cole Lu 博文精选同行崇真艺客

Of the many things he used to say to me -A meeting with words is a meeting with the invisible. Behind me, he is as stiff as justness. (The Astral Man), Burnt birch, 20 × 16 × 1 ½ inches (50.80 × 40.64 × 3.81 cm), 2022

Cole通过对古典神话和寓言式科幻小说的重写，反对特有的对象和强制性模仿。这种重写行为主要体现在雕塑、素材翻译和它们的名字上。这些素材通常是木材、硅胶、玻璃纤维、树脂、金属、诗歌、混凝土、以及在过程中使用的各种介质，从油粘土到橡胶模具再到固化的物体。Cole的每件作品都是由实例证据发展而来，质疑了历史现实主义的能力，这也是艺术家终身关于当代价值观和信仰体系“真实虚构”系列的一部分。

同行/对抗虚无的神话｜Cole Lu 博文精选同行崇真艺客

On the seventeen-day he awoke from the cave while others were still sleeping, he thought only one day has passed, but the sundial is all weathered and aged decades over the night. No one outside the cave speaks his language anymore. He pointed to the night sky where he needed to be, but everyone around him could not see..., Burnt hardboard, silver plate, stereoscope, stereo card, marble, metal, concrete, 11 4/5 × 18× 8 in | 30 × 45.7 × 20.3 cm, 2021

同行/对抗虚无的神话｜Cole Lu 博文精选同行崇真艺客 First reversal, they’ve come by mistake to a lake that is sure to reverse any leering leaf (come to think of it, I don’t want to tell you about that incident), The Proof ,Thoroughbred (no caster of weather fortold), Stainless Steel, Aluminum, epoxy, cotton, leaves, Bronze, Silicone, 17 7/10 × 11 4/5 in | 45 × 30 cm, 2019