2021.3.28 - 2021.4.28
此次展览的主题源于德国著名文学家歌德的《少年维特的烦恼》，而这一德国文学史上经典的少 年文化符号，恰巧映照了林羽龙去年生活与创作的状态，置身于后疫情时代的现实处境，他正是 那个“被堵在家里的男孩”的代表形象，带着忧郁与不安，正如书中所述:“从那时候起，尽管日月 星辰静悄悄地沿着它们的轨道奔波，我既不知白天，也不知黑夜，整个世界统统在我周围消失 了。”
而林羽龙在此次个展中所呈现的全新系列作品，极简主义的风格，与对“画”本身的探讨始终贯穿， 而画布这一介质则更为深入的充当了时间的“容器”，加之点、线、面与空间的组配，流淌痕迹的隐 性叙事，及清新的迷幻色彩，画面合理的将知觉、情感和行动结合在了一起，并为观众定格了任 意瞬间，但奇怪的是，视觉上这一切似乎又发生在一种绵延里。换而言之，他用可见或可想象的 画面诗意且华丽的表达出了时间的流逝。吉尔∙德勒兹(Gilles Deleuze)在《运动-影像》中所提到 的:“或许唯有创造性的图像，才能使再现之物中的时间关系变得可见和可感。”
年轻人的烦恼总是相似的， sude(山羊皮乐队)在1999年发行专辑中的单曲《EVERYTHING WILL FLOW》，亦是用一种哀伤而迷幻的口吻慨叹着“万物皆逝”的彷徨，但无论是林羽龙的绘画，还是 布雷特·安德森(Brett Anderson)的吟唱，潜藏其中的依旧是生机与活力，虽然偶尔的困惑和失落 难免沮丧，但这也并不妨碍自信“少年”对未来的渴望与期盼。
Mar.28. 2021 - Apr.28, 2021
The theme of this show originated from the famous German writer Goethe's " :The Troubles of Young Werther ", and this classic symbol of Juvenile culture in the history of German literature coincides with Lin Yulong’s life and creative state last year. In the real situation of the post-epidemic era, he is exactly the representative image of the "boy stuck at home", with a certain melancholy and uneasy, as what is written in the book: "From then on, in spite of the sun, the moon and the stars are quietly entering their orbits and running around, I know neither the day nor the night, the whole world disappeared around me."
As for the new series of works presented by Lin Yulong in this solo show, the minimalist style has always run through the discussion of "painting" itself, and the canvas, being a medium, has more deeply acted as the "container" of time, combined with the combination of points, lines, surfaces and spaces, the implicit narrative of flowing traces, and fresh psychedelic colors, the picture reasonably combines perception, emotion and action, and freezes any moment for the audience, but the strange thing is that visually all this seems to happen in a kind of continuity. In other words, he uses visible or imaginable pictures to express the passage of time poetically and gorgeously. As Gilles Deleuze mentioned in "Motion - Images": "Perhaps only the creative image can make the temporal relationship in the reproduced fragments visible and sensible."
The troubles of young people are always similar, just as the single "Everything WILL FLOW" released by Sude (goatskin band) in the 1999 album, which also sighed "everything is gone" in a sad and psychedelic tone, but either Lin Yulong’s paintings or Brett Anderson’s singing, there is always a great vitality hidden in it. Although occasional perplex and loss are inevitably chapfallen, this does not hinder the self-confident "young" to desire and expect for the future.
— Lora Wang (Artistic Director of the Being 3 Gallery)