Cole Lu呂咅彧 · Djordje Ozbolt喬爾傑奧茲伯特
Each Modern很高興帶來Cole Lu呂咅彧 和Djordje Ozbolt喬爾傑奧茲伯特的雙人展「Interstellar Traveler to Home 返鄉星旅者」。這是兩位藝術家首次在台灣的個展項目，以相異媒材與情緒，探索個人的過去如何與根深蒂固的文化、政治、歷史共存。同時，藝術家由21世紀對占星學的重新渴望出發，思索人的認知如何在歷史背景之間轉變，且承擔了新的寓意。
呂咅彧以近乎預言般的方式，以一種極具創新性的語言，重塑歷史脈絡的熟悉氛圍。類似版畫鑿刻的非畫筆方法運用色彩、筆觸，低限顏色卻富有表現力的形象，宛如詩篇、文學，戲劇性、粗獷、卻又書寫般地將當代繪畫推向全新方向。展覽中，呂咅彧深入探討了人類對未知宇宙的探索、虛構過去發送的宇宙通信的折返，還深入探討了 「回歸 」這一微妙的概念，將個人歷史與回家的概念交織一起，同時象徵性地闡釋了展覽對他從台灣出生及成長的這段旅程的思考。
喬爾傑奧茲伯特的繪畫具有雕像般的存在感、清晰的形式、大面積如同古典作品般的背景。這些手法顯然是為了抵消主題的俏皮、敘事的聯想，以及對壞畫的揶揄負擔。正如同占星學的實踐者已從少數者變成了多數者的我們自己，奧茲伯特的新繪畫系列去除分類、或說視之平等：低俗恐怖與偉大歷史互相碰撞、網路亂象與經典文化共同陳列，最終喚起了一種無政府、去中心，就像現在任何一種文化現象都無法對權力提供一個連貫的解釋。
Each Modern is pleased to present the duo exhibition "Interstellar Traveler to Home" featuring Cole Lu and Djordje Ozbolt. This marks the first solo exhibition project for both artists in Taiwan, exploring how personal pasts coexist with deeply rooted culture, politics, and history through differing media and emotions. At the same time, the artists reflect on the 21st-century resurgence of interest in astrology, contemplating how human cognition transforms between historical contexts and assumes new meanings.
Cole Lu approaches image-making techniques with quasi-prophetic fervor, reshaping familiar atmospheres from a historical lineagein a strikingly innovative manner. His intentionally reduced palette and expressive forms, reminiscent of poetry and literature, employ dramatic, rugged, yet script-like methods that propel his works in a new direction. In the exhibition, Cole Lu delves into humanity's exploration of the uncharted cosmos and the retrieval of a fictional communication previously dispatched. Additionally, Lu explores the nuanced notion of return, intertwining personal heritage with notions of homecoming, all while symbolically illustrating the contemplation of the individual's journey originating from Taiwan.
Djordje Ozbolt's paintings emanate a sculptural presence, featuring clear forms and expansive classical backgrounds. These techniques serve to counterbalance the whimsical, narrative associations of the themes and the weight of satirizing bad painting. Just as practitioners of astrology have transitioned from being a minority to a majority, Ozbolt's new series of paintings defy categorization and view all with equality: where vulgar horror intersects with grand history, internet chaos coexists with classic culture, ultimately evoking a sense of anarchy and decentralization, where no cultural phenomenon can offer a coherent explanation for power.