附：
马那当代艺术视频采访开放展艺术家羅一(内容略有调整）Mana Contemporary video interview with Loy Luo, artist of the Open House
Video Link (Mana Contemporary)
Mana Contemporary(M):Who are you and what do you do?
Mana 当代艺术：你是谁？你是做什么的？
Loy Luo(L):Hello everyone, my name is Loy Luo. I am a full-time artist from Beijing, China. My artistic medium is multiple. I paint, sculpt and do calligraphy, and also I make videos. The art I produce so far is based on a project that is a conceptual work of art.
羅一：大家好，我是羅一，我来自中国北京，我是一个全职艺术家，我的涉猎范围比较广，绘画,雕塑还有书法，有时候我也做影像。但我目前所做的艺术基本上都是围绕一个项目，即我做的所有这些艺术其实都是在做一个观念
M：How‘s being in a creative collaborative space like Mana benefited your work or relationships?
像Mana这样的创造性合作空间对你的工作或人际关系有什么好处?
L：I came to the United States two years ago. I am so excited to have a studio at Mana Contemporary now. After coming to Mana, I felt that my creative state was fully opened. It gives me a good communication atmosphere with the artistic community from every corner of the world. The interaction of artists creates an exciting environment to work. This kind of communication is very important for artists, because it brings some up-to-date information and stimulates some ideas我两年前来到美国。我很高兴现在在Mana Contemporary有一个工作室。来到Mana后，我觉得自己的创作状态完全打开了。它给了我与来自世界各地的艺术界良好的交流氛围。艺术家们的互动创造了一个令人兴奋的工作环境。这种交流对艺术家来说是非常重要的。因为它带来了一些最新的信息，激发了一些想法
M：Why are you participating in the open house?
你为什么参加Open House?
L：I'm very excited to participate in the Open House.This year, I've traveled a lot and did many different artworks, but all these works are focused on one job: the window project. In fact, the window project is a series of variations of windows, which consists of many parts. The theme of windows spawns many sub-themes. At September, the International association of female Artists in USA did my online exchange show which titled Bleak and Prosperous.I used works of different times and situations to illustrate the relationship between the variability of time and space Windows and the richness of artistic creation and appreciation.This deceptively simple fact calls into question the active and forced idolization of today's successful commercial artists. And I also try to answer the possible of unity between the diversity and”this artist“
羅：我非常兴奋参与open house，这一年当中我辗转了很多地方，但我始终集中精力于做一个窗的项目，实际上这个窗项目是一个窗的变奏，它由很多部分组成。就是一个窗的主题里衍生出了很多主题。 八月，美国的国际女性艺术家协会给我做了题目是《萧瑟与繁盛》的线上交流展。我用不同时间及处境下的作品诠释了时空变化与艺术创作及欣赏的丰富性间的关联。这个看似简单的道理是对今天成功商业艺术家们主动和被迫脸谱化符号化的质疑。而且我也尝试回答多样性和“这一个”艺术家之间可能存在的统一。
Mana’s ongoing Open House gives me the opportunity to show sub-projects or small systems of the window projects with different faces each time, so I'm excited. For example, in Open House in October, I showed a show named Window Book. In This exhibition, I mainly want to discuss the phenomenological relationship between meaning and image. That is to say, I take calligraphy as the hidden meaning behind the window of phenomena, and then reverse the "meaning" behind the window and juxtapose it with the image representing phenomena on the same plane. I think this is a response to the zero-depth trend of meaning in our time.
Mana不断举办的open house让我有机会把这个窗项目的子项目或小系统，每一次以不同面目展示出来，所以我非常兴奋。比如10月的open house我展示的是《窗书》，在那个展示中，我主要想讨论文字和图像的现象学关系，即，我把书法作为隐藏于现象之窗背后的意义，然后把这窗后的“意义”反转过来，和作为现象之代言的图像并置在同一平面。我认为这是对当下时代中意义趋向零深度之特征的反馈。
At the upcoming Open House in November, I will present " Window BIAN". BIAN, pronounced in Chinese, has many meanings. I can translate it as sitting by a window, or window frame. BIAN or edge, means frame, if there's a frame, there's a window. Laozi's philosophy holds that the window is nothingness, and he emphasizes the use of "nothingness". I think even "nothing" has a certain material basis, such as frames. If art is the window of the invisible spirit, then the frame is the necessary material to help the invisible spirit present. It can be said that the frame is the more implicit, explicit, and metaphorical part between the invisible and the visible world.
即将到来的十一月open house我将展示《窗边》，窗边有很多种意思，我可以把它翻译成坐在窗边，也可以翻译成窗框。边者，框也，有边框才有窗。老子哲学认为窗是无，他强调“无”有“无”之用，而我认为即便是无的存在和呈现也是建基于有的物质基础上，例如框。如果我们说艺术品是无形的精神之窗，那么框就是帮助呈现无形精神的必要的物质，可以说，框是无形与有形世界之间更隐含、更外露，更隐喻的部分。
The most obvious intention that these different boxes hope to show is that even if the scenery outside the window is similar or the same, due to the development of history, the frame of the material world has changed, people's vision has changed, causing your personal experience and knowledge of the inner window to change as well. In the end, the world outside our window is always different. To convey this idea, I designed some different frames from traditional, rigid frames. While they may no longer look like frames, they will always consist of a few edges. In fact, on a deeper level, I am using a framework of deconstruction and reorganization to suggest how different visual experiences are formed.
这些与以往不同的框展示的最明显的一层意义是，即使窗外景色相似或相同，但由于历史的发展，物质世界的框架变了，人们的眼界变了，你个人的经历知识导致的内设窗口也都变了，最后你感觉到的窗外世界总是不一样的。为了传达这样一个意思，我设计了一些跟以往那种很传统的、条条框框的，呆板的画框不一样的画框，尽管它们可能看上去已不再是框子，但它们始终是由一道道边组成。实际上，我是在用一种被解构和重组了的边条暗示不同的视觉经验是何以形成的。
M: What are your inspirations?
M：你的灵感来源是？
L：This theme was originally inspired by my experience living in upstate New York last winter. During the long snowy days, I spent a lot of time looking out the window at the bleak scenery, which gave me the idea to do a concept art piece about Windows. This Window sensitivity may also be due to the fact that I spent half a year working and living in a windowless semi-basement studio in Brooklyn, completing a work of homeless action art. However, I am able to deepen and change this theme constantly, on the one hand, because the changing situation of sojourners makes me deeply feel the different feelings and understandings of different time and space; On the other hand, it comes from thinking about the very subtle cultural clash and fusion that happened to me. This imperceptible genetic influence on my artistic expression is like an invisible window in my brain.
羅：这个主题最初的启发是源于去年冬天我在纽约上州的生活经历，在漫长多雪的日子每天长时间面对的是窗外萧瑟的景色，它让我萌生了做一个窗的观念艺术的想法。而之所以对窗如此敏感，可能又是因为在此之前我在布鲁克林一个没有窗户的半地下工作室内工作居住了整整半年，从而完成了一个无家可归者的行动艺术作品。然而让我能不断深入、深化、变奏这个主题的原因，一方面是由于旅居者不断的处境变迁让我深刻感受到不同时空的不同感受感悟，另一方面是来自于我对发生在自己身上的非常细腻的文化冲突以及融合的思考，这种潜移默化的内在文化基因对于我的艺术表达所起的作用就像是我的大脑里被内置了一个隐形的窗户。
Finally, to be honest, I was also inspired by the environment of Mana. There are artists from all over the world. In my opinion, every artist is a window. I hope to have the opportunity to contact more different Windows and finally show my own unique window to the world. Thank you very much.
最后，坦率说，我觉得Mana的环境也给了我很大的启发，这里有来自世界各地的艺术家，我觉得每一个艺术家都是一个窗口，我希望接触到更多的不同的窗口，最后也向世界展示我自己独一无二到窗口。谢谢大家！
photo by Nathaniel Rosario (Mana Contemporary)