展覽導言 

如同朝天拋擲一個硬幣，每個解答都必先經過至少兩極的牽扯。一條勞損的膊胳能強行扳直自身，然後找到棲身處；安與不安之間總藏著假象。丈量身體的工具同樣是進退的關口；矛和盾根本不受攻防本質所限。凜風被回憶的重量煞止，任何靜態的定義總會包含延展與裁減。有人擊落了月球的半個影子；且戰且退是迎擊與逃跑以外的折衷。竊賊未尋；無論可見與否，都足以陳述一種曾在。緘默的偶像依牆貼伏；懼怕或崇拜皆肇始於抵抗。思想在上個行動和下個行動之間萌動；第三翅膀；只有兩端的河流從不存在，流向的意義如毫末，無數歧路的貌合神離反倒讓人沉溺。

劉政熙個人展覽《分成兩半的子爵》以素描為方法，身體與場所為對象，鑽進事物內在的多極性，亦探問圖像、空間和身體的互涉。

Exhibition Statement

Like tossing a coin straight into the air, every conclusion passes first through a pull between at least two poles. An overworked arm forces itself back into line and finds a place to rest; between comfort and discomfort, an illusion is always at work. The tools that measure the body are simultaneously thresholds of advance and retreat, and spear and shield are never ruled by the logic of attack and defence. A piercing wind is stopped by the weight of memory, and any fixed definition quietly encompasses both extension and reduction. Someone has struck down half of the moon’s shadow; fighting on while falling back becomes a compromise that is neither a pure counterattack nor simple evasion. The thief remains unfound; whether something is visible or not is enough to testify to its prior existence. A silent idol leans against the wall; fear and worship alike grow out of resistance. Thought stirs between one action and the next. Like a third wing. A river with only two banks has never existed, its stream direction is almost negligible, while the apparent converging and parting of countless side paths are what finally drown us.

Rico Lau’s solo exhibition The Cloven Viscount uses drawing as its method and takes body and site as its main loci, probing the inner multiplicity of things and the shifting relations between image, space, and body.

展覽札記

「像這樣把所有完整的都切成兩半。就可以擺脫完整狀態的遲鈍與無知……你固然失去一半的你和一半的世界，但是留下來的那一半會比完整的你更有深度，更珍貴數千倍。然後你就會希望萬物都按照你的樣子，只有殘缺不全的一半，因為美麗、智慧和正義只存在於殘缺中。」故事中的子爵如此篤信。

但殘缺並非完整的替代（不是另一種新的完整）。分成兩半，或許首先意味著不適與變異。圓好的姿態被外力或自力強行破開，視界方變得明晰遼闊。比例因應刀的落點和事物的性質而異，以固態思維權衡輕重或優次只是徒然。象隨心轉抑或心隨象轉，痕跡蔓延，由具身到抽身；無數往返之間，盡力保留玩味的餘裕，應能赦去優柔寡斷的罪名，也不落妄斷的窠臼。