周轶伦ZHOU YILUN

周轶伦 ZHOU YILUN

Zhou Yilun expresses a genuine and honest reaction to the superimposition of visual information his generation is subjugated to. Considering painting and making art as a playful activity, Zhou Yilun epitomizes a sense of disjunction from the traditional pictorial language and gives birth to compositions that are borne of a processing and analyses of visual information, so that it is returned with a different format. His purpose is that of using existing images to deprive them of their original function and meaning to change through his own direction and language. The action of choosing an image rather than another gives him the power of judgment, which is also a personal value he is keen to pursue.

ZHOU YI LUN (b.1983, Zhejiang, China)

周轶伦的作品思维敏捷且诚实地反映出这个被视觉信息叠加和压倒

的时代。以一边玩一边画的游戏心态，周轶伦跳脱了传统绘画的言

说方式，创造了另外一种对视觉讯息的处理和分析方法，在他的绘

画中转化出饶富兴味的特殊形式。他试着剥夺影像的原有意义，并

且将之置入自定的架构和语境。选择影像的举动就像法官的判决权，

这也正是他积极寻求的个人意义。

周轶伦（b.1983, 中国,浙江）

近期作品 RECENT WORKS �

突然画出了所有 / Suddenly All Draw布面油画 / Oil on Canvas，160cm X 108cm，2014

无题 / Untitled布面油画 / Oil on Canvas，120cm X 150cm，2015


侧面头像 / 布面油画 / Oil on Canvas，120cm X 80cm，2015

黑耳朵 / 布面油画 / Oil on Canvas，91cm X 61cm，2015

无题 / Untitled布面铅笔 / Pencil on Canvas，130cm X 89cm，2015

无题 / Untitled布面油画 / Oil on Canvas，39cm X 54.5cm，2015

白蛇传 / The Legend Of The White Snake布面丙烯 / Acrylic on Canvas，200cm X 180cm，2010（2015年改）

挂在我家的画 / Paintings Hanging In My House 白纸墨水画后贴在喷过漆的油画布上 / Ink on White Paper Pasted onto Canvas Sprayed with Paint，220cm X 200cm，2014

无题 / Untitled布面油画 / Oil on Board，91cm X 106cm，2014

肖像 / Portrait木板油画 / Oil on Board，58cm X 42cm，2014

修改大学习作 / Modifying University Projects 布面油画 / Oil on Canvas，140cm X 146cm，2014

画了一半的时候 / In The Midst Of Draw 布面油画 / Oil on Canvas，250cm X 350cm，2014




鸡蛋眼睛黑鼻子其实什么也没有 / Egg, Eye And Black Nose, Nothing Actually Exists 布面油画 / Oil on Canvas，200cm X 280cm，2014

无题 / Untitled 布面喷漆 / Mixed Media，61.5cm X 51cm，2014

造像 / Statue 布面油画 / Oil on Canvas，102cm X 183cm，2014

灌篮 1 / Slam Dunk 1 布面油画 / Oil on Canvas，180cm X 100cm，2014

灌篮 2 / Slam Dunk 2 布面油画 / Oil on Canvas，187cm X 117cm，2014



画妈妈拍的照片 / A Painting Of My Mother's Photography Work布面油画 / Oil on Canvas，140cm X 140cm，2014

草地 / Grassland布面油画 � / Oil on Canvas，120cm X 150cm，2014

体育与艺术 / Sport and Art布面油画 � / Oil on Canvas，180cm X 180cm，2014

早晨 / Morning布面油画 � / Oil on Canvas，140cm X 100cm，2014

无题 / Untitled布面油画 � / Oil on Canvas，102cm X 82cm，2014

桃花树 / Peach Blossom Tree布面油画 � / Oil on Canvas，91.5cm X 117cm，2014


室内人物 / Indoor Figures布面油画 � / Oil on Canvas，60cm X 80cm，2014


科幻汽车 / Sci-fi Car布面油画 � / Oil on Canvas，80cm X 120cm，2014

贾斯汀与母猩猩 / Justin and Orangutan综合媒介 � / Mixed Media，79cm X 109cm，2014

背面 / Back布面油画 � / Oil on Canvas，60cm X 40cm，2014

白色面 / White Mask布面油画 � / Oil on Canvas，70cm X 60cm，2013

合影 / Group Photo布面油画 � / Oil on Canvas，80cm X 60cm，2013

人物 / Character布面油画 � / Oil on Canvas，140cm X 100cm，2013

人物 1 / Character I布面油画 � / Oil on Canvas，80cm X 120cm，2013

无题 / Untitled纸本水彩 � / Watercolor on Paper，230cm X 152cm，2013

互看 / Look at Each Other布面油画 � / Oil on Canvas，120cm X 90cm，2013

和飞行器的合影 / Take Photo Shoot with Aircraft布面油画 � / Oil on Canvas，180cm X 150cm X 2，2013

伊甸园 / Garden of Eden布面油画 � / Oil on Canvas，160cm X 150cm，2013

伊甸园 2 / Garden of Eden II布面油画 � / Oil on Canvas，220cm X 110cm，2013

偶然，被我们看见了 / Accidentally, We Saw It布面油画 � / Oil on Canvas，110cm X 80cm，2011

过往作品 PREVIOUS WORKS

种植物的人室内 / Gardener - Indoors 布面油画 � / Oil on Canvas，220cm X 180cm，2012

CEO 木板丙烯 � / Acrylic on Board，65cm X 110cm，2012

呸 / Pooh布面丙烯，油画 / Acrylic and Oil on Canvas，150cm X 179.5cm，2011

女头像模特 / Female Portrait Model 木板油画 � / Oil on Board，29cm X 23cm，2011

永远都缺少这一块 / With A Piece Disappeared Forever 布面丙烯，木炭 / Acrylic and Charcoal on Canvas，200cm X 247cm，2011

召之即来，来之能战 / Always Prepared to Be Called to Fight 布面丙烯，油画 / Acrylic and Oil on Canvas，219cm X 390cm，2011

大眼睛 / Big Eyes 布面油画 � / Oil on Canvas，180cm X 200cm，2011

2010

2015

无题 / Untitled布面丙烯 / Acrylic on Canvas，170cm X 120cm，2010 (2015改)

2010

2015

无题 / Untitled布面油画 / Oil on Canvas，150cm X 120cm，2010 (2015改)

2010

2015

集体运动 / Team Sports 布面丙烯 / Acrylic on Canvas，200cm X 250cm，2010 (2015改)

2010

2015

无题 / Untitled 综合媒介 / Mixed Media，200cm X 250cm，2010 (2015改)

女头像吹泡 / Female Portrait Blowing Bubbles 木板油画 � / Oil on Board，45.5cm X 31.5cm，2010

无题 / Untitled 布面丙烯 � / Acrylic on Canvas，200cm X 180cm，2010

2009

2015

我们不需要头发 / We Don‘t Need Hair布面油画 � / Oil on Canvas，120cm X 170cm，2009 (2015改)

2009

2015

死去的时候我们相爱了 / We Have Fell In Love When Dying布面油画 � / Oil on Canvas，120cm X 170cm，2009 (2015改)

2009

2015

这是我们先发现的！/ This is Our First Discovered !布面油画 � / Oil on Canvas，180cm X 250cm，2009 (2015改)

2011

2015

他们想干嘛？/ What Do They Want ? 布面油画 � / Oil on Canvas，250cm X 360cm，2008 (2015改)

2008

2011

2015

2008

他们在哪里？/ Where Are They ? 布面油画 � / Oil on Canvas，200cm X 300cm，2008 (2015改)

2011

2015

2008

盆景-老虎 / Bonsai-Tiger 布面油画 / Oil on Canvas, 280cm X 450cm, 2008 (2015改)

2011

2015

2008

一群人在地球以外被箭射死 / A Crowd Is Shot Down Out Of Earth By Arrows 布面油画 / Oil on Canvas, 180cm X 320cm, 2008 (2015改)

2011

2015

2008

打破平静生活 1 / Break The Peace Of Life 1 布面油画 / Oil on Canvas, 138cm X 192cm, 2008 (2015改)

2008

2015

打破平静生活 2 / Break The Peace Of Life 2 布面油画 / Oil on Canvas, 192cm X 138cm, 2008 (2015改)

2015

2008

生长迅速 / Group Up Fast 布面油画 / Oil on Canvas, 200cm X 180cm, 2008 (2015改)

2015

2008

出现异常生长 1 / Abnormal Growth Occurs No.1 布面油画 / Oil on Canvas, 180cm X 200cm, 2008 (2015改)

2015

2008

出现异常生长 2 / Abnormal Growth Occurs No.2 布面油画 / Oil on Canvas, 150cm X 280cm, 2008 (2015改)

2008

2015

骑着假马 / Ride A False Horse 布面油画 / Oil on Canvas, 170cm X 120cm, 2008 (2015改)

用我们的血肉之躯保卫伟大祖国 / Defend The Great Motherland With Our Bodies 布面油画 / Oil on Canvas, 200cm X 600cm, 2008 (2015改)

2015

2008

大叫一声 1 / Shouting Out ! No.1 布面油画 � / Oil on Canvas，200cm X 250cm，2008

大叫一声 2 / Shouting Out ! No.2 布面油画 / Oil on Canvas，200cm X 250cm，2008

等死 / Wait to Die 布面油画 � / Oil on Canvas，320cm X 180cm，2008

舔巧克力味 / Licking Choc-ices 布面油画 � / Oil on Canvas，60cm X 80cm，2008

舔香草味 / Licking Vanilla-ices 布面油画 � / Oil on Canvas，60cm X 80cm，2008

过去展览 EXHIBITION SHOTS

【英语】英语马上会像绘画一样所有人都看的懂了，那时绘画可能没人看的懂了，也不需要被看懂了。那么多学画画的人学不好英语并不是他们不想学好，只是他们更喜欢画画。那些英语好的都去做艺

术家了，最好的艺术作品名字都是英文的。无数次的对自己说你要学好英语，这样才能做一个好的艺术家，但还是更喜欢画画，学英语的时间都用来画画了。【宗教】小时候由于家庭关系经常回去庙里烧香，重大日子还要相应祭拜。那就说明听话，而且这个过程是自己觉得有趣高兴才会这么顺从的参与，宗教真厉害。后来去不同地区，各种不同的宗教场所都很喜欢去看看，那些都不用烧香，但也可以许个愿，我的愿望就是展览顺利，作品大卖。哪个才是值得信仰的呢？还是每个都不信，或者每个都信也可以。说明我还不够深入的了解，内心没有完全的净化，相信到时候会找到那个我信仰的宗教。就像会找到艺术一样。［我并不希望找到，一直寻找也很好］

【犯错】有个伟大的哲学家说过犯错是成功的钥匙，还有位伟大的科学家说过犯错是人类发展的台阶。一个伟大的艺术家也说过：犯错才是艺术。他们都在放屁。

——周轶伦

GO DFINDER

2015.04.18 - 2015.05.3

SOLO EXHIBITION �

[English]

English will be read and understand as withpainting by everyone soon,then no one may understandpainting, and it has no need to be read. Many people whomajor in drawing don’t get good grade in English, they are not on purposeto, only because they love drawing more. Those whom good on English are go to be artists already; the best art works are all named in English.Said to myself many times you have to learn English, that could make you a good artist, but still prefer to drawing, time for learn English are allbeen used to drawing.

[Religion]

Due to the family conditionI’d gone to the templeandburnt incense very often during childhood time. In some major day I had to do worship it shows obedient of me. Also I thoughtthis process is interesting and feel happy to besubmissive to participate.Religion is really powerful.

After that I’d went to different regions, I’ liked to see different religious places, whose do not have to burn incense, but can also make a wish. My wish is to exhibit success, works sold. Which religion is worth it? Or do not believe anyone, or believe in all of them?In concludeI have not enough in-depth understanding, my heart is not completely purify, I believe thereligious that Ibeliefs will be found, just like art will find the same. [I do not hope to find, keep looking for it is also good]

[Mistakes]

There is a great philosopher said mistakes is the key to success,There is a great Scientists said mistakesis the step of human’s development.A great artist also has said: err is art.They are all fart.

- Zhou Yilun

GO DFINDER站台中国当代艺术机构（北京） 2015 / Platform China Contemporary Art Institute (BJ) 2015

这是周轶伦在站台中国香港空间的首个个展，它根据空间量身定做，灵感来源于对探索外太空技术的追求。周轶伦安排了一系列的场景和细节，仿佛科幻电影中独特的风景，使主题和内容的融合在绘画和油彩中表现出来，这反映了他个人的想法和对他所生活世界的态度。

“谁带我们飞上太空”，在人类拥有飞上太空能力的时候，手艺已经被科技取代，国王已经被商人取代，艺术其实早已被遗弃，所剩下的只有对过去美好时代的眷恋。所以，别在乎什么该被放弃，什么又该被坚持。早已没有规则了,需要被放弃的早已被放弃了，需要被坚持的也早已被坚持过。（周轶伦，2013年4月）。绘画和艺术创作是一项有趣的活动，周轶伦对传统绘画语言进行分离和重构，以不同的媒介和视觉语言形式赋予了它们新的可能性。这个展览是站台中国在北京和香港两个平台同时进行的年度项目“丛林II”的一部分。

“丛林II”旨在通过一系列的展览和活动，包括座谈会和放映会等来关注、分析并探讨新的艺术生成机制，记录它们并最终以文献形式保存下来。

周轶伦：谁带我们飞上太空 Zhou Yilun: Who’s Taking Us Outer Space

2013.05.11 - 2013.06.30

SOLO EXHIBITION �

On occasion of his first solo show at Platform China HK, Zhou Yilun (1983) creates a site-specific installation inspired by space and society’s obsessed quest for technology improvements to reach outer space. Reflecting on his personal response and attitude towards the world he lives in, Yilun arranges a series of objects and accessories as if taken from science fiction movies to create one unique landscape where subject and content merge together with the drawings and paintings on display.

Who takes us to outer space” now that we, people on Earth are capable to fly into space, artisanship has been replaced by technology, kings replaced by businessmen, and art has long been abandoned. All that is left is a yearning for beautiful old times. So, never mind what we have to give up to and what we shall keep. There are no rules, and what we will give up has been already given up, and what we will keep forever has already been kept.” (Zhou Yilun, April 2013)

Considering painting and making art as a playful activity, Zhou Yilun epitomizes a sense of disjunction with traditional pictorial language and gives birth to compositions born from a processing of visual information and mass media, reinterpreted in a new format.

The show is part of the larger project titled “Jungle II” developing over the course of one year at both Platform China Beijing and Hong Kong. “Jungle II” seeks to redefine, investigate, and document process of creating art and invent a new methodology of exhibiting, through a number of exhibitions and events including round-table discussions and screenings, which will be all documented as an archive.

丛林II--弥漫的形态：谁带我们飞上太空 / Jungle II - Who’s Taking Us Outer Space站台中国当代艺术机构（香港） 2013 / Platform China Contemporary Art Institute (HK) 2013



用一个普遍的价值观套在周轶伦身上那是不成立的，他像一个不法的分子向

外扩张自己的领域，占领未知的可能性。恰如其人也是一个不安分的青年，

涂鸦，摄影，各种极限运动的爱好者甚至是别有心思的社会记录者，这些都

是周轶伦的生活即艺术，工作室里到处充斥着他搜集的废旧材料，也有可能

是“垃圾”，我们会惊讶于他的生活态度，工作环境与当下已被本能的物质

化，模式化的人们是多么的不合时宜.

周轶伦的绘画渗透出一幅“游戏”的本性，更直接、坦率的手法表露社会，

政治，历史，事件的痕迹，故意隐藏一根导火线牵引着观众的感官。他喜好

用各种材质把玩艺术，欲望不断地在绘画上滋生蔓延，也在理智的平衡。周

轶伦并没有承诺游戏的快乐与痛苦，就像他的画中带有狡黠与严肃。

《上有天堂》是此次个展的名称，顾名思义参考于古谚语“上有天堂，下有

苏杭”，周轶伦出生、生活工作都在杭州，“上有天堂”对于他来讲是几种

含义，也是一种模糊的概念。他想留出空间让它更为清晰，宽广。以一种质

疑的立场来判断古人臆造杭州乌托邦美好的意象，发展到政治、历史、存在、

时间甚至是伪造，也可暂且把“上有天堂”象征着人们物质上的不满足以及

精神的寄托，亦或是宗教故事中那个绝对重要的地方。

周轶伦：上有天堂 Zhou Yilun: As There Is Paradise In Heaven

2012.10.20 - 2012.12.02

SOLO EXHIBITION �

It is not proper to observe Zhou Yilun on the base of universal values, he, like an illegal person, expands his spheres and occupies undiscovered possibilities. Just like the person himself, he epitomizes a restless youth who loves doodling, photography and all kinds of extreme sports, to the point of being a chronicler of this society with his owns thoughts. All this is Zhou Yilun’s life and art. His studio is filled waste with materials, or maybe “rubbish”, he collects to leave us astonished in front of his attitude towards life and work environment, which are very different they are from those of the people who have already been naturally materialized and formulated.

Zhou Yilun's paintings show his “playful” nature and they reveal traces of society, politics, history and events in more direct and honest approaches intentionally triggering and guiding the audience. He likes to play with arts using various materials; he desires to expand constantly on the possibility of paintings however rationally pursuing the balances. Zhou Yilun never undertakes pleasure or pain in the game, just like his wisdom and seriousness in his paintings.

“As there is Paradise in Heaven” is the title of this solo exhibition, which comes from the old proverb “Up above there is paradise, down below there are Suzhou and Hangzhou”; Zhou Yilun was born in Hangzhou and he lives and works in his birthplace. "Up above there is paradise” has several meanings and at the same time is a fuzzy concept to him. He wants to leave space to make this concept clearer and wider. With a questioning stance, he states that the beautiful imagery of ancient people, who looked at Hangzhou as an Utopian Place, has developed into politics, history, existence, time and even falsity; “up above there is paradise” can also be used to symbolize people's dissatisfaction and spiritual reliance, or the very important place in religious stories.

上有天堂 / As There Is Paradise In Heaven站台中国当代艺术机构（北京） 2012 / Platform China Contemporary Art Institute (BJ) 2012



周轶伦大胆的抛弃束缚，直面人类最原始、最真实的本能，以及由此滋长的欲望、膨胀、腐烂、虚伪。在他的拼贴作品中，他经常把动物和人的图像用拼贴的手法置于同一场景中，或者给动物穿上人类的服装。不知道是对自己的拯救还是反抗，一波压过一波的控制欲支撑着整个画面。欲望与毁灭同时生存在他的作品中，并以肆无忌惮的姿态展示着。不难发现周的作品中充满了波普艺术的影子，但同时作者巧妙的利用各种材质的特征，利用艺术家敏感的直觉对各种日常生活中的物品作出恰到好处的表现主义处理。他的绘画作品同样喜欢利用生活中常见的元素，对其产生异样的思考与解读。周轶伦相比前人的优势在于，他在反思现代达尔文主义合理性。对

于现代纵欲文明，周没有表现出一副卫道士的道德批判，周承认自身欲望的存在，同时又反思这种欲望的存在。所以周轶伦是对人的社会发展历程的拷问：个人的社会与其他动物性社会是充满悖论的，同样也包括人本身发展的悖论。周轶伦每一件作品都会构成他内在世界的经纬线，他在其中寻找世界早已迷失的终点。因为现代人缺失着对自我短暂生命意义的追问，上帝已死、彼岸已对此岸世界的人闭上它的大门，现代人将他们的生命掷向毫无意义的消耗与虚无之中。但是在周轶伦作品中的幻灭之光也映衬着作者本人对生命希望的向往。

Zhou Yilun is very bold to abandon restraint, face to the most primitive and true instinct of human, and the desire, expansion, putridity and pretence that growing from instinct. He often put the images of animals and humans under the same scene by collage technique, or to dress animals in human clothing.He may wanted to save him own, or against, wave over wave of the desire to control support the entire screen. Desire and the destructor is existing in his works at the same time, and is displayed with a wanton attitude. It is not difficult to find the influence of Pop Art in Zhou's works. But at the same time, he smartly used the characteristics of various materials and his artistic sensitive to treat various of daily life items with appropriate expression. His paintings are keen to use common elements from everyday life, and to give unusual thinking and interpretation of them. To compared with the predecessors, Zhou Yilun has the advantage in his reflections on the rationality of modern Darwinism. To the orgie modern civilization, Zhou didn't show moral criticism as a moralist. He recognizes the desire is existing in himself, and to reflect the existence of such a desire. This is Zhou Yilun's torture about the social development process: human's society and other animals' communities are filled with paradox, same with the development of mankind, which is also filled with paradox.

Each work of Zhou Yilun constitutes latitude and longitude lines of his inner world. He is searching for the end of this world that was lost long time ago. As the modern people are lack of inquiring the meaning of life. God is dead.The other side of the world has been shut its door to this coast. The modren people threw their lives into the menigtes, emptiness and consumption. However, the light of disillusionment in Zhou Yilun's works is also reflecting his yearn for the hope of life.

周轶伦：你来晚了！

Zhou Yilun: You Came Too Late！

2009.08.15 - 2009.09.20

SOLO EXHIBITION �

你来晚了！ / You Came Too Late!

站台中国当代艺术机构（北京） 2009 / Platform China Contemporary Art Institute (BJ) 2009

这次即将展出的作品，不乏对以前系列的延续。用他自己的话说，“想表现的很简单，就是对于伦常的一个挑衅，虽然直白了点，但是无可厚非，所有看客们，你们想要的不就是这个么？”。继《自我经验——青年艺术家联展》呈现的周轶伦一系列作品之后，站台中国将于2008年12月6日首次推出他的个人展览。科学的巨大进步带给人类社会空前繁荣，人类生存至今，原始的基本欲望被无限放大，产生愈来愈强的控制欲，渴望凌驾万物之上。动物却单纯得可怕，仅食欲和性欲已经可以将它们一生包围得十分精彩，而这些对人类来说似乎已经不能再被称作欲望。这次即将展出的作品，不乏对以前系列的延续。用他自己的话说，“想表现的很简单，就是对于伦常的一个挑衅，虽然直白了点，但是无可厚非，所有看客们，你们想要的不就是这个么？”。我们更加相信这个有着反叛生活方式的年轻人身上那种莫名的力量，这是今年年底推出他的个展的主要动机。

The works will be presented are what continues the previous series. In his own words, “what I want to express is a provocation to the ethics, just so simple. Although directly in words, isn’t it you spectators want?”

Platform China Contemporary Art Institute is pleased to present Enjoy It? - Zhou Yi Lun’s first solo show at Platform China after Self-experience: Young Artists Group Show, which he participate in 2007.

As we know, the great development of science has brought the society’s tremendous prosperity. Since the period of the human’s existence, the primordial desire has been infinitely magnified, bringing about more and more desire of control, to makes the human longing for placing themselves above everything. However, animals are horribly pure, they think life is wonderful if just provided by food and sex, but humans are never satisfied with these desire.

The works will be presented are what continues the previous series. In his own words, “what I want to express is a provocation to the ethics, just so simple. Although directly in words, isn’t it you spectators want?”

We believe the indefinable power of this rebel boy, it is the main motivation of releasing his solo exhibition by the end of this year.

SOLO EXHIBITION �

周轶伦：你爽吗？

Zhou Yilun: Enjoy It？

2008.12.06 - 2009.01.18

你爽吗？ / Enjoy It?站台中国当代艺术机构（北京） 2008 / Platform China Contemporary Art Institute (BJ) 2008

GROUP EXHIBITION �

丛林II--弥漫的形态：写生项目

Jungle II – A Thriving Morphology: Life Drawing Project

2013.3.9-12.31

艺术家：毕建业、崔灿灿、段建宇、冯晓光、李大方、刘晓辉、马轲、秦琦、王兴伟、王音、萧搏、谢南星、张业兴、赵刚、周轶伦大约从上个世纪八十年代以来，摄影技术和设备的广泛应用使一些艺术家偏向追寻科技的便捷，写生的方式和定义也随之发生了改变：如今的“写生”已经变得更加多元和宽泛，它可以超出作为一种绘画方式时原本的范畴，甚至有时偏于内向从而更多地变成了艺术家画给自己的画。写生可以是一种绘画方式，它可以是对日常素材的整理收集，可以是对绘画作品的补充，也可以是艺术家对绘画本身独特

的一种理解。照片能够为形象提供直观的参考，但并不能完全取代写生。写生对于艺术家来说是一种乐趣，它能够帮助艺术家在工作中完成对象和艺术家主体思维的转化，帮助艺术家贴近、认知自然和世界。无论是提高绘画技法、对素材进行收集整理、丰富生活体验、拉近与自然和形象的距离，还是作为一种创作方式，写生都十分重要。 Artists: Bi Jianye , Cui Cancan , Duan Jianyu , Feng Xiaoguang , Li Dafang , Liu Xiaohui , Ma Ke , Qin Qi , Wang Xingwei , Wang Yin , Xiao Bo , Xie Nanxing , Zhang Yexing , Zhao Gang , Zhou Yilun

Since the 1980’s, the extensive use and accessibility of photographic techniques and equipment have pushed certain artists to adopt technological methods to research their work over more traditional ones, primarily for their convenience. As a result, the definition of life drawing and the way it is executed has also changed: the concept of “Life drawing/painting” or “Sketching” has nowadays become increasingly diverse and broad. As a form of painting, it can be perceived as an original art form in itself, it can sometimes be far more introverted than a finished piece and becomes a painting that artist paints for himself. “Life drawing/painting” can be an alternative way to paint, it can be a collage of daily material, which supplements painted works, and also provides a unique insight into the artist’s understanding of painting.

Photographs provide visual references to support the artwork, but cannot completely replace the life drawing. Life drawing / painting represents an enjoyable exercise for artists, it helps to define, explore and carry out leading creative ideas; it also helps to get a more sophisticated understanding of the world we live in. Life drawing remains very important to this day, whether it is to improve painting techniques, collect material and enrich one’s experience of life, bridge the gap between the artwork and the world it is created in or simply as a creative practice.

丛林II--弥漫的形态：写生项目 / Jungle II – A Thriving Morphology: Life Drawing Project站台中国当代艺术机构（北京） 2013 / Platform China Contemporary Art Institute (BJ) 2013


丛林II--弥漫的形态：相对论 Jungle II -- A Thriving Morphology: Theory of Relativity

2013.3.9-12.31

艺术家： Alex Gibbs, Alexander Tinei, 毕建业，付经岩，耿旖旎，韩家泉，黄亮，贾蔼力，娄申义，马轲，Nandan Ghiya, 亓文章，秦琦，邱瑞祥，宋元元，王音，王兴伟，萧搏，肖江，张恩利，张灏，张业兴，赵刚，赵赵，周轶伦，金闪，王可，汤大尧，刘唯坚，张然

“丛林II — 弥漫的形态”是一个为期一年的项目。它去绝对化的时空，不再

是孤立的、固定的、绝对的时间和空间展览形态，而是以点状式、阶段式、

弥漫式的形态展开多个项目的观摩、讨论、互动交流和创作沙龙等体制为特

征，由多条线索交融复合而成。它是将不同的艺术项目群整合在一起的系统

计划。它的特征更加内向。

项目启动时间为2013年3月9日，时间将持续一年。

首个项目“相对论”作为此次计划的开端，延用了2010年“丛林”展览的生

成机制：由艺术家相互认同和相互推介共同参与生成。“相对论”项目强调

艺术不再孤立地存在，艺术的态式或艺术的生成更客观地是在相对化的场域

或框架中相互依存。他者的存在变得不可忽视，在相互介入和多系统互融中

构成新的生长可能。

项目背景与起因：

现如今，特别是近十年来当代艺术系统的快速发展所带来的膨胀和过剩，使

它已然处于一种严重的积食状态。我们已经越来越撑，即使是盛宴在眼前，

也没有强烈的欲求。以往常规的展览或绝对化的时空展览已成了过剩的食物，

无效而让人厌倦。我们希望这个项目实践的一年中能够更好的消化，并用一

些非常规的项目方式尝试空间运作形态的新的可能性。在生成机制上希望采

取一种有效和积极的方式，从而引出艺术生产---艺术空间和艺术系统的新

的可能。

Artists:Alex Gibbs,Alexander Tinei,Bi Jianye,Fu Jingyan,Geng Yi, Han Jiaquan,Huang Liang, Jia Aili,Lou Shenyi,Ma Ke,Nandan Ghiya,Qi Wenzhang,Qin Qi, Qiu Ruixiang,Song Yuanyuan,Wang Yin, Wang Xingwei, Xiao Bo, Xiao Jiang, Zhang Enli,Zhang Hao,Zhang Yexing,Zhao Gang, Zhao Zhao, Zhou Yilun,Jin Shan, Wang Ke,Tang Dayao,Liu Weijian,Zhang Ran

Jungle II – A Thriving Morphology is a one year long project orgnized by Platform China. By the name of it we refer to a space-time pattern. Without an ultimate spatial concept neither time line, the project will present itself in the shape of a diffusing, proliferating and gradually growing process instead of through a more conventional exhibition mode. Characterized by a series of art salon/conversation based type of sub-projects, it is to introduce a context for the audience to emulate, discuss and interact with art. The blending of various shapes and art forms contribute to create a new systematic project the peculiarities of which are strongly related to its inner formation.

This project start on March 9th , 2013, and will last for one year long time.

As the initial stage, Theory of Relativity adopts the same concept and structure Jungle (2010 Platform China show) was based on. The show is generated by artists only and by their own spontaneous intervention as well as through their recommendation for artworks. The idea behind Theory of Relativity emphasizes the fact that art can no more exist isolated. Art generates and grows in a context of relativism and interdependence, a cross referential context. The others becomes a crucial factor, something to relate to and interact with in a system where more possibilities can generate.

Project Background:

In this last decade, art production has expended to excess. As if on starvation, no matter surrounded by a food feast, people still lack of appetite and desire. Therefore the conventional way to periodically present a new exhibition is just like surplus of food, wasted and often boring. Over this coming year, we are going to ‘digest’ smoothly and thoroughly. We will curate and host shows or events in a more creative and flexible way which is expected to lead to the creation of new relationships between art spaces and art systems.

丛林II--弥漫的形态：相对论 / Jungle II – A Thriving Morphology: Theory of Relativity站台中国当代艺术机构（北京） 2013 / Platform China Contemporary Art Institute (Beijing) 2013


艺术家：毕建业、龚剑、和谐巴洛克小组、贾蔼力、姜国哲、黄亮、马轲、欧阳春、秦琦、亓文章、宋元元、孙逊、王光乐、王兴杰、吴光宇、萧搏、肖江、杨蕊、张灏、张业兴、周轶伦 “激发天才的动力和涌现工作的灵感不是来自于新的想法，而是他们执着于曾经做过的还是不够多。”

- 欧仁.德拉克罗瓦

自从1893年市面上出现第一架相机时，德拉罗什曾说过:“此时此刻，绘画已死”。接下来的现代和后现代不断地在争论绘画到底有没有死。现在继续探讨这个话题并不重要，也没有意义。然而，当我们看到当代绘画的时候，记住在美术史上曾经发生过这件事情还是尤为重要的。其实，我们不需要把绘画分为死的或者活的，更合适被想成为是在循环往复的，不断实施的艺术表现的媒介。对于观众来说，作品的存在仅仅是在被看到的那一刻，但没有任何作品完全独立于它本身的脉络中，并且我们对一件作品的理解会与其脉络一起变化。“再”是一个重复性的描述，它是由过去向未来过渡的节点。“绘画”是一个不属于某一个时刻的东西。此次“再绘画”展览是这个循环往复中的此刻。 “再绘画”是在一个展览的脉络中使用三个不同的展览空间的群展。每个空间分别由同一群艺术家参展，构成三个既有关联又有差异的展览空间。对于绘画，我们能懂得的，可以说道的有很多，但我们依旧知之甚少。

再绘画

Re: Painting

2013.3.9-12.31

Artists: Bi Jianye, Gong Jian, Huang Liang, Hexie Baroque Group, Jia Aili, Jiang Guozhe, Ma Ke, Ou Yangchun,Qin Qi, Qi Wenzhang, Song Yuanyuan, Sun Xun, Wang Xingjie, Wang Guangle, Wu Guang Yu, Xiao Bo, Xiao Jiang, Yang Rui, Zhou Yilun, Zhang Yexing, Zhang Hao

“What moves men of genius, or rather, what inspires their work, is not new ideas, but their obsession with the idea that what has been said already is still not enough.”

– Eugène Delacroix

Ever since 1893 when, in response to the invention of the daguerreotype, Paul Delaroche famously exclaimed, “From today, painting is dead,” the argument over whether painting is actually dead or not has remained one of the most persistent debates of the modern and post-modern eras. To continue this dispute, much less partake in it, is no longer interesting, nor relevant. It is, however, important to keep this piece of Art history in mind when looking at Contemporary paintings.

Rather than classifying painting as something that is either dead or alive, it would be more appropriate to think of it as a reoccurring medium of expression that is continuously being reinvented. To the viewer, a painting exists only as it is being viewed, but the context of a painting, inconstant and temporal, is at the same time autonomous from and interconnected with the world around it. Thus the painting, as we view it, and the context that we view it under, becomes a moment of transition between past and future in this recurrent cycle.

“Re: Painting” is a group of artists brought together in three separate exhibition spaces under the context of one exhibition. Each exhibition space has work by the same group of artists, creating three different but related directions.

But for all that we can know and say about painting, it is equally true that there is nothing we can know or say about painting.

再绘画 / Re: Painting站台中国当代艺术机构（北京） 2012 / Platform China Contemporary Art Institute (Beijing) 2012


艺术家：毕建业、贾蔼力、金闪、黄亮、廖国核、林彦玮、李青、刘唯艰、马轲、秦琦、亓文章、宋元元、孙文、孙逊、吴光宇、萧搏、肖江、徐若涛、周轶伦

这是站台中国每年度的首个群展项目，这个展览是由个以十九绘画为媒介的艺术家个展构成的展览，

每个艺术家在相对独立的空间中，完成自我话语的独立展示。每个艺术家的个展，有自己的展览名称

和主题，艺术家自主策展，自我陈述。这个展览展出的是十九个独立的话语系统。

Artist(s): Bi Jianye , Jia Aili , Jin Shan , Huang Liang , Liao Guohe , Lin Yanwei , Li Qing , Liu Weijian , Ma Ke , Qin Qi , Qi Wenzhang , Song Yuanyuan , Sun Wen , Sun Xun , Wu Guangyu , Xiao Bo , Xiao Jiang , Xu Ruotao , Zhou Yilun

This is Platform China Contemporary Art Institute’s first annual exhibition project. The show features 19 solo shows of artists whose artistic medium is painting. Every artist will complete and display his invidual work in his individual space. Each show will have its own title, theme and the artist’s curatorial and personal individual statement. This project thus is an exhibition persenting 19 individual language systems.

关于绘画的十九个个展19 Solo Shows About Painting 2011.3.12 - 5-31 �

关于绘画的十九个个展 / 19 Solo Shows About Painting站台中国当代艺术机构（北京） 2011 / Platform China Contemporary Art Institute (Beijing) 2011

媒体报道 MEDIA COVERAGE

评论文章 COMMENTS

“上有天堂”是周轶伦在站台中国最新展览的标题，显然令人会意到那句流传广泛的风土谣谚“上有天堂，下

有苏杭”。在展厅的进门处，一张几尽褪色的西湖美景在地面上展开，长卷之上平铺着透明的塑料膜，摆出诡

异的欢迎姿态。背景中的千尺浮屠藏身于淡蓝的烟波山色，十几个初生的婴孩(或天使)漂浮在画面上—这些剪贴

画大都出自于中学的美术课本之中。周轶伦对自己的故乡杭州表示毫不掩饰的赞美，也同时警惕着现实生活与

精神世界中的“天堂”，不愿被暂时的稳定与安逸所收买。

杭州与北京、上海这样的艺术中心保持合理的距离，周轶伦在这里创作之余似乎有些不务正业。他涂鸦、攀岩、

玩自行车，甚至还是长板极限滑手，生活远比关在画室工作来得精彩，这位精力过剩的艺术家无法满足于仅仅

突破题材界限而得到表面的自由，而不断尝试消解社会生活与艺术边缘的体验。毕业于中国美术学院油画系的

他却选择了一种近似非专业者或局外人(outsider)的语言表达方式—创作首先是出于一种本能，甚至是生活方式

的习惯养成，与涂鸦一样产生于当下，并且直接作用于其展示的环境。这些特点从他2006年的作品中就已初显

端倪。在展览“出去拼了!”系列中，喷漆绘制的对话框暴露了画中人与动物形象的内心剖白，没有宣言式的口

号，更像是暧昧的小嘀咕;在2 0 0 8年岁末的个展“你爽吗?”故意附庸了当时展览作品要“大”的歪风，煞有

介事地制作了许多巨幅作品，强迫观众去欣赏画中令人尴尬的交配场景;2009年的“你来晚了!”更加混不吝，

从摄影到细小的模型、大胆的拼贴以及从楼梯上倾斜而下的废弃纸箱，共同堆积出一种荒诞的社会景观。

相较之前的展览，“上有天堂”算是周轶伦一次阶段性的汇演，他的想法总是如新陈代谢般不断被自己推翻又

重新思考，某种程度上，这次展览是整合之前的经验与尝试。画廊提供了一个完全自治的空间，从作品挑选到

布展完全交由艺术家独立完成。周轶伦注意到空间环境对作品含义重组的可能性—明亮整洁的空间让垃圾也拥

有被观看的有利条件。他试图用“坏画”的修辞方式安排展览的现场：大小不一的画被堆在一处，而大幅作品

则依旧挤在“VIP”式的小空间中;作为画布重新绘制和编织的旧木床板组合成了一间临时的庇护所，可以让那

些在开幕酒会上疲惫的观众稍事休息;那些散落在角落中被改造的玩具模型、在画面上、画布背后以及变形翘起

的画框后的墙面上留下的文字似乎都是某种线索，不时地分散观众的注意力。

在周轶伦的绘画中，尽管图像与文字的关系使用并不新鲜，但对他而言，作品的命名和在画面上书写文字的方

式更像是国画家在画面完成后的题词。有趣的是文字部分是相对独立的创作，不单是对画面的辅助诠释，更像

是完成一首诗。那些命名幽默又狡猾，有时是坦白交代绘画的对象，有时则毫无关联。他承认，对作品命名常

常沦为展览和出版而应尽的义务，但对作品的命名永远都只是一种临时生效的名称，隔日再看，创作者又成了

新的观众，每一次新的命名便是一次观后感。

低于生活-周轶伦艺术界文赵梦莎

非典型架上绘画材料的使用是周轶伦绘画中显见的特征，废旧材料、二手现成品、旧照片、杂志画报和二手画

框都成为了周轶伦艺术的重要组成部分。从小东西用旧了都不舍得轻易丢掉，日积月累积攒下数目可观的旧物，

由此也养成了周轶伦恋物式的收集习惯。经济上正积极向电子商务基地转型的杭州成为了名副其实的淘宝城，

大量的新旧材料廉价而唾手可得，在周轶伦位于城北的工作室外便是一个天然的素材库。他有意识地去收集这

些“物”并在过程中体会材料：油漆剥落后的金属和木头，布满划痕与污渍的塑料都因为使用而产生了独特的

质感，曾经装裱过奖状或家庭合影的镜框，被使用时已经带有了不知名荣誉和情感的附加值，年代久远的老物

件甚至比一幅绘画更经得起时间的推敲。他迷恋旧物本身所承载的时间痕迹以及自然呈现出的历史感，这种

“旧”是无法复制的，也是独一无二的，他将这些二手的物看作创作的“地基”，借用它们特定的形态或颜色，

在此之上延伸并发展出一件新作品。

他热衷于各种材料实验，甚至像是材料世界里的暴君，肆意地支配、堆积、篡改着各种各样的“物”，形成了

个人化趣味的艺术情感表达。改装工具、制作模型、尝试不同媒介剂，对画报、杂志等消费图像的拼贴与涂改

是周轶伦绘画中惯常使用的手段。网络使用大大便捷了对图像的获取，他也在创作中再度消费着商品化的图像，

其旺盛的生产力恰好迎合了当下图像资源的过度膨胀;他用图像组合的实验品拆解来自政治正确性的招数，正是

对艺术崇拜的反叛，也是对艺术改变社会能力的怀疑与挑衅。观众也许会惊叹于他的画可以如此无所顾忌、不

负责任，在个人的精神世界里天马行空。

周轶伦对造型与材料使用的顽劣表现很容易被人贴上“坏画”的时髦标签，但“坏”并非百病包治，当朋克式

的个人化的表演方式进行到陈腔滥调的地步时，破坏也成为了一种无效的姿态而已。周轶伦受过严谨的科班训

练，有着良好的控制力，在他作品中流露出的“坏”更像是方法论式的训练有素。在周轶伦的绘画中可以看到

对西方美术史上经典绘画范式的挪用，国画训练作为他的艺术启蒙，在其画面中似乎还可以捕捉到一些迹象。

不同于“坏画”中的激进，周轶伦始终坚持着对一本正经创作的怀疑。他认为，相比做艺术的“艺术家”，那

些身处其他领域却做出真正艺术作品的人才更值得敬佩。对他而言，生活永远是大于艺术的一部分，而艺术永

远低于生活。与其问“艺术能成为什么，艺术能做什么?” 不如思考“绘画是否可以取悦观看”来得更加实际。

美妙的食物，布面油画黑色喷漆 112 cm X 145.5 cm，2012

As the subject of a case study, Zhou Yilun has unique value for the research of the Chinese contemporary art scene in recent years. In most cases, a uniquely valuable artist will maintain a tight relationship to the art scene in which he is situated, and have a direct effect on it. Zhou Yilun, on the other hand, has always remained outside of the mainstream contemporary art system in China, never yearning to enter into the ranks of current art history.

Research and discussion of Zhou Yilun’s artworks, however, tends to touch on two core issues currently facing Chinese contemporary art. The first question is regarding the relationship between the aspirations of the artist as an individual and the art history experience and art history system, as well as the precise location of the rifts between the individual’s sustained self-practices and movements on one hand, and artistic judgment on the other. The second question is, for individuals who have experienced modernist and postmodernist culture, what is the difference between modernist originality and the individuality of postmodern culture as they avoid convention and follow extremely individualized approaches? How can they produce connections to public society and real context? What value does it have? What has it destroyed? What does it tell us?

We could say that in this day and age, one’s views on whether or not we have seen the end of art are an important divider, one which defines how we observe the current work of artists, and what situational framework the observer places around what they call “art.” Under these preconditions, Zhou Yilun’s works can be roughly divided into two parts. The first consists of the visual objects that have been created and presented (with paintings or installations serving as his results), which encapsulates any questions regarding Zhou Yilun’s aesthetics, forms and techniques within the realm of art. The second part consists of the artist’s way of life as an individual behind and beyond the objects. As an abstract form that shapes the person and the life which in turn produce the artworks, this component includes circumstances in reality, outlook on life, actions and means of expression. It touches on how the artworks emerge, and defines the role and function of these artworks in regards to the individual creator.

When it comes to the concrete analysis of Zhou Yilun’s artworks, these two components have essential differences. Should he seek out his place within the system, engaging in realistic research and response while finding a certain artistic form through which to affirm his own existence? Or should he start with himself, giving up his belief in art and his spiritual dependence on reference, returning to lifestyle itself and eventually leaving behind a certain visual form?

Look at that Outsider

By / Cui Cancan

In fact, in Zhou Yilun’s artworks, we would be hard pressed to discover any clear motive to work within the art history framework, or to sift out any clear appeal to sociopolitical, cultural or philosophical values. Discarding any ambitions for artistic reason or history has given Zhou Yilun a broader, freer space for individual pursuits. The freedom of this space has allowed the artist to grow more relaxed in his will to act and to take more joy in his thoughts.

Is painting a tacit agreement in material form? Is it created in order to produce an object that can be conceptually transformed with ease, or in order to seek out a new order between the artist and others? Zhou Yilun’s creative goals are organic and random. His works maintain a certain state of freshness and newness. That undefinable, primal, autonomous and disorderly information fills his canvases. The viewer cannot use fixed, universally-applicable art history knowledge or experience to accurately describe the textual value and conceptual significance of his artworks. This obstacle to reading and appreciation forces us to think. To a great extent, art exists because it has gained a certain level of affirmation and recognition. Must the artwork enter into an existing system of artistic experience and use an exchange of ideas with the audience in order to establish the necessity of its existence? Zhou Yilun’s paintings demonstrate to us that whether the art history experience and system exist, the actions and thoughts of the artist will always exist independently and of themselves. They may not be in the exhibition hall, or within the public’s field of vision, but they are in every facet of the artist’s life, perhaps as a modified chair, a table lamp covered in paint, a table covered in toys, or just an idea in the artist’s head. Zhou Yilun’s art is a part of his life, a part of his self. It exists in the individual, changing the artist’s life, his impulses, emotions and actions.

With Zhou Yilun, the rift between art and life has been smoothed over. For his painting, he has selected a drifting, unsettled viewpoint, a detached state that is open to diverse forms. Many of his works cannot be easily described or summed up by a single style or form. Sometimes they retreat, sometimes they surge forth. There is no fixed interval for the change from one work to the next, no set landing point, no need to rely on a secure system. Zhou Yilun’s creations do not follow any defined, clear or complete artistic principles, following only a spiritual state that exists in tandem with linguistic creation, an instinctual impulse of psychological force and sincerity to unearth the self and engage in extemporaneous creation. The art forms that result from this approach do not form some style that runs in parallel with traditional painting forms, nor are they a clear response to history or reality. Instead, they are more like a form of release, an evolution and progression of self that ignores others. In this sense, Zhou Yilun’s works only exist as visual evidence left behind.

The subject matter in Zhou Yilun’s works is complex, fragmented and rich, consisting of things that should not appear in the order of a painting according to certain precepts of classical logic, but have been nimbly folded in nevertheless. Odd human figures filled with bizarre humor, whether smoking, cursing or pissing, seem to be engaged in the kind of behavior that elite history never bothers to depict. Here, they appear content and carefree, even provocative, eliciting feelings of awkwardness mixed with excitement. People have grown tired of the ceaseless moral dogma and conceptual back-and-forth in art. The long lost smell of turpentine, loose brushstrokes and flowing rhythms show us that the act of painting is a method of free existence. This uninhibited stride lies somewhere beyond the bounds of everyday experience and models of art.

In the name of art, Zhou Yilun has smashed the existing relationship between subject matter and order in painting, scattering once linear logical texts and reattaching them according to his own will. These intentions or methods are like trends in individual growth. These trends in individual growth are incomplete, unpredictable and nonlinear. They are often rooted in the impulses and desires of the individual that arise after encountering other things. In essence, the order of individual growth is at odds with art research methods.

When the individual engages in artistic creation, do artistic limits exist? Is there a need for such limits? Art is not an unchanging term, nor is it a world that can be clearly grasped. In its own evolutionary progression, it is constantly interacting with the individual artist, constantly opened up by the individual, and constantly catalyzed by the individual. Likewise, the individual is not a complete story from the beginning, and does not form a fixed knowledge set. The individual’s change never ceases in time, and leaves behind only partial records of his dynamic form. It is only under these dual tracks of motion that art can be constantly activated in different eras by countless individuals, that “art” is a contemporary verb.

In this sense, it seems that none of Zhou Yilun’s artworks is ever finished, representing a fragmented memory of an encounter in a particular time and place, the random results and information encountered in this one moment.

Zhou Yilun’s works are freewheeling. They don’t rely on recognizability in dissemination, or properties of exchange in the art industry. They have no affection for the monotonous pleasures brought by any system, and do not hope to solidify or strengthen any accidental styles or forms in order to enter into future art history. In essence, this individual unconscious contentment results in a total lack of concern for others, and as a result, the artist becomes an unconscious rule-breaker, a resistor of the gaze. He wanders beyond the sights of the system and simplistic views of the world. He is more like a guerilla, a roving libertarian or anarchist, always following his own individual order as he maintains contact and movement.

After the end of art, where does art reside? Art is no longer self-evident, and we are no longer sure of what art isn’t. But art today would have a difficult time repeating history or producing those classic, heart-rending moments. Art has stepped down from its pedestal. But the end of art has brought us into a much broader space, into the life and world beyond art. Art is just an excuse for life. It acts in the name of challenging taboos, but in the end, it is really just for opening up the complexity and possibilities of human existence. In this process, aside from leaving behind certain visual objects that can be displayed, it should also open up a new way of being human: a fresh, vivid person with no eye for those behind him or the shadows he casts.

He appears a bit cynical, this “trendy youth” who grew up in the cities against the backdrop of globalization and postmodern culture. Zhou Yilun employs all manner of tools and methods, and always remains intensely curious about new things, striving to become an “expert tinkerer.” This “tinkering,” however, must be done in Zhou’s own way. He views these as fun or as an extreme sport to challenge himself with. He prefers to use his artworks to declare his individual viewpoints or attitudes about art in life, or his free, frivolous responses to it.

To describe an artist’s intent can be dangerous. To put it a bit extremely, look at that outsider. He doesn’t care at all how others judge the value and meaning of his actions. He only cares whether his own way is free, whether he has what is needed in life, and whether he has enough to entertain and challenge him.

Cui Cancan (Independent Curator, Art Critic)August 13, 2014

周轶伦是近几年来在中国当代艺术现场中，具有独特研究价值的个案。通常情况下，一位具有特殊价值的艺术

家，往往与它所处的艺术现场始终保持着紧密的关系，并产生直接的作用。然而，对于周轶伦而言，他一直游

离于当代艺术在中国的主流系统之外，或者说从本意上，他从未渴望进入当下艺术史的序列之中。

然而，对周轶轮作品的分析和讨论，却涉及中国当代艺术在当下的的两个核心问题：一方面，个体作为艺术家

的诉求与艺术史经验、艺术系统之间的关系，以及个体的在持续性的自我实践、运动的过程中和艺术评判之间

的裂缝，之间的截点或对应点在哪里；另一方面，作为在经历了现代主义和后现代文化之后的个体，在以不落

俗套、我行我素的极端个体化的方式中，现代主义中的原创和后现代文化中的个体化有何不同？如何与公共社

会、现实语境产生联系，又具有何种价值与意义，它破坏了什么？又提示了什么？

可以说，在今天，对于艺术是否终结的认识是一个标志性的分水岭，它决定着，我们如何考察当下艺术家的工

作，以及观者在何种情境框架内去看待被称之为“艺术”的事物。在这个前提条件下，周轶伦的作品可以被粗

略的分割为两个部分：一，被创造和展示出来的视觉之物（作为结果的绘画或是装置），它涵盖周轶伦作品在

艺术范围内的美学、形式、技法等问题；二，物背后与物之外的艺术家作为个人身份的生活方式，作为主导了

艺术作品出现的人和生活的抽象形态，它包括现实情境、人生态度、行动和表达方式等，它涉及艺术是如何出

现的，也决定着作品对于个体创造者的作用和功能。

在对周轶伦作品的具体分析上，这两者有着本质性的区别：是通过在艺术系统中寻找位置，进行现实化的研究

和回应，摸索出某种艺术样式，从而确定自我的存在？还是由自我出发，放弃对艺术的迷信和精神上对于参照

的依赖，回到生活方式本身，最终遗留下某种视觉形式。

事实上，在周轶伦的作品中，我们很难发现某种明确的在艺术史框架内进行工作的动机，也难以清晰的梳理出

其作品中，社会政治和文化哲学上的价值诉求。对艺术理性和历史野心的放弃，使得周轶伦获得了个体诉求上

更为广阔的、自由的空间，这种空间的上的自如，也促使艺术家获得了行动意志上的放松与思维的愉悦。

绘画是一个被物化的契约？它是为了生产一个可被思想轻易交换的物品，还是寻找一种关于人与他者之间新的

秩序？周轶伦的创作目的是有机性与随机性的，他的作品保持着某种生涩和初始状态。那些不可被类别化的、

原生的、自发的、无序的信息，充斥在他的画面之中。观者很难用一种固定的、普遍应用的艺术史知识或现实

经验，去准确的描述他作品中的文本价值和思想意义。这种阅读和观赏上的障碍，促使我们去思考，艺术在多

大程度上是因为获得某种承认和赏识而存在的。它是否必须进入一个现有的艺术经验系统，通过和观众的思想

瞧，那个局外人！

文 / 崔灿灿

交换来确立自身存在的必要性？而，周轶伦的绘画却向我们表明，不管艺术的历史经验和制度系统存不存在，

艺术家的行动、思考总是独立而自我存在的。它也许不在展厅中，不在公共视野考察的范畴内，它在艺术家的

生活各处，即便是一把改装后的椅子、一个涂了颜色的台灯、一张堆满各种玩具的桌子，哪怕它还只是脑海中

的一个念头与想法。周轶伦的艺术是属于他生活的一部分，自我的一部分，它存在于个体通过各种方式，改变

生活和自我的冲动、情感和行动中。

艺术和生活之间的裂缝在周轶伦这里被抹平。周轶伦的绘画选择了一种漂移不定的创作立场，一种开放于多种

多元形态之中的游离状态。他的许多作品都难以用一种风格或单一形态来概括，有时候倒退，有时候向前飞跃。

每一件作品之间的变化都是没有定数的，没有预设的落脚点，也不需要安全的依附于某个固有的系统。周轶伦

的创作不遵守任何确定的、清晰的、完整的艺术原则，它只遵循与语言创作同步存在的精神状态，通过一种心

理力量和真诚来自我挖掘的本能冲动，进行即兴创造的原则。这种工作方式得出的艺术形式，既不是与传统绘

画形态所平行的另一种风格，也不是一种对历史或现实的明确回应。它更像是一种超脱，一种无视他者的自我

演变和推进，周轶伦的作品在这个意义上只是作为遗留的视觉证据而存在。

周轶伦作品中所涉及的题材是庞杂的、破碎的、丰富的，一些经典逻辑中本不该在同一张画面秩序中出现的事

物，却被灵活的纠缠在一起。怪诞的人物形象，充满奇异性的幽默，无论是吸烟、脏话还是撒尿的动作，这些

精英历史中似乎不耻描绘的内容，在作品中显得如此从容自得，甚至放肆的有些挑衅，让人们既为之羞愧，又

莫名的兴奋。人们已经厌倦了艺术中无休止的道德的说教和对观念没完没了的反驳。一种久违的松节油的气息，

肆意的笔触，流动的节奏，让人看到绘画行为作为一种自由存在的方式，任意驰骋在日常经验与艺术范本的边

界之外。

以艺术的名义，周轶伦打破了绘画题材与秩序之间的固有关系，将那些原本线性的逻辑文本拆散，重新按照自

我的意志进行肆意的拼接。这些意图或是方式，类似于个体生长的趋势。而个体生长的趋势是不完整的、不可

预见的，也是非线性的。它往往源自于个体在遭遇其它事物之后的冲动和欲望，本质上，个体的自我生长规律

与艺术的研究方法是背道而驰的。

当个体进行艺术创造时，是否存在艺术的限制？是否需要这种限制、“艺术”既不是一个一成不变的名词，也

不是一个可被清晰把握的世界。它在自身演变的进程中和艺术家个体的不断的互动，被个体不断的打开，也被

个体不断的激变。同样，个体从一开始就不是一个完整的故事，也不形成一个固化的知识。个体的变化在时光

中没有停滞，只有留下的或是被局部记录的动态形象。在这种双轨运动之下，艺术才可以被不同的时代和无数

个体不断激活，“艺术”才是一个当代的动词。

在这个意义上，周轶伦的任何一件作品似乎都没有结束，它不过是某个时间，或者某个地点的片段性遭遇和记

忆。一个在此时此地，获得的偶然性信息和结果。

周轶伦的作品是自在的，它不依靠传播中的可辨识度、艺术产业中的交换属性，不留恋任何系统带来的单一快

感，也不期望通过对某种意外获得的风格或形式进行巩固和强化，从而在未来进入美术史。本质上，这种个体

的无意识自在，构成了对他者的无视，成为并不刻意抵抗却自然变成一个规则的破坏者，对观看和观看获得的

抵抗者。他游离于系统和对世界单一认识的视野之外，他更像是一个游击者，一个彻头彻尾的自由主义或是无

政府游牧者，始终按照个体的秩序保持对外沟通和移动的人。

在艺术终结之后，艺术在何处存在。艺术也不再是不证自明，我们不再肯定什么不是艺术。但，今天的艺术很

难重复或成为艺术史中伟大的、扣人心弦的经典瞬间，艺术早已从崇高的神坛中走出。但艺术的终结，使得我

们却走向了更为广阔的空间，走向艺术之外的生活和世界。艺术只是生活中的一个借口，可以挑战禁忌的名义，

最终只是为了开启人存在的复杂性和可能性，在这个过程中，它除了留下一些可被展示的视觉之物外，更应该

开启一种人的方式：一个鲜活的、生动的，无视身后与背影的人。

他显得有些玩世不恭，一个在全球化、后现代文化背景下长大的城市中的“潮人”或是“酷儿”。周轶伦会使

用各种工具和方式，也会对许多全新的事物保持最大的好奇，并试图成为其中的专业“玩家”。但这种

“玩”对于周轶伦而言必须是自己的方式，他始终将这些视为一种乐趣或是自我挑战的极限运动，周轶伦更愿

意通过作品，向人们宣告他在生活中对待艺术的个人的立场和态度，或是他的自由和轻佻的回应。

描述艺术家的本意，原本就是一种危险。甚至极端的说，瞧那个局外人，他根本不在意别人对他的行为所论断

的价值和意义，他只在意他自身的那种方式是否自由，他的生活是否如其所需，有着无穷尽的乐趣和挑战。

崔灿灿（独立策划人、艺术评论者）

2014-08- 13

从上世纪八十年代末开始，中国当代艺术（虽然当时人们还称之为新潮美术）就已经开始了对自身的反思，玩

世现实主义反叛了当时已经功利化的“理想主义”，但是这种反思并未涉及到绘画自身的层面，也没有形成一

种自觉的、方法论性的自我反思意识，而只是带来了一种姿态。一个反叛的姿态并不足以为文化的更新提供充

足的动力与明确的方向，如果仅仅有姿态的话，这种反叛很快就会蜕变成新的规范——当代艺术不正是要质疑

乃至消除所有已然形成的，以及可能会形成的规范吗？

实际上，真正全面地展开这场反思的是九十年代逐渐呈现的实验艺术，在绘画的范畴内而言，王兴伟、王音等

艺术家最先开始了对绘画各种边界的拆解，比如“画家”、“风格”、“绘画性”，以及“现实主义”，绘画

被他们带入了一种无可依附的观念反思之中，而正是因为不再有所依附，绘画才获得了最大可能性。2000年之

后广泛出现“坏画”倾向可以视为对绘画观念反思的延续与具体落实，其中最令人印象深刻是秦琦与段建宇，

前者几乎是用一种“野蛮”的方式解决所有的画布，其粗粝反智的笔触驱逐了一系列关于绘画的小情小调，后

者则是非常机智地利用形象与风格调侃着绘画，让绘画在这种自嘲中得到了相应的解脱。

从历史脉络来看，周轶伦应该属于“坏画”的继续推进，以至于最终几乎要放弃绘画了。在他上一个展览中，

作品已不仅是画布上的东西，那些特意收集来的旧画框也是作品不可少的部分。而之前他的大部分绘画，与其

说是painting还不如称之为画布上的涂鸦，就像班克斯（Banksy）的那些架上作品一样，无时无刻不在讽刺着

自身及周围的事物。

从绘画性及趣味而言，周轶伦的作品实在是“坏”透了，不用说学院的标准，那些流行的“当代”路数也被他

有意破坏的一干二净，他的画并不是为任何一种附庸风雅者的准备的，它们反技巧，但是充满感官性，它们大

大咧咧、拖拖拉拉，但却总是能有奏效的一招。在这个意义上，把周轶伦的绘画比喻为朋克音乐或许是合适的，

在粗糙、单调的外表下，实际上暗地里藏着总让你意想不到的智慧和感觉。

把画画“坏”并不是一件容易的事情，因为“坏”在不断地被接受、被承认，以至于最终成了“好”。这样的

故事在艺术史上屡见不鲜，比如库尔贝当年用刮刀砌起来的画面对于那时的学院派来说简直就等于爆粗口，但

如今，不加修饰的颜料肌理早已成为了一种再正经不过的美学和技巧了。在短短的中国当代艺术史上也是如此，

平涂最初是为了抵制那种虚饰的深度，但现在已经现出了行画气质。当然，问题并不在于画得薄还是画得厚，

而在于保持一种不断反思和创造的意识。

周轶伦即具有这样一种游牧性，它时常表现为绘画过程中毫不控制的幽默感，比如为老虎添加上一对天使的翅

膀。这种幽默的机智是很干脆的，省略了那些并不需要的环节，在起名为“那一夜雨很大”的一件作品中，他

只是最节省地勾画出了许仙与白蛇（从两人共伞的关系来判断），以及青蛇（绿色的衣服）和法海（红黄色的

聪明坏了！ ——关于周轶伦的绘画

文 / 鲍栋

白蛇传，布面喷漆丙烯，200 cm X 180 cm，2010

袈裟），《白蛇传》中西湖借伞的情节，以及这些形象对于中国人来说毫不陌生，因此只需要突出以上那些符

号性特征即可。而正是在这样的符号化的处理方式中，现代生活中约定俗成的闪电图标被恰当地引用了进来，

闪电图标又引发了霓虹灯这种电光材料——实际上，这是一种所指不断漂移的狂欢，带来了理性把握的失控，

而幽默感就从其失控的当下蹦了出来。类似的情况也出现在《舌头上有头发》这样的作品中，周轶伦把毛发掺

杂在颜料中用来描绘头发，其出发点可能是为了调侃学院手法（老师教我们要把头发看成一个体块去画，而不

能看成一根根的头发），但是很快他就玩腻了这个游戏，于是机缘巧合地在美女肖像的嘴部添上了舌头，并粘

上了一撮真实的头发，这或许就是他最为尽兴的时刻。

是的，不管做什么都要尽兴，我想这就是周轶伦的动力，而为了尽兴，则要即兴，他时常显示出的潦草即是出

于这种对即兴的需求。然而，即兴并非总是体现在手头上，即兴的根本在于创造总是突然的随时发生，周轶伦

有一个本子，每当他发现一个有趣的想法就会在本子上记下来，他储备了大量的资源在那里。换一个角度来看，

这些纸上的作品实际上更直接地呈现了他的工作状态，或者说，他的布上作品亦是某种意义上的草稿，它们似

乎永远是未完成的，因而充满各种可能性，不知道什么时候，它们就会突然完成，然后被挂到展厅里。

当然，仅仅靠脱口秀式的灵感和机智未必就能“坏”得很彻底，“坏”要“坏”在骨子里，要“坏”的不动声

色。在我看来，周轶伦最近的“模型绘画”是对绘画更进一步的揶揄，他把要描绘的场景先制作成小模型，然

后再对着模型写生。结果是，绘画的再现功能本身被用来迷惑观众，他们看到的是对真实的再现，但真实本身

却不是真的，就像摄影中的摆拍，或者电影中的视觉特效一样。在那张叫做《被轰炸的狮子》的作品中，观众

看到的是很多架飞机撞毁在一尊巨大的石狮上，但是实际上这是景别所导致的，周轶伦故意没有画出背景或其

他的参照物，以使它看起来不像一个小小的模型。这种“欺骗”观众的法子还有很多，周轶伦在想方设法地与

观众的视觉经验及趣味开玩笑，甚至他使用了中国画造假中的做旧，把一幅描绘伍基人（Wookiee）的水墨染

成旧纸的灰黄色，似乎就是一张古画。当然了，这种“欺骗”肯定是善意的，没有谁会真的以为那是一张古画，

尤其是看到了那些有趣的印章之后。

把画画“坏”，其最终目的是为了使绘画变“好”，所谓“好”其实就是自由，而所谓自由就是可以无视曾经

的标准而另寻可能，在根本上，艺术的意义就在于始终印证了这个道理。对于周轶伦这样的人来说，这个道理

或许早已融入他的本能：如果不爽，为什么还要搞艺术呢？

鲍栋

2010.12.20

SOLO EXHIBITIONS2015 “GO DFINDER ”, Platform China Contemporary Art Institute, Beijing, China

2014 “R3PM3-Zhou Yilun Products Exhibition”, Inna Contemporary Art Space, Hangzhou, China2013 “Who’s Taking Us Outer Space”, Platform China Contemporary Art Institute,

Hong Kong, China

2012 “As there is Paradise in Heaven”, Platform China Contemporary Art Institute, Beijing, China“If you were telling the truth”, LISTE – The Young Art Fair, Basel, Switzerland

2011 “Pay Back the Money that You One“, Fabien Fryns Fine Art, Los Angeles, USA

“We are colorful“, Platform China Contemporary Art Institute-Art HK, Asia One2010 “Where is Here“, Mind Set Art Consulting, Taipei

“Embrace The New But Don't Discard The Old“, Andrew James Art, Shanghai, China2009 “You came too late! “, Platform China Contemporary Art Institute, Beijing, China

2008 “Enjoy It? “ , Platform China Contemporary Art Institute, Beijing, China

“Zhou Yilun Solo Show“, Art Statements Gallery, Hong Kong2007 “Beauty, Weapon & Beast“, Andrew James Art, Shanghai, China

2006 “Hero and Beauty“, Dao Art Space, Beijing

“Fighting out“, Dao Art Space, Beijing

ZHOU Yilun

Currently living and working in Hangzhou, China1983 Born in Hangzhou, Zhejiang Province, China2006 Graduated from China Academy of Art, Oil Painting Department

GROUP EXHIBITIONS2013 “Life Drawing” Project, Platform China Contemporary Art Institute, Beijing, China

“Jungle II—A Thriving Morphology: Theory Of Relativity”, Platform China Contemporary Art Institute Contemporary Art Institute, Beijing, China

2012 “D For Drawing”, Platform China Contemporary Art Institute, Hong Kong

“Basement”, IAAB space, Basel, Switzerland

“Re: Painting“, Platform China Contemporary Art Institute, Beijing, China2011 “In a Perfect World... “, Meulensteen Gallery, New York

“19 Solo Shows About Painting“, Platform China Contemporary Art Institute, Beijing

2010 “Jungle – A Close-Up Focus on Chinese Contemporary Art Trends“,Platform China Contemporary Art Institute, Beijing“Haven’t You Heard? – Artist of the 80’s Contemporary Art Group Show“, Contemporary by Angela Li, Hong Kong

2008 “Anything Is Possible“, Luxembourg, Belgium“Self-experience: Young Artists Group Show“, Platform China Contemporary Art Institute, Beijing, China

2007 “Your View, My Story“, Ministry of Art, Berlin, Germany

“Sweet and Sour Generation“, Kunstverein Museum, Germany“Quietly Collecting“, Andrew James Art, Shanghai, China

2006 “Fresh Eye – The 3rd Nationwide Chinese Art Academies Excellence in Oil Painting Graduate Show“, Hexiangning Art Museum, Shenzhen, China

个展

2015 《GO DFINDER 》，站台中国当代艺术机构，北京，中国

2014 《R3PM3-周轶伦产品展》，清影当代艺术空间，杭州，中国

2013 《谁带我们飞上太空》，站台中国当代艺术机构，香港，中国

2012 《上有天堂》，站台中国当代艺术机构，北京，中国

《如果你们讲的都是真的》，Liste - The Young Art Fair, 巴塞尔, 瑞士

2011 《Pay Back the Money that You One》，弗羽森画廊，美国

《我们是彩色的》，香港艺术博览会Asia One/站台中国当代艺术机构，香港

2010 《这是哪》，安卓艺术，台北

《喜新不厌旧》，安杰当代艺术画廊，上海

2009 《你来晚了！》，站台中国当代艺术机构，北京

2008 《你爽吗？》，站台中国当代艺术机构，北京

《周轶伦个人展》，Art Statements Gallery，香港

2007 《美丽，武器，野兽》，安杰当代艺术画廊，上海，中国

2006 《英雄关，美人关》，导艺术空间，北京，中国

《出去拼了》，导艺术空间，北京，中国

周轶伦

现生活工作于杭州，中国

1983 生于中国浙江杭州

2006 毕业于中国美术学院油画系

群展

2013 《“写生”项目》，站台中国当代艺术机构，北京，中国

《丛林II-弥漫的形态：相对论》，站台中国当代艺术机构，北京，中国

2012 《D For Drawing》，站台中国当代艺术机构，香港

《地下室》，IAAB项目空间，巴塞尔，瑞士

《再绘画》，站台中国当代艺术机构，北京

2011 《完美世界》，Meulensteen，画廊，美国，纽约

《关于绘画的十九个个展》，站台中国当代艺术机构，北京

2010 《丛林—中国当代艺术生态管窥》，站台中国当代艺术机构，北京

《听到吗？——八十后当代艺术联展》Contemporary by Angela Li，香港

2008 《Anything Is Possible》，卢森堡

《自我经验—青年艺术家联展》，站台中国当代艺术机构，北京

2007 《Your View》，My Story 柏林，德国

《酸酸甜甜的一代》，Kunstverein美术馆，德国

《安静地收藏》，安杰当代艺术画廊，上海，中国

2006 《新视线》第三届全国美术院校优秀毕业生作品展，何香凝美术馆，深圳，中国

319-1 A319-1 Caochangdi Village, Chaoyang District, Beijing 100015+86 10 6432 0091 [email protected]

60 601Unit 601, Phase 1, Chaiwan Industrial City, 60 WingTai RD., Chaiwan, HongKong+852 2523 8893 [email protected]

www.platformchina.org

Documents

周轶伦ZHOU YILUN