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正在展出 | 周轶伦个展《与孟菲斯蓝调一起被困在车里》正在北京公社展出

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正在展出 Current

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周轶伦

与孟菲斯蓝调一起被困在车里

Zhou Yilun

Stuck Inside of Mobile with the Memphis Blues Again

- 时间 Date - 2019.5.29 - 7.10

*Please scroll down for English

北京公社正在展出周轶伦的第二次个人展览《与孟菲斯蓝调一起被困在车里》。展览呈现了艺术家近期的全新创作，以对商业元素的思考、拆解和重构，延续其在“剩余”中寻求更多可能性。

展览名称来自鲍勃·迪伦（Bob Dylan）发行于1966年的歌曲。1980年，63岁的埃托·索特萨斯（Ettore Sottsass）与一群年轻的设计师们正是听着这首歌结成了“孟菲斯（Memphis）”设计小组，他们强调对产品创造瞬间的灵感把握，用色明亮艳丽，注重手工艺的运用，从不会为了取悦用户而在设计中做出任何形式的妥协。

无法机械化批量生产的造物形式，反对单调冷峻的现代主义的叛逆性思维模式。“孟菲斯”提倡的诸多理念与周轶伦的创作不谋而合，使用现成品挪用改装制造各类产品是他常用的手法，却并不刻意。周轶伦往往从个人生活和经验出发，海报、废弃玩具、家具等日常剩余物不仅仅是他使用的材料，也是灵感来源。潮牌、球鞋、篮球明星、M&M豆等生活中随手可及的元素都被他运用到作品中，却消解了原本的识别性传播意义。

周轶伦创立的品牌名为R3PM3，对潮流文化的敏感性让他注意到诸多品牌的共通性，即以简洁的字母和数字结合，将直观的LOGO作为传播特殊信息的视觉文化语言，作为现代经济的产物，品牌的名称本身未必需要更多意义。商品上标签的使用，意在模糊手工限量的艺术作品和批量化生产的商品之间的界限。而和JNBYHOME联合出品的作品展示，挪用了互联网经济时代的流行营销方式—品牌跨界联名。高饱和度色彩的使用同样来自于最热衷推出联名款式的运动品牌，强烈的视觉装饰性搭配着“快节奏”特性呈现出商业社会的趣味。

本次展览可以看做基于《马利·蒙大拿》展览的进一步思考，近期对家具的兴趣让周轶伦开始考虑如何给予作品更多“功能性”，展厅中几乎所有作品都可供观众亲身体验，这延续了周轶伦以往作品中的滑稽、怪诞和玩世不恭，戏谑着消费文化的同时，也对人们惯常思维中精致艺术品的不可触摸予以反叛。这不仅表现在使用方式上的需求满足，更将作品化为观众心理诉求和情感共鸣的载体。对商业的思考让周轶伦在与当下社会的共处中获得了建构一种去阶级化、去权威化的叙事能力。

周轶伦出生于1983年，2006年毕业于中国美术学院油画系。现生活和工作于杭州。他的作品曾于上海当代艺术馆艺术亭台、北京金杜艺术中心、Nicodim画廊（布加勒斯特，洛杉矶）、北京站台中国当代艺术机构、杭州清影当代艺术空间、北京央美术馆、美国坦帕美术馆、美国俄克拉荷马市美术馆以及瑞士IAAB项目空间等多处展出。

*周轶伦展览中所使用的地毯出自艺术家赵要为其2018北京公社个展《有神的信号，有神的信号。》，后先为艺术家梁硕个展《景区》所使用，又为艺术家周轶伦在本次展览中再利用。

Beijing Commune is currently showing Zhou Yilun’s second solo exhibition, "Stuck Inside of Mobile with the Memphis Blues Again," which consists of entirely new works that see Zhou investigating, dismantling and reassembling elements of commerciallife in a continuation of his quest to find new possibilities in “the superfluous”.

The title of the exhibition comes from the 1966 Bob Dylan song of the same name which, when he heard it with a group of young designers in 1980, inspired the 63-year-old Ettore Sottsass to form the Memphis Group of design. With an emphasis on grasping the moment of creative inspiration behind product design, the Memphis Group made use of flamboyant colors and focussed on the exercise of craft, refusing to make formal compromises in design in the name of pleasing the client.

Many of the ideals advocated by the Memphis Group – manufacture that cannot be mechanized for mass production, a rebellious way of thinking that opposes the monotonous grandeur of modernism – coincide with those of Zhou whose techniques often include making use of existing products, modifying and repackaging them, but in a casual and unrestricted fashion. Zhou tends to start from individual life and experience: everyday objects that seem to have become superfluous such as posters, abandoned toys and furniture not only form the materials of his work but also the source of his inspiration. Hot brands, trainers, famous basketball players, M&Ms – the various elements that make up the quotidian environment of the present day are repurposed in his works, albeit with little of the meaning originally ascribed to them.

R3PM3 is the name of the brand Zhou has created. His sensitivity to popular culture allows him to notice the commonalities between many famous brands; combining letters and numbers to turn an audio-visual logo into a visual-cultural language that transmits specific information. The brand is a product of the modern economy, the name of which itself need not have any meaning, its application blurring the boundary between the hand-made work of art, of which only a limited number aremade, and the mass-produced commodity. The work Zhou has made in collaboration with JNBYHOME, a Hangzhou-based design company, mimics popular marketing techniques of the internet economy – joint ventures between brands that span sectors. Even his use of bright colors with high saturation levels finds its origins in thesports brands most enthusiastic about promoting joint-venture products. It is this intense visual embellishment coupled with the quality of “fast-paced” living that most captures the spirit of our commercial society.

This exhibition can be seen as the result of Zhou developing the ideas first seen in his "Marie Montana" exhibition. His recent interest in furniture has led him to consider how to endow his work with “functionality”. Almost all of the works in the exhibition offer their viewers a chance to interact with and experience them, which is a continuation of the humor, absurdity and playful irreverence of Zhou’s earlier work. As well as mocking consumerist culture, he also rails against the common idea that works of art are to be admired from a deferential distance.This is evident in the way his pieces satisfy the requirement for usability, but even more so in the fact that he has made work that speaks to its audience’s psychological needs as well as acting as objects of emotional resonance. Zhou’s reflections on commerce and his commitment to finding a way of coexisting with contemporary society has allowed him to acquire the ability to construct a narrative in which there is no place for class or authority.

Zhou Yilun was born in 1983 and graduated with a bachelor’s degree from the Oil Painting Department of China Academy of Art, in 2006. He currently lives and works in Hangzhou. His work has been shown at MOCA Pavilion (Shanghai), KWM Art Center (Beijing), Nicodim Gallery (Bucharest, LA), Platform China (Beijing), Inna Contemporary Art Space (Hangzhou), Yang Art Museum (Beijing), the Tampa Museum of Art (Tampa), the Oklahoma City Museum of Art (Oklahoma), the IAAB project space (Basel), and more.

*All the carpets in this show are adapted from Zhao Yao’s 2018 solo exhibition at Beijing Commume, “Signals from Heaven, Signals from Heaven.”, which was then reused in Liang Shuo’s solo exhibition “Scenery” before being repurposed again in this exhibition.

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