正在展出｜北京公社正在展出周轶伦个展《异教徒》

异教徒 Till I Believe

周轶伦 Zhou Yilun

展期：2022年3月19日-2022年5月4日

从一方面来看，本次展出的部分画作的创作方式与湿壁画的技法——多层与快速地涂抹高度类似，而在另一方面，正如覆盖本身会让图像与符号既协调又缠绕，周轶伦的画作也在与某种图像叙事的本质相悖。具体而言，他的创作路径不仅意味着需要不时地从荆棘遍野的信仰漩涡中抽身，也标明了这里面的潜在使命——让诸多似曾相识的图像脱离它们的原始语境后被再度转译。换句话说，当古典绘画的临摹版本与现代消费文化中的新元素被摄于同一空间内，当传统的透视法成为了重构的纯粹工具，一场既超然于威严感但也不给泛滥下定义的自我表达也由此被铺开。

覆盖的人性 _ Humanity Underneath

“终其一生，我们都不过是摸象的盲人，或是在错误的方向寻找钥匙，只因为路的这边光线更亮。”

The Pirahãs made me question concepts of truth that I had long adhered to and lived by. The questioning of my faith in God, coupled with life among the Pirahãs, led me to question what is perhaps an even more fundamental component of modern thought. 

—— 

Daniel L. Everett, Don’t Sleep, There Are Snakes (2008)

While Suffocating in the unbridgeable gap between our longing for faiths and the extreme countercharges that the former returns with, being “heathens” seems to, at its highest stake, resolve the mental crisis that is borne out of the loss of meaning. It is undeniable that, as much as heathens fully embark on hedonistic rituals, they are constantly excluded by main religious beliefs to varying extents. As Zhou Yilun’s third solo exhibition at Beijing Commune, “Till I believe” not only represents how classic and kitsch intertwine with each other on his paintings but also demonstrates his latest artistic trajectory that makes the escape from mainstream cultural semiotics possible.

On the one hand, parts of the paintings are produced in a means much similar to the classic Fresco, which highly demands layered and fast-paced painting techniques. Whereas on the other hand, as layering itself may lead various images towards a paralleled yet intertwined relationship, Zhou Yilun’s works are also pointing at a seemingly contradictory narrative. To be more precise, his trajectory not only showcases a withdrawal from the spiritual realm where confusions and obstacles arise but also indicates his potential mission, that is, to constantly translate and reconstruct the cultural semiotics, which is dwelling on the verge of disintegration themselves. It is precisely due to this fact that those paintings made after the classical ones could cope well with the trending elements layered on top of them, that which are widely distributed in the light of consumerism. As the traditional perspective functions as the pure agency, Zhou Yilun’s trajectory turns out to be an act that is neither attempting to overlook classic nor to redefine kitsch. 

In the exhibition hall designed by Zhou Yilun himself, the paintings hung in the dim light simulate those in the European chapels. Such a distinguishable contrast between lightness and darkness does not simply respond to the artist’s distant yet intimate interrelation with classical images but rather awakes in the spectators a new way of looking which is departed from the disciplined one often applied in white boxes. As much as the dominating and collective beliefs intend to eliminate the individual’s initiative longings, Zhou Yilun’s works seem to find their way out through the layered diversity and multiplicity. Positively speaking, the values that are devoid of meanings give rise to the production of new contexts. As much as darkness does not merely lead to depression, where the lights point at is never the only one direction. 

We are all too often the three blind men describing an elephant; or the man who looks on the wrong side of the road for his keys, simply because the light is better there. 

—— 

Daniel L. Everett, Don’t Sleep, There Are Snakes (2008)

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。他的作品曾于广东和美术馆（2022）、 阿那亚艺术中心（2021）、山中天艺术中心（2021）、ROOM6X8、上海油罐艺术中心（2019）、南京四方美术馆、上海当代艺术馆艺术亭台（2018）、北京金杜艺术中心（2018）、Nicodim画廊、北京站台中国当代艺术机构、杭州清影当代艺术空间、北京央美美术馆（2016）、成都蓝顶美术馆（2015）、佩斯画廊（2014）、美国坦帕美术馆（2015）、美国橘郡艺术博物馆（2015）、美国圣彼得堡美术馆（2014）以及瑞士IAAB项目空间（2012）等多处展出。

Zhou Yilun (b. 1983) graduated with a BFA 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 He Art Museum (Guangdong), Wind H Art Center (Beijing), ROOM6X8, TANK Shanghai, Sifang Art Museum (Nanjing), Museum of Contemporary Art (Shanghai), KWM Art Center (Beijing), Nicodim Gallery (Bucharest, LA), Platform China (Beijing), Inna Contemporary Art Space (Hangzhou), Yang Art Museum (Beijing), Art Museum of Nanjing University of the Arts (Nanjing), Chengdu Blue Roof Art Museum (Chengdu), Pace Gallery (Beijing), the Tampa Museum of Art (Tampa), Museum of Fine Arts (St. Petersburg, Florida), the Oklahoma City Museum of Art (Oklahoma), Orange County Museum of Art (New Beach, California), the IAAB project space (Basel), Kunstverein Museum (Germany) and more.

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