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#CYE
不再具备如 “85新潮”、“青春残酷”、“卡通一代”等艺术群体所带有的明显谱系与群体性，90甚至00后艺术家一定程度被视为断裂的一代。“断裂”既是艺术上的，也是时代和社会的（崔灿灿谈98后艺术群体）。二者共同塑造当下艺术世界去中心、去范式化后纷繁复杂的语境。相较于生长于特殊历史时期的艺术家群体，基于互联网技术下、由大数据与图像屏共同编织的节点式生命成为当下新的生活现实 。以媒介技术构建起的拟像世界一面打破现实与虚拟的边界，重塑有关日常生活展开的多维可能，一面则引发存在者于此间展开的关于未来生命存在与文明演变的乌托邦或反乌托邦幻想。在周贯羽的数字作品中，幻想以前所未有的“逼真”方式降临。
No longer possessing the obvious genealogy and group nature of art groups such as the "85 New Wave", "Youthful Cruelty", "Cartoon Generation", etc., post-90s and even post-00s artists are to a certain extent regarded as a fractured generation. The post-1990s and even post-00s artists are to some extent regarded as a fractured generation. The "rupture" is not only artistic, but also contemporary and social. The two together shape the complex context of the art world after the de-centring and de-paradigmisation of the current art world. Compared to the artists who grew up in a special historical period, the node-like life based on Internet technology, woven by big data and image screens, has become a new reality of life nowadays. The mimetic world constructed by media technology breaks the boundary between reality and virtual reality, reshaping the multi-dimensional possibilities of daily life, and triggering utopian or anti-utopian fantasies about the future existence of life and the evolution of civilisation in this world. In Zhou Guan Yu's digital works, fantasies come to life in an unprecedentedly "realistic" way.
Zhou Guanyu “Welcome to Memphis" Metaverse Digital Art
Zhou Guanyu “Worship" Metaverse Digital Art
Zhou Guanyu “Worship" Metaverse Digital Art
“以人体之形筑成围墙,轨道铺设在半空之上,当列车进站，雨水和火星在雾霭中碰撞，以‘方尖碑’命名的月台，‘崇拜’是一切的终点站。”
"Walled in the shape of the human body, tracks laid in mid-air, rain and sparks colliding in the mist as the train enters the station, platforms named after ‘obelisks’, ‘worship’ is the end of everything. "
Zhou Guanyu “Desire" Metaverse Digital Art
Zhou Guanyu “Subjugate" Metaverse Digital Art
Zhou Guanyu “Hypnotherapy" Metaverse Digital Art这些画面令人联想到《沙丘》里的巨型飞船、异兽，以及谏山创笔下《进击的巨人》的巨人闯进城墙时带来的震撼、压迫。在周贯羽的作品中，重新唤起了这个震撼的存档点，他们巨大、冷漠、抽离，宛如被巨人凝视，让人不由得产生崇高和恐惧的矛盾心理。
These images are reminiscent of the giant airships and alien beasts in Dune, as well as the shock and oppression brought about when the giants of Attack on Titan by Tron Isayama broke into the city walls. In Zhou Guan Yu's works, this shocking archive is revived, they are huge, cold and withdrawn, like being gazed at by giants, and one can't help but feel the ambivalence of sublimity and fear.
Zhou Guanyu “A rainy day" Metaverse Digital Art
Zhou Guanyu “A rainy day" Metaverse Digital Art
“《一个雨天》描绘了我在创作中遇到的瓶颈，就像是漫长的雨，浙淅沥沥打湿了情绪,打湿了一个又一个闭上眼睛也能看见焦虑的夜晚。后来雨还在下，可我不再勉强，原来所有的雨都是同一场,我不简陋，我也不局促，我把自己完全交给这个雨天。”有些人能感受雨，而其他人只是被淋湿。
"<A Rainy Day>depicts the bottleneck I encountered in my creative work, like a long rain, which dampened my emotions, and dampened one night after another when I closed my eyes and saw anxiety. Later the rain is still falling, but I am no longer forced, it turns out that all the rain is the same, I'm not simple, I am not limited, I give myself completely to this rainy day." Some people can feel the rain, while others just get drenched.
Zhou Guanyu “Utopia" Metaverse Digital ArtZhou Guanyu “Utopia" Metaverse Digital Art“乌托比亚”，一座来自未来的遗迹。通天的塔身由巨大的石块堆砌而成，精美繁复的纹样如同文字一样记录在石块表面，其上的人面石像双眼闪烁着微妙的紫光，仿佛在凝视着远方的什么，又好像在诉说些什么。我们无法理解这片建筑想要传递什么样的信息，也没有人知道这片建筑起源于什么文明，甚至连它所处的时间线都无从知晓。只有“未来遗迹”这个矛盾的词汇可以将它形容。
"Utopia", a relic from the future. The tower is made of huge blocks of stone, with beautifully intricate patterns recorded on the surface like writing, and the sphinx on top of it has eyes that glow with a subtle violet light, as if it is gazing at something in the distance, or as if it is saying something. It is impossible to understand what kind of message this structure is trying to convey, and no one knows what civilisation this structure originated from, or even what timeline it is in. Only the paradoxical term "relic of the future" can describe it.
Zhou Guanyu “Mr Gemstone" Metaverse Digital Art
Zhou Guanyu “Elk Forest” Metaverse Digital Art
Zhou Guanyu“Jellyfish Forest” Metaverse Digital Art
Q：你希望观者在你的作品中获得什么|你希望观者如何观看你的作品？A：希望我的作品可以为观者创造一个值得反复品味的存档点，但我更希望我的作品是一面带有情绪的镜子，这样就能唤起观者的记忆，从他们彼时的回忆里获得似曾相识的感受。如果你欣赏我的作品，那么同时你也在欣赏你自己。A：创作对我而言更像是一个出口，一个表达情绪的通道。一个作品完成之后就像一颗凝结的琥珀，凝固了我当时的感受。也许在多年以后，当我再看到我曾经的创作，我可以还原出当年的自己。A：身为Z世代的我很多时候会从电影，音乐，游戏中汲取灵感，就像我在为费加罗风尚盛典创作《乌托比亚》数字艺术作品时，一直在听Travis Scott的专辑，从他的音乐制作中我感受到一种宏大且空旷的落寞感，由此带给我打造“乌托比亚”这一未来遗迹的灵感。某些时刻我会感觉到生活在给我什么暗示，我也会把这种直觉作为启发添加到创作之中。当然生活是最好的参考，所以还是要多多体验生活，不好太宅，这一点我也在为之努力……A：有些时刻，身为创作者，我可以在作品中提出问题，但却无法切实解决问题。可这并不意味着“问题”不重要，总会有因为遇见某一作品后意识到问题所在，并且有能力解决的人存在，我相信这样的事。A：《正常人》萨利·鲁尼；《情人》玛格丽特·杜拉斯；《夏日终曲》安德烈·艾席蒙；《起风了》堀辰雄；《捕梦艺术》安德烈娅·阿尔文
心心念念的卤肉饭，闭店前最后一吃，仿佛回到大学时光。
I've been longing for the Braised Pork Rice, and I felt like I was back in my college days when I had one last bite before the shop closed.
I was fascinated by the works I admired most at the West Bund Museum of Art last year.
A corner of the studio to quiet my restless soul.
I really like this gift that I received.
翻出小学时临摹鸟山明老师的画，回忆翻涌。愿天国如你所绘。Memories of copying Mr Akira Toriyama's drawings from primary schools came flooding back. May the Kingdom of Heaven be as you painted it.
周贯羽
展览
2023 阳澄湖半岛 《异度旅途》个展 苏州 / 2023 侨城坊大屏 《破界回响》群展 深圳 /2023 费加罗风尚趋势盛典 《灵感·未来》线上联展
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