正在展出｜北京公社正在展出周轶伦个展《SANLIANZMK》

北京公社欣然呈现艺术家周轶伦在北京公社的第四次个人项目“SANLIANZMK”， 展出艺术家近期创作的一系列绘画，雕塑和装置作品。展览名称取自艺术家创作中常使用的建筑模板上印刷的意义不明的英文字母。这些文字往往就没有什么指向意义，却在组合中达到字体排印学（typography）上的美感。这类字母图案被大量运用于日常消费品中，它们或是随机单词或是任意字母的组合。艺术家作品中处处是熟悉而又陌生的图像，混乱中映射出趋于同质的表面下的复杂机制和动态。看似散漫古怪，周轶伦的作品试图重新审视自身和外部、秩序和混乱、意义和行动、日常和艺术之间的关系。

昏暗的小路往前几步，门中透出温暖光线，从这里感觉几乎是挤进了另一条挨着围墙的狭窄小路。临时的大厅里错落地摆放着四间屋子，这些低矮的房间似乎都拥有不受影响的视野能够看到俯瞰这些棚屋的舞台。这只是个美好的假想。如果观众走进那间最大的一室一厅，会发现没有窗户正对着舞台。但至少可以反过来说：列队在舞台上那些古怪的雕塑好像可以一览无余地看到下面的景象。

恰当却又含糊的总结 _ The vague expression aptly sums up???????

在很长的一段时间里 _ After generations

图像与眼睛游戏。虽然仍旧可以通过出处（provenance）来标定一些价值，譬如此次展览中，外表相似的墙上灯具，其中有的出自夏洛特·佩里昂之手；被挤压的维纳斯来自于艺术家在一个浙江雕塑厂得到的一张因多次翻模而被弃置硅胶模具。这个揭露似乎也不会让人感到丝毫的意外，当前者作为设计而后者作为复制。然而在周轶伦的游戏里，设计被融进温暖的灯光里、复制被烤漆和聚氨酯作为颜料色块重新生产；大理石图案和木质图案的出处——材料本身——也可以被省略；材料图案可以做装饰性地贴，壁画图案可以做装饰性墙贴。唯待是为观看、感觉、生活作见证。

Beijing Commune is pleased to present “SANLIANZMK”, Zhou Yilun's fourth solo exhibition with the gallery, featuring a series of the artist's recent paintings, sculptures, and installations. The exhibition title is borrowed from the inexplicable English letters on the water shield of the construction boards often employed by Zhou in his art practice. Devoid of literal meanings, repetitive groups of letters lead to a typographic beauty. In the form of unmeaning words or random combinations of letters, these patterns are extensively incorporated into everyday consumer products. Familiar yet estranged forms prevail in the artist’s work, shedding light on the complex mechanisms and dynamics underneath the homogeneous spectacles. Seemingly desultory and eccentric, Zhou’s work reexamines the relationship between the subject and the surroundings, order and chaos, concepts and practices, and life and art.

Three steps down the dim lane emit faint light from the door through which visitors can squeeze themselves into another narrow trail under the corrugated panel. Four low-rises, casually arranged in the makeshift hall, all seem to have an unimpaired view of the stage on high overlooking the almost shanty town. It would be a wishful thinking. If the viewer ventures into the two-room cabin, they will find no window facing the stage. Yet it is at least plausible to say the reverse: the eccentric sculptures arrayed on the stage have the all-seeing eye into the audience.  

Though simply structured with sometimes readymade tripods and plant stands, the sculptures are often lopsided and tilted, chiming in with the mishmash of colors and textures. Some in gaudy wigs and sunglasses, their faces, realistically molded or abstractly executed in a childlike manner, appear less as body parts than carnivalesque masks. However, they barely interact with each other, nor with the viewer. A Parthenon-like expressionlessness bizarrely emerges along the way where the viewer meets all the vacuous eyes—if any—on the life-sized marionette-like figures. It is not a cynical or nihilistic statement mocking the ideal beauty when Zhou refers to these seemingly crude structures as emulation of classical sculpture, but a delirious dream to join. Zhou imagines the sculptures in the Acropolis degrading and evolving, while the cultural-shaping mythologies are strangers to his obsession with the form. In the same vein, the titles of the works in this presentation are randomly taken from a book, the poetic words that spark imagery rather than endow personalities.

信念与怀疑 _ Belief and doubt

Floating on the front layer, dissolving in the middle or inlaid in the back layer, familiar figures of religious icons, modern-day celebrities, and, more recently, cartoon characters are set in an estranged relationship with the often mottled and smudged backgrounds in Zhou’s painting oeuvre. For the artist, the figural ones perform almost identically as the geometric forms and ornamental patterns superimposed on or displayed next to them, creating spatial oddity on the canvas and board. In extreme cases, Zhou leaves hole cutouts on the canvas in blank yet visually mesmerizing. When attention is driven away by means of careless figure accumulations, it recalls the wry remark on the notion of the referential in discussions of iconoclasm. For the artist, the eye is keen with forms, figural or abstract: in the doorway, the hemisphere window, emblematic of the desire of seeing, resonates tacitly with the blue plate on the elusive canvas. Keen forms appear in his work in more random ways: drips and splashes of paint, or even existing signs and marks on scavenged boards and tarps.

It is a game between forms and the eye. Nevertheless, significance can be traced through the idea of provenance. For instance, among the similar-looking wall lamps in this exhibition, two are by Charlotte Perriand; the distorted Venus takes shape from a used and discarded silicone mold that the artist collected at a sculpture factory in Zhejiang Province. The fact that they are from these two places seems to be no surprise when it comes to the current discrepancy between design and reproduction–features that are yet blurred in Zhou’s work when the works randomly punctuate his playful rhythms of form. Images of marble, wood, and tile flooring unsubscribe the visual patterns from the material; religious and landscape paintings appear as mural wallpaper, as both objects and witnesses of seeing, feeling, inhabitation.

周轶伦1983年出生于浙江杭州，2006年毕业于中国美术学院油画系第四工作室，现工作生活于杭州。周轶伦的创作实践常常围绕对看似冗余的日常物品—从网络图片到装饰品和家具—的重新创造。他的作品通常以不经意和无所限的方式，展开符号和图像的戏仿游戏，探寻媒介自身的潜力。通过对形式和内容之间关系的否定、颠覆和重组，他试图重新审视被所谓现代性笼罩的生产形式。

周轶伦个展曾举办于上海复星艺术中心，北京公社，上海Cc基金会&艺术中心，上海星美术馆等。他的作品曾在上海复星艺术中心，昆明当代美术馆，广东和美术馆，阿那亚艺术中心，上海油罐艺术中心，美国加州橘郡艺术博物馆，美国圣彼得美术馆，美国坦帕美术馆，美国俄克拉荷马市美术馆，瑞士IAAB项目空间，德国Kunstverein美术馆等多处展出。

Zhou Yilun was born in 1983 in Hangzhou, China. He graduated from the Oil Painting Department of China Academy of Art in 2006. He currently lives and works in Hangzhou. Zhou’s practice often includes remaking everyday objects that seem superfluous - from internet pictures to decorative gadgets and furniture. In a lighthearted and unrestricted manner, his work is often a parody of symbols and images in which the artist critically explores the potency of the medium. Through dismissing, upsetting, and improvising the relationships between forms and contents, he reexamines forms of production overarched by the monolith of modernism. 

Zhou Yilun’s solo exhibitions were presented at Fosun Foundation (Shanghai), Beijing Commune (Beijing), Cc Foundation & Art Centre (Shanghai), Start Museum (Shanghai), etc. His works were exhibited at Start Museum (Shanghai), Contemporary Gallery Kunming (Kunming), He Art Museum (Guangdong), Aranya Art Center (Baidaihe), TANK (Shanghai), Orange County Museum of Art (California), Museum of Fine Arts (Florida), Tampa Museum of Art (Florida), Oklahoma City Museum of Art (Oklahoma), the IAAB project space (Basel), Kunstverein Museum (Germany) and more.

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