ACENTRICSPACE七月新展
朱家角艺术档案计划
周云侠个展
抬头望天，低头劳作
策展团队：不急宇宙
开幕时间：2023年7月15日（周六）下午4点
展览时期：2023年7月16日 – 8月15日
关于朱家角艺术档案计划
朱家角艺术档案计划是由不急宇宙和ACENTRICSPACE联合发起的一次朱家角人文梳理计划，致力于朱家角接近三十年来自发形成的艺术社区调研，探讨，梳理与呈现。
ACENTRICSPACE July Upcoming Exhibition
Zhujiajiao Art Archive Project
Zhou Yunxia Solo Exhibition
Overlooking Sky, Dedicating Labor
Curatorial Team: BUJISM
Opening: July 15th (Saturday) 16:00, 2023
Duration: July 16th to August 15th, 2023
About Zhujiajiao Art Archive Project
The Zhujiajiao Art Archive Project is a Zhujiajiao art and culture research project initiated by BUJISM and ACENTRICSPACE. It is dedicated to the research, discussion, organization, and presentation of the artist community that has been spontaneously formed in Zhujiajiao for nearly 30 years.
展览导语 Introduction
说来惭愧，我们绝非第一个尝试以书写的方式来介绍周云侠的人，对于全面介绍周云侠在创作中执着的生命状态我们并没有把握。作为晚辈、同行和社区邻里，我们仅仅尝试着饱含尊重的提供一些新的视角，在时间的绵延中使其形象更加立体化，而这些文字本身无非是凤毛麟角的一些侧面。可我们仍相信，也只能相信，在今日艺术市场体系逐渐固化之下，重新拾起一个个体在生命实践中那诸多未被表彰的闪光点，是对艺术创作者，甚至说艺术之尊严的一次维护。在这里我们感谢周云侠愿意给我们提供一次阐释其人及其创作的机会，感谢他的信任与勇气！
作为第一批入驻朱家角的艺术实践者，周云侠在艺术创作中彰显着如今看来极为古典的特质，那便是对朴实劳作的赤诚。它可以说是我们这个时代的年轻创作者所极其匮乏的态度。这种特质渗透于周云侠长期以来的创作实践，无论是一块块被复杂工序繁复处理的蟾蜍皮，还是一个个穿孔组装的麻将装置，再到其创作后期的水墨与水彩。张扬果断的表现主义造型之下，依旧细腻的用胶水涂抹张贴着旧时的实事。周云侠的创作仿佛总是在尽其所能的对每一件作品负责。以时间和心绪的倾注，让每一个哪怕是尺幅极小的作品的诞生都对得起造物者的良心。然而，在朱家角社区的文化互动中，周云侠又慷慨的拿出那些工艺细节繁复的作品与大家的作品交换。至于作品的装裱和运输包装，周云侠向来自己动手解决。在这次展出作品的运输中我们仍从那厚重的箱子里感受着对生命每个细节负责的心情。
周云侠的某些作品极具在地性，他挖掘出了上海郊区创作材料中最具潜力的宝贝。“熏拉丝”曾经是青浦朱家角地区最著名的小吃之一，制作熏拉丝的小吃店随处可见，这是一种将蟾蜍去头扒皮后烟熏火烤制成的一道美味。大侠选择了当地居民制作“熏拉丝”后被大量丢弃的蟾蜍皮来进行艺术创作。这种“在地性”更多出自艺术家对于“日常生活”极为敏锐的观察和反思。他不轻信常识与逻辑，他以肉身为尺，丈量周遭的边界。
蟾蜍有毒，外表皮的泡状体和周身布满的细小孔洞，迷彩似的不规则纹路常常是蟾蜍被认为丑陋的原因，但就是这被惯性符号化了的“丑陋”与“毒性”，在周云侠的创作中却造就了别具一格的美学范式。他在材料的价值转换上的直觉是敏锐的，一针见血的。这种洞见穿透了自然物质与人造文化的壁垒，他把原始皮囊的神话隐喻缝于“时尚”之上。服装本就是人的第二层皮肤，社会角色认同的皮肤。他却将蟾蜍皮缝制成了一件连衣裙，裙子的样式参考了欧洲的宫廷服装。在这里豪华与尊贵，阴沟、市井与低下被合并成了新的讽喻的综合体。这种创作的方法在周云侠的创作中并不少见。在很多的作品中，它利用符号、材料的转换与重组，带出了宗教起源的神秘感和原始生命的冲击力。几年前“禁食令”颁布，蟾蜍变成了被禁食的野味。周云侠的这批作品被赋予了记录历史的现实意义，成了独特且永恒的符号。
周云侠对创作的每一个“物”都尽心尽责，饶有兴趣的活着。田中的蛇虫鼠蚁即是玩伴、对手，也有可能成为全新的创作源泉。随着年龄的增长，他身上的探索精神没有丝毫的减退迹象，画水墨、玩行为、做装置、刻木雕、弄拼贴……在艺术创作的探索上从不画地为牢，固步自封。他曾说：“我每天画画，但那已经成为最不重要的事儿了”。
无论时代浪潮往前奔走的速度有多快。总会有像大侠这样的人，日复一日的，审视却热爱生活。日复一日的，抬头看天，低头劳作。
Embarrassed to say, we are certainly not the first to try to introduce Zhou Yunxia in an article, and we are not definite about fully introducing Zhou’s persistent life of art practicing state in creation. As juniors, and neighbors in the same community and industry, we are only trying to provide some new perspectives respectfully, making its image more vivid in the continuation of time, and these words themselves are nothing more than some rare aspects. But we still believe, and we could only have faith, that under the gradual solidification of today’s art market system, it is a tribute to the many unrecognized highlights in the life practice of many individuals. It is a preservation of the dignity of artists and art itself. Here we thank Zhou for offering us an opportunity to explain him and his practice and for his trust and courage!
As the first group of artists to settle in Zhujiajiao, Zhou demonstrated in his practice what is a very classical characteristic today, that is, the sincerity of honest labor. It can be said to be an attitude that is sorely lacking among young artists of our time. This characteristic permeates Zhou’s long-term practice, whether it is a piece of toad skin that has been handled with complicated processes, or a mahjong installation assembled with perforations, and then to the Chinese ink and watercolor in the later stage of his practice. Under expressive and decisive expressionist visual, newspapers from the past are still delicately pasted with glue. Zhou’s practice always does his best to be responsible for each work. With the devotion of time and heart, the birth of every piece, even if it is extremely small, is worthy of the conscience of the artist. However, during the cultural interaction in the Zhujiajiao community, Zhou generously took out those works with complicated craftsmanship and exchanged them with everyone’s works. As for the framing and transport packaging of the works, Zhou has always solved them with his own hands. During the transportation of the exhibited works, he still senses the feeling of being responsible for every detail of life from the heavy wooden boxes.
Some of Zhou’s works are also very location-specific, and he has managed to search for the most potential treasures in the creative materials out of the suburbs of Shanghai. “Xun La Si” was one of the most famous dishes in the Qingpu, Zhujiajiao, and is very commonly served in the local deli. Zhou chose the toad skins that were skinned in large quantities after the residents made “Xun La Si” for his practice. This “location-specific” comes from the artist’s keen observation and reflection on “daily life”. He does not believe in common sense and logic. He uses his body as a ruler to measure the boundaries around him.
Toads are poisonous. The blisters on the outer skin the small holes all over the body, and the irregular patterns like camouflage are often the reasons why toads are considered ugly, however, are the “ugliness” and “toxicity” which are symbolized by inertia. Zhou created a unique aesthetic paradigm in his practice. His intuition on the value conversion of materials is keen and hits the nail on the head. This kind of insight penetrates the barriers between natural materials and artificial culture, and he sews the mythical metaphor of primitive skin on “fashion”. Clothing is a person’s second skin, the skin of social role identification. Instead, he sewed toad skin into a dress that was inspired by European court attire. Here luxury and prestige, together with gutter, vulgarity, and baseness are merged into a new allegorical complex. This method of creation is not uncommon in Zhou’s practice. In many of his works, he uses the conversion and recombination of symbols and materials to bring out the mystery of the origin of religion and the impact of primitive life. The “prohibition of eating wild animals” was enacted a few years ago, and the toad became a protected species. This series of Zhou’s works has been endowed with the practical significance of recording history and has become a unique and eternal symbol.
Zhou is dedicated to every “thing” he creates, and lives with great zest. Wild creatures in the field are his playmates and rivals, and they may also become a new source of practice. As he grows older, his spirit of exploration shows no sign of diminishing. He plays with Chinese ink, performances art, installations, woodcarvings, collages, etc. he always pushes the limit and tries to get out of his comfort zone. He once said: “I paint every day, but that has become the least important thing.”
No matter how fast the wave of the times is moving forward, there will always be people like Zhou who examine but love life, look up at the sky, and bow their heads to work, day after day.
关于艺术家 About the Artist
As educated youth who went to the rural area in 1974
Moved back to Nanjing, and work for Nanjing Food inc in 1979
Moved to Zhujiajiao and practicing since 2002
2009年“周云侠朴素生活绘画作品展”北京现代艺术基金会 比利时根特 修道院
2009年“黄花赞”朱家角古镇民宅 上海正午文化传媒
1993年作品编入“中国前卫艺术展”（该展为第一次在欧洲几大美术馆的巡回）
1999年“中国现代艺术基金会收藏展” 比利时根特修道院
2000年“肖像、人物、一对和一组” 比翼空间 上海
2007年开始与德国杜塞尔多夫SCHUEBBE画廊合作参加迈阿密巴塞尔 迈阿密
2007“上海艺术博览会”Schuebbe画廊 上海
2008年“充满希望的大地”Schuebbe画廊.罗马
2008年“MACO墨西哥”墨西哥 Schuebbe画廊
2008年“艺术莫斯科”莫斯科 Schuebbe画廊
2008年“CLRCA Puerto Rico2008”波多黎各 Schuebbe画廊
2008年“上海国际当代展”上海 Schuebbe画廊
2008年“迈阿密艺术博览会”迈阿密 Schuebbe画廊
2009年“CLRCA Puerto Rico2009”波多黎各 Schuebbe画廊
2012年“首届浦东机场当代绘画展”上海浦东机场上海证大
2012年“上海艺术博览会国际当代艺术展”上海展览中心 Schuebbe画廊
2012年“上海艺术博览会国际当代艺术展”上海罗浮紫画廊
2014年“人生路”北京 北京草场地艺术区红一号C3座
2016年“香港巴塞尔艺术博览会”Schuebbe画廊 香港
2017年“香港巴塞尔艺术博览会”Schuebbe画廊 香港
部分展览作品 Selected Works
舌尖上的呈现 Presentation on the tip of the tongue
麻将演绎-上海-3 Mahjong Deduction-Shanghai-3
宣纸水墨、丙烯 Chinese ink on rice paper, acrylic paint
布面贴蟾皮 Toad skin on canvas
《荆棘-荣耀之路》系列 Series: Thorns-Path to glory
布面贴报纸、丙烯、中国墨 Newspaper, acrylic paint, Chinese ink on canvas
关于策展团队 About the Curatorial Team
“不急宇宙”是由七位常驻上海的艺术实践者组建的艺术家组合，策划团队。其成员实践领域包括绘画、涂鸦、电影、写作、策展、批评、活动策划和艺术管理。不拘泥于传统意义上的艺术创作，不急宇宙团队的实践结合彼此的专长，以整合资源的方式尝试在上海及其周边以结合艺术创作、实践与生活理念的方式寻找当下生活中艺术之于生活最具创造力和启示意义的可能性。旗下的《不急电台》播客在近年间已在艺文领域的各大平台上初具影响力。
“BUJISM” is an artist collective as well as a curating team formed by 7 Shanghai-based artists. The practice areas of its members include painting, graffiti, film, writing, curation, criticism, event curating, and art management. Thinking out of the traditional sense of artistic creation, the practice of BUJISM amalgamates each other’s expertise, in the way of resources integration, trying to combine artistic creation, practice, and lifestyle, to search for the possibility of artistic creativity and enlightenment in life in Shanghai and its surrounding area. Its “BUJI Radio” podcast has begun gaining influence on major platforms in art and culture in recent years.
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