站臺中國當(dāng)代藝術(shù)機(jī)構(gòu)于4月15日在A展廳開幕代洲個(gè)展《自然劇場II》，將呈現(xiàn)藝術(shù)家延續(xù)2022年首次個(gè)展《自然劇場》后的最新創(chuàng)作。

“我喜歡充滿想象力的畫面。我的畫都是在我構(gòu)建的劇場里上演安排好的情節(jié)，比如白天也會有月亮，暴雨讓人睜不開眼，但月亮還是清晰可見。”

——代洲

代洲將畫面的構(gòu)想形容為“一小段時(shí)間”。時(shí)間給了敘事展開的余地，同時(shí)也將劇情推向不確定的等待，意圖在有限的空間里面提供更多的信息。此次展覽似乎是關(guān)于馬孔多的敘事。湖泊、月亮、夜空、海灘，這些莫須有的風(fēng)景出現(xiàn)在這片虛構(gòu)的異鄉(xiāng)，孤寂而又浪漫。它們在無形的指引中輪番登場。我們不知道這些馬匹和騎手來自哪里，將去往何處。他們在或輕薄或厚重的雨絲密林中穿過，各懷心事，曖昧不明，甚至逐漸消匿于風(fēng)景之中。他們像一處偶然的情節(jié)，在此發(fā)生，也將敘事遺失在此。

想象之外，源于生活在繪畫中的彌漫，代洲和女友在上海愚園路的百年老建筑中經(jīng)營了一家古著店。對代洲而言，古著作為一種美學(xué)風(fēng)尚，所有的異域文化都是開放的，不帶來任何負(fù)擔(dān)。融合、接納、內(nèi)化是他處理外部世界的方式。代洲會把經(jīng)驗(yàn)與直覺化入到繪畫當(dāng)中，允許藝術(shù)家在當(dāng)下進(jìn)入不同時(shí)空的異地他鄉(xiāng)。他觀察到，不同地理緯度所呈現(xiàn)出光的顏色也會逐漸變化。這給了他強(qiáng)烈的視覺刺激，也同時(shí)為創(chuàng)作提供了更多形式與想象。

代洲的創(chuàng)作依托于主題的主動選擇。在社交媒體的大量搜索后，一定有特別吸引他的內(nèi)容反復(fù)出現(xiàn)，可能是一棵樹，一條線或者一個(gè)形狀。它們構(gòu)成了選擇和趣味。例如代洲對馬感興趣，但是他既沒有騎馬的愛好，也不會騎馬。他關(guān)注的不是馬術(shù)，而是“騎馬的人”。人有自己的想法，馬也有自己的想法。他們好像是一個(gè)整體，但又分開，自己想自己的事情。

而這種自我的彰顯同樣是一種枷鎖。對代洲而言，馬是被束縛住的。當(dāng)裝飾性的東西畫得特別多，例如韁繩，馬鞍出現(xiàn)的時(shí)候，它就被結(jié)實(shí)的捆了起來。就像人用各種裝飾性的東西修飾自己，形成個(gè)性，但是又被這些東西牢牢捆住。當(dāng)試圖擺脫一些既有聯(lián)結(jié)時(shí)，為了證明不同而披上的外部標(biāo)簽，同樣帶來新的約束，這是一個(gè)循環(huán)。我們沒法擺脫關(guān)系的存在，關(guān)系本身才是永恒。

在面對一個(gè)有機(jī)的組合時(shí)，我們總是下意識的尋找其中的關(guān)聯(lián)，相信是共性使群體結(jié)合，一定有根細(xì)細(xì)的線在一以貫之。但在代洲的繪畫中，他卻總是試圖把一切組合拆分。馬和人并不同心，月亮與天空也各自分離，每一位出現(xiàn)的演員都是獨(dú)立的個(gè)體，它們只是拼湊在一起，并沒有強(qiáng)烈的共性，似乎都各懷心事。而這也正是當(dāng)下時(shí)代的人的選擇：個(gè)體的聲量逐漸放大，群體的必要性日益降低，也可能是一種新的共識。

如果說風(fēng)景畫里的風(fēng)景是被觀看的，那么在代洲的繪畫中，風(fēng)景反而是觀看其他角色的主體，成為了一個(gè)旁觀者。藝術(shù)家為我們構(gòu)建了一個(gè)私密的劇場，自然不再獨(dú)立發(fā)生，而歸屬于人為的選擇。就像畫面中從不落幕的月亮，它不受外界影響，不會發(fā)生大的改變，似乎在觀察下方的一切。它像一個(gè)符號，也像電影《楚門的世界》里只在楚門頭頂上落下的雨。甚至月亮自身只是一小束光，卻在波紋上有著巨大的投影，以至于把湖面上的東西都給遮蓋住了。

“我在夜晚里找到屬于我的珍貴顏色”，代洲在去年的個(gè)展《自然劇場》時(shí)曾如此表述，而他在《自然劇場II》中則將“夜晚”帶到了城市邊緣。源于生活的自然和虛構(gòu)的文學(xué)異鄉(xiāng)在此交匯，劇目也將藝術(shù)家以個(gè)人為主體的敘事陸續(xù)剝離，在拾級而上的想象空間中探索出新的土地與秩序。正如代洲所說：“一種生活在劇場中的人與自然。一切都是安排好的，我更喜歡靜默中的力量”。

文 / 于暢

English Version

Platform China Contemporary Art Institute will open Dai Zhou's solo exhibition "Natural Theater II" on April 15 at Exhibition Space A, which will present the artist's recent works after his first solo exhibition "Natural Theater" in 2022.

"I like pictures full of imagination. My paintings are all staged in the theater I built. For example, there is moon during the daytime, heavy rain makes people hard to open eyes, but the moon is still clearly visible."

Dai Zhou

Dai Zhou described the conception of his picture as "a short period of time". Time gives room for the narrative to unfold, at the same time pushes the plot to an uncertain wait, intending to provide more information in the limited space. This exhibition seems to be about Macondo’s narrative. Lake, moon, night sky, beach, these unrealistic scenery appear in this fictional foreign land, lonely but romantic. They appear in turn under invisible guidance. We don't know where the horses and riders came from or where they are going. They pass through the thin or thick rain forest, each with their own thoughts, ambiguous, even gradually disappear into the landscape. Like an accidental plot, they happen at here, the narrative is also lost at here.

Beyond the imagination, derived from the pervasiveness of life in painting, Dai Zhou and his girlfriend ran a vintage clothing boutique in a century-old building on Yuyuan Road in Shanghai. For Dai Zhou, vintage clothes are an aesthetic styling, all exotic cultures are open without any burden. Integration, acceptance, and internalization are his ways to dealing with the external world. Dai Zhou will incorporate experience and intuition into his paintings, allowing the artist to enter different time and space in elsewhere. He observed that the color of light presented by different geographical latitudes also gradually changes. It gives him strong visual stimulation, and at the same time provides more forms and imagination for creation.

Dai Zhou’s works depend on initiative choice of themes. After amount of searching on social media, there must be something that particularly appeals to him repeatedly, maybe a tree, a line or a shape. They constitute choice and taste. For example, Dai Zhou is interested in horses, but he neither has a hobby nor knows how to ride a horse. His focus was not on equestrian, but on "the man who rode the horse." People have their own ideas, and horses also have their own ideas. They seem to be a whole, but they are separated, thinking about their own things.

And this self-expression is also a kind of shackles. In Dai Zhou’s perspective, the horse is bound. When decorative things such as bridles and saddles appear, it is firmly tied up. Just like people decorate themselves with various accessories to form their personality, but also firmly bound by these things. When trying to get rid of some existing connections, the external labels put on to prove the difference also bring new constraints, which is a cycle. We cannot get rid of the existence of relationship, the relationship itself is eternal.

When faced with an organic combination, we always subconsciously look for the connection among them, believing that it is the commonality that makes the group unite, and there must be a thin thread running through it. But in Dai Zhou's paintings, he always tries to separate all combinations. Horse and its rider are not have tacit agreement, the moon and the sky are also separate, each actor who appears is an independent individual, they are just put together, there is no strong commonality, and they seem to have their own thoughts. And this is exactly the choice of people in the current era: the voice of the individual is gradually enlarged, and the necessity of the group is gradually reduced, which may also be a new consensus.

If the landscape in landscape paintings is viewed, then in Dai Zhou's paintings, the landscape is the subject of watching protagonists, it becomes a spectator. The artist constructs a private theater for us, where nature no longer happens independently, but belongs to human choice. Just like the everlasting crescent in the picture, it is not affected by the outside world and will not undergo major changes. It seems to be observing everything below. It is like a symbol, and also like the rain that only falls on Truman's head in the movie "The Truman Show". Even the moon itself, which is only a small beam of light, but has such a huge shadow on the ripples that it obscures everything on the surface of the lake.

"I find my precious color at night.” Dai Zhou expressed it in his solo exhibition "Natural Theater" last year, and he brought "night" to the edge of the city in "Natural Theater II". The nature from life and the fictional foreign land of literature intersect here, and the play bill also strips off the artist's personal narration one after another, exploring fresh land and order in the imaginary space and climbs up the stairs. As Dai Zhou said: “This is a kind of human and nature living in a theater. Everything is arranged, and I prefer the power in silence”.

By Yu Chang

藝術(shù)家簡介

About Artist

代洲，1991年出生于遼寧沈陽，現(xiàn)工作生活于上海。“夜“與“自然“是代洲筆下反復(fù)出現(xiàn)的主題，也體現(xiàn)著他在繪畫語言層面的探索。平面色塊的堆疊構(gòu)造出縱深的、可感知的心理空間，濃郁的情愫收斂于含蓄的筆觸與深暗調(diào)的色彩。源于生活的自然和虛構(gòu)的文學(xué)異鄉(xiāng)在此交匯，藝術(shù)家在拾級而上的想象空間中逐漸探索出新的土地與秩序。“這是一種生活在劇場中的人與自然。一切都是安排好的，我更喜歡靜默中的力量”。

個(gè)展：“自然劇場 II”，站臺中國A展廳，北京（2023）；“自然劇場”，站臺中國-dRoom空間，北京（2022）。

Dai Zhou was born in Shenyang in 1991, currently lives and work in Shanghai. "Night" and "Nature" are recurring themes in Daizhou's paintings, which also reflect his exploration of painting language. The stacked plane blocks construct a deep and perceptible psychological space, the strong emotions converge in the subtle brushstrokes and dark colors. The nature from life and the fictional foreign land of literature intersect here, exploring fresh land and order in the imaginary space and climbs up the stairs. “This is a kind of human and nature living in a theater. Everything is arranged, and I prefer the power in silence”.

Solo exhibitions: "Nature Theater II", Platform China - Exhibition Space A (Beijing，2023); "Nature Theater", Platform China - dRoom Space (Beijing，2022).