周栋：野生现场
Zhou Dong：Wild Scene
艺术家：周栋
策展人：张营营
时间：2024年11月24日～2025年2月16日
地点：重美术馆一层展厅1&2，三层展厅5&6
重美术馆很荣幸地推出艺术家周栋迄今最大规模个展“周栋：野生现场”。展览涵盖了他2004至2024近二十年来不同时期的代表作品，包括早期的社会现实主义绘画、抽象形态的具象绘画，以及学生时代的风景写生，素描和色粉等纸上作品。这些作品既是中国城市化发展的一种记录，也是艺术家扎根于社会现实主义题材的根基和探索绘画语言的基础。本次展览将分为“赤裸城市”、“气氛恒定的纪念碑”、“青春期&小城事件”和“原始之力”几个板块。
Gravity Art Museum is honored to present artist Zhou Dong’s latest solo exhibition, “Zhou Dong: Wild Scene”. The exhibition includes his representative works created at different periods over the past 20 years, like early social realistic paintings, and abstract figurative paintings, as well as landscape sketches, drawings, and color powder works from his school days. These works record China’s urbanization and lay a foundation for the artist to root himself in socially realistic themes and explore painting language. This exhibition includes sections of “Naked City”, “Monument with Constant Atmosphere”, “Adolescence & Small Town Events”, and “Primitive Power”.
《立春》，300x230cm，布面油画，2009
周栋的早期社会现实主义绘画，以一种近乎考古学的精准性，记录了中国城市化和全球化进程中的断裂与延续。他将目光聚焦于那些被快速发展所遗忘的最平凡的角落：杂乱无章的城乡结合部、被拆除的旧楼房、充斥着广告牌的街道、商场里熙熙攘攘的人群……。这些看似平庸的景象，犹如历史的切片，揭示了中国社会在剧烈转型过程中所经历的阵痛与迷茫。这种类型的作品在艺术史上属于直接绘画的范畴，往往具有现实的张力和写实的情结，是一种强烈的纪实性。
Zhou’s early social realistic paintings, with almost archaeological precision, recorded the cracked and continued urbanization and globalization process in China. He focused his gaze on the most ordinary corners left behind by rapid development: the chaotic urban-rural continuum, demolished old buildings, streets filled with billboards, and bustling crowds in shopping malls. These seemingly ordinary scenes, like slices of history, reveal the pains and confusion that Chinese society has experienced during the intense transformation. Such works, as direct paintings in art history, often have the tension of reality, realistic sentiment, and strong documentary ability.
《爱谁谁》，300x200cm，布面油画，2010
这些绘画笔触粗犷、色彩沉郁，同时夹杂着一些现成品的材料，充满了具体生活的细节。在构图上，既有电影般的画面，又有如全景摄影中的局部取景，明暗对比强烈也是其显著的视觉特征之一。除了基本的塑造外，表面淅淅沥沥的笔触与泼点，也为作品增添了可触摸和进入空间的可能。周栋画面中的场景往往是孤独和沉默的，是被巨型的社会齿轮不断抛向“崭新的未来”和“拆解旧叙事”的过程中暴露出的一些“赤裸生命”。艺术家对现实主义的执着，确保了他画面中的每一个事物、每一处景观都以最本真、最直接的情感描绘出来，有些还带有过程性和行动主义的特征。“速写感”，可以说是这些现实主义绘画的另一个特点，他以“速写”的方式快速记录了正在发生、凋零或消逝中的城市一隅，其中又不乏一种稳固感。
These paintings are rough in brushstroke, dark in hue, decorated by some ready-made materials, and filled with concrete details of life. Their composition integrates cinematic images and local framing in panoramic photography, with strong contrast between light and shadow as one of its prominent visual features. In addition to basic shaping, the strokes and splashes like the continuous patter of raindrops make touchability and accessibility possible. The scenes in Zhou’s paintings are often lonely and silent, revealing some “naked lives” that are constantly thrown towards a “new future” and “dismantling old narratives” by giant social gears. The artist’s persistence in realism enables each object and landscape to be described with the most authentic and direct emotion, some of which also have characteristics of process and activism. The “sketching sense” is another characteristic of these realistic paintings. He quickly recorded urban corners that are happening, withering, or disappearing in a stable way with his “sketch”.
《源》，200x150cm，布面丙烯、油画棒，2012
与宏大叙事这类歌颂的传统写实绘画不同，周栋的绘画有着类似“第三视角”的观察力、包容力与克制力，他以一种冷静而谦卑的目光，用具象的笔触描绘出个体在时代洪流中的无力感，有时甚至是虚无。他笔下的建筑、街道、树木、人物，看似平淡无奇，却蕴含着时代变迁的印记，折射出社会转型期城市的精神状态和人们强烈的情感体验。这些作品就像一种社会遗产，凝聚着历史的记忆和旧有的灵魂。作为典型的工业时代社会化生产的主力，重美术馆的特殊历史背景又赋予了周栋作品一些特殊的定义和要求，即，调动出美术馆建筑空间的历史语境来。重美术馆由北京重型机电厂改建而成，其独特的工业建筑风格与周栋作品中所描绘的一些景观相映成趣，在工业化、城市化、乡镇街道和自然场景的调度下，希望恢复那沉睡历史空间的时代性能。
Unlike traditional realistic paintings of grand narratives, Zhou’s paintings present the “third perspective” of observation, tolerance, and restraint. With a calm and humble gaze, he depicts individuals’ inability, sometimes even the emptiness in the tide of the times with concrete strokes. The buildings, streets, trees, and figures in his works seem ordinary but are marked by the changing times, reflecting the spiritual state of the city during social transformation and people’s strong emotional experiences. These works are like social heritage condensing the memories of history and the souls of the past. As the main force of socialized production in the typical industrial era, Gravity Art Museum has endowed his works with some special definitions and requirements with its special historical background, namely, to echo the historical context of the Museum’s architectural space. The Museum is renovated by Beijing Heavy Machinery and Electrical Factory, whose unique industrial architecture style casts beautiful reflections on some of his works. Coordinated by industrialization, urbanization, township streets, and natural scenes, the era performance of the dormant historical space will be restored as expected.
《时间内外》，210X360cm，布面油画、丙烯色粉，2017
在周栋近几年创作的抽象形态的具象绘画中，他将过去的现实转化为一种“新的知识”和“新本土性力量”，用另一种语言将人们引入当下的生活。这些作品关注绘画中形而上的内在结构，以及具体景观中的丰富关系。如果说他早期的绘画是一种肆意泼洒的、情感充沛的、空间感厚重的具象绘画，那么这一时期的作品则更加重视理性、客观和纯粹，社会景观不再是主角，而绘画本身成为了主体。这些抽象作品中的光、色与速度，仿佛是被格式化了的、统一的城市建设的步调，整洁的秩序中散发着令人忧郁的诗意和迷惘。这种风格不仅拉平了地域之间的“个性化褶皱”，也在一定程度上平均化了政治氛围和地方的人文关怀。
In his abstract figurative paintings created in recent years, he transformed past reality into “new knowledge” and “new local power”, introducing people into current life with another language. These works focus on the metaphysical internal structure in painting, as well as the rich relationships in specific landscapes. If his early paintings are concrete, unrestrained, emotionally rich, and full of a sense of space, then his latest works place more emphasis on rationality, objectivity, and purity. The social landscape is no longer the leading actor, and painting itself became the subject. The light, color, and speed in these abstract works seem to be the formatted and unified pace of urban construction, emitting melancholic poetry and confusion in a neat order. Such style flattens the “personalized folds” between regions, and to some extent averages the political atmosphere and local humanistic care.
《观景》，530x215厘米，布面丙烯、矿物质色粉，2020
周栋绘画的另一个特征，是具有新闻摄影实践中不可忽视的“现场感”，它强调作者必须深入生活、亲临现场，按照自然环境、生活原貌和真实发生的情况，在事物发生发展的现场进行记录和描绘。这种“现场感”在周栋的作品中体现为一种“进行中的……”，或者一种相对凝固的氛围和空气感，这种“空气感”有时是浑浊的，有时是晴朗的，这与他作画当天的城市空气质量相关。“现场”在这里并非只是一张张图像，而是由动态的、连续的图像组成的流动且厚实的历史时空；而“现场感”则是曾经鲜活的、饱含着具体的人的一种生态景观。
Another characteristic of Zhou’s paintings is the “on-site feeling” that cannot be ignored in news photography. It emphasizes that the author must delve into life, personally visit the scene, as well as record and depict the natural environment, the original appearance of life, and the real situation of the occurrence and development of things. Such “on-site feeling” is reflected in Zhou’s works as “ongoing...”, or the frozen atmosphere and air sense. This “air sense” is cloudy or sunny, depending on the urban air quality on the day he created the work. The “scene” is not just a series of images, but a flowing and massy historical space-time composed of dynamic and continuous images. “On-site feeling” is an ecological landscape once vivid and full of concrete people.
《在涌动中消逝》，230x230cm，布面丙烯、颜色矿物色粉、综合媒介，2023
展览的最后一个主题是风景画，它们与艺术家早期所描绘的拥挤的人群和密密麻麻的城市景观形式上竟出奇地一致。他探究了植物的造型和肌理，甚至对环境和心理因素也进行了挖掘，这些风景超越了单纯的客观相似性，并被赋予了一种既狂放又内省的性格特征。与社会现实主义绘画相比，周栋的风景画在语言上虽然发生了变化，但其内在的审美观却没有改变：他坚持用一种平凡的眼光于生活的最平常之处记录时代的起落与沉浮。在周栋看来，所有那些变动的和固定的事物，都是人类现代生活中不可或缺的一部分，它们均衡地构成了我们周围的现实。正如他展览中最后一件也是最大尺幅的一件作品《野生的城》，画面中均匀分布的线条和笔触正分担着来自现实的各种压力……
The final theme of the exhibition is landscape painting, which surprisingly aligns with the crowd and dense urban landscape in his earlier works. He explored the shape and texture of plants, even environmental and psychological factors. These landscapes go beyond simple objective similarities and are endowed with a personality trait both wild and introspective. Compared with socially realistic paintings, although his landscape paintings have undergone changes in language, their inherent aesthetic views remain the same. He keeps recording the ups and downs of the times in the most ordinary aspects of life with an ordinary perspective. In his view, all temporary and permanent things are indispensable for modern human life, which form the reality around us in a balanced manner. Just like Wild City, his last and largest artwork in the exhibition, the evenly distributed lines and strokes share various pressures from reality...
《卡玛多塔林》，300x210cm，布面丙烯、颜色矿物色粉、综合媒介，2023
艺术家早期纸本写生
周栋
Zhou Dong
周栋，1980年生于中国江苏，本科和研究生均毕业于中央美术学院油画系，2021年获中央美术学院艺术学博士学位，现为天津美术学院油画系副教授，生活工作于北京、天津。周栋的绘画直面当下社会与现实景观，对个体生命、时间与空间、存在及其状态等人类永恒命题进行思考；近年来艺术家更加关注绘画中形而上的内在结构和具体景观中内在丰富的关系、绘画语言中抽象形态的现实意义与精神象征，他的视角集中于时代和个体、宏大和微小、有限与无限，以及复杂的个体精神与现实的关系；注重绘画内在的张力并借此对具象绘画的内在叙事、纯粹性和可能性进行探索。
Zhou Dong, born in 1980 in Jiangsu, China, graduated from the Oil Painting Department of the Central Academy of Fine Arts with both his undergraduate and graduate degrees, and obtained his Doctorate in Fine Arts from the Central Academy of Fine Arts in 2021. He is currently an associate professor in the Oil Painting Department of the Tianjin Academy of Fine Arts, living and working in Beijing and Tianjin. Zhou Dong's paintings confront contemporary society and the landscape of reality, contemplating eternal human themes such as individual life, time and space, existence and its conditions. In recent years, the artist has paid more attention to the metaphysical internal structure in painting and the rich relationships within concrete landscapes, the practical significance and spiritual symbolism of abstract forms in painting language. His perspective focuses on the relationship between the era and the individual, the grand and the minute, the finite and the infinite, as well as the complex relationship between individual spirit and reality. He emphasizes the internal tension of painting and explores the internal narrative, purity, and possibilities of figurative painting through it.
张营营
Zhang Ying ying
独立策展人和写作者，生活于北京。她曾是德国卡塞尔文献展（documenta）研究者，上海当代艺术博物馆（PSA）“青策计划2019”获奖策展人，2022年卡塞尔文献展研究所奖学金项目候选人，自媒体“行进的艺术工具”运营者。她致力于研究艺术的语言、工具和方法在互联网时代的视觉表征与哲学内涵。
She is an independent curator and writer living in Beijing. She has been a researcher of Documenta in Kassel, an award-winning curator of the Emerging Curators Project 2019 of Power Station of Art in Shanghai (PSA), a candidate of the Documenta Institute Fellowship Programmer 2022, and an operator of art media “TOOLS AT WORK”. She strives to investigate the visual manifestations and philosophical connotations of Information Age artistic language, tools, and methods.
重美术馆坐落于北京市石景山区，是石景山区首座现代性专业性的民营美术馆，集展览、收藏、研究、公共教育、国际交流功能于一体，旨在为观众提供拥有全球化视野、多元化体验的艺术展览、研究和公共文化活动。重美术馆的前身是始建于1958年的北京重型电机厂厂房，是在保留原有结构基础上的再造。在这座新美术馆身上，同时流动着新中国工业理想和新时代文化精神的血脉，多重时间维度在此交汇，贯穿着回顾过往、立足当下和展望未来时间线。
来源：重美术馆