3 3 C O N T E M P O R A R Y A R T C E N T E R
艺术家对谈 2024年3月1日15:00 – 16:00开幕式 2024年3月1日16:30 – 18:00地点 广州市天河区体育西路103号维多利广场A座33楼广州33当代艺术中心将携手没顶画廊于3月1日欣然呈现周子曦个展“一个叫周子曦的陌生人” (A Stranger Called ZHOU Zixi)。三十年来，周子曦绘制的风景和人物已成为守卫边缘化的、被遗忘的人类精神的最后屏障。“遗失的风景”（2014年-）、“泥石流”（2019年-）和“黑洞”（2021年-）等系列作品安静近乎于克制，暗示了一种令人窒息的神秘气息，即使在开阔的大地上，这种窒息感依然在游荡。“一个叫周子曦的陌生人”由 13 幅绘画组成，体现了其绘画标志性的“流淌”风格。他故意用大量的油调和稀薄的颜料进行速写般的作画，为他用画笔绘制的复杂“环境戏剧”进行松绑，从而抵达一种不可预知的、甚至是破坏性的边界。这些作品尽管画面内容不同，但集中描绘了奇妙而又超现实的梦幻场景：涌入泥石流的剧院和教堂，黑洞突然出现在野外荒郊和城市，午后的客厅半空中突然有一只杯子自顾自地倒水……因此，艺术家的不同系列都强调了复制一系列偶然事件的不可能性。展览题目中的“陌生人”一语双关。一方面，陌生人指的是周子曦在当代艺术场域以及广州地域范围内并不为人所知；另一方面，人到中年却选择移居西班牙开始新的生活，陌生人因此也是周子曦的个人现实写照。在这里，周子曦和他绘画作品中的人物与场景联系在一起：孑然一身伫立枝头的鹿，人类文明象征的图书馆，或是纵深一跃入大洪水的中年男人… 在每幅作品前，观众都被置于直视或半鸟瞰式的视角之上，从而增强了疏离的效果，如同法国作家韦勒贝克小说传递出的冷漠气息。然而周子曦的绘画并不全然是绝望的调子，相反，我们总能感受到一股潜流——艺术家对于生命的此时此刻的执拗的呵护。衰败与新生、残骸与生长共同存在于他的绘画之中，过去和未来均塌陷于此。于是乎在希望与失落、浪漫与神秘交织的场景中，这些绘画作品中的世界充满了寓言感。周子曦自己坦言即便人到中年，他仍然无法停止去直视和质疑这个世界存在的种种问题，而绘画正是他思考和无声回应的一种方法。这样的关怀世界的态度令他的创作呈现出超越绘画内容和这个媒介本身的持久张力。
周子曦出生于1970年，目前工作和生活于上海和瓦伦西亚。自1994年开始艺术创作，周子曦的笔触逐步推进到国家与民族创伤、集体的记忆与遗忘、个体的异化生存、当下的事件与危机等；对历史和文学的研究，和对人类苦难的关怀，他的绘画具有深刻的叙事性，并在画面中拓展出时间与空间、社会与个人、政治与文化、灾难与日常等不同层面，转换视角、穿插渗透。这同时也使作品与作品之间呈现出一种彼此关联、相互补充和映照的关系，发展出一种史诗般的特质。艺术家将自己的创作视如一幢理想建筑，期望这一建筑能贯穿整个人类文明史的悲凉和荒诞。周子曦的重要个展包括：“合奏”，没顶画廊，上海（2023）；“应许之地”，茑屋书店，上海（2021）；“远方唤起的渴望并非是引向陌生之地，而是一种回家的召唤”，宝龙美术馆，上海（2021）；“春游小岗” ,没顶画廊，上海（2015）；“午后......”，香格纳画廊，新加坡（2014）；“春末夏初”，香格纳画廊，北京（2011）；“中国1946-1949”，香格纳H空间，上海（2008）；“内部”，BUROFRIEDRICH 艺术空间，柏林，德国（2006）；“幸福生活”，比翼艺术空间，上海（2005）；“对不起，我不知道”，比翼艺术中心，上海（2002）。群展包括：“降临：发明风景，制作大地”，前哨当代艺术中心，上海（2019）；“辅路”，香格纳画廊，上海（2019）；“何不再问？”，第11届上海双年展，上海当代艺术博物馆，上海（2016）；“CHINA 8”, 雷克林豪森艺术馆, 雷克林豪森，德国（2015）；“不想点别的事情，简直无法思考”，广东时代美术馆，广州（2014）；首届基辅国际当代艺术双年展，阿森纳，基辅，乌克兰（2012）；“中国发电站 - 第四站”，PINACOTECA AGNELLI，都灵，意大利（2010）；“中国发电站：第二部分”，ASTRUP FEARNLEY 现代美术馆，奥斯陆，挪威（2007）。Zhou Zixi x Lu Nei: The Stranger and the Seeker
2024年3月1日开幕式当天下午三点至四点艺术家周子曦将与作家路内先生带来对谈《局外人与追随者》，李素超女士作为主持。欢迎各位观众通过扫描文章底部的二维码进行预约报名。
On the opening day of March 1, 2024, from 3:00 to 4:00 p.m., artist Mr Zhou Zixi will engage in an artist talk titled "The Stranger and the Seeker" with writer Mr Lu Nei, moderated by Ms Li Suchao. For interested audiences, please make a reservation to sign up by scanning the QR code at the bottom of the article.
路内，1973年生，作家。著有《少年巴比伦》《雾行者》《慈悲》《关于告别的一切》等。Lu Nei is a writer (b. 1973). His works included Young Babylon, The Fog Traveler, Mercy, All about Farewell, etc.李素超，格拉斯哥大学艺术史硕士毕业，现工作生活于上海，从事艺术写作、研究与展览，2021至2023年间兼任美凯龙艺术中心研究员。2023年入围集美·阿尔勒影像策展人奖；2019年获第六届国际艺术评论奖（IAAC）二等奖。她的写作可见于多家国内外艺术媒体和机构出版。部分研究分享以及对谈可见个人YouTube频道SuchaoLi。目前任2024年UCCA“燃冉”艺术家驻留项目特约观察员。Suchao Li, graduated from the University of Glasgow with a Master’s Degree in History of Art, currently lives and works in Shanghai, engaging actively in contemporary art writing, research and exhibition. She concurrently worked as a researcher at Macalline Art Center from 2021 to 2023. Her writing has appeared in ArtReview Asia, ARTFORUM China, Numéro China, Artnet, LEAP, Ocula, The Art Newspaper China (TANC), among others. In 2023, she was nominated for the Jimei x Arles Curatorial Award for Photography and Moving Image. In 2019, she received the second prize of the Sixth Edition of the International Awards for Art Criticism (IAAC). Some of her presentations and talks can be found on the YouTube channel, SuchaoLi. Currently, she serves as a contributing writer for the 2024 UCCA RanRan Artists-in-Residence Program.
Please make an appointment by scanning the QR code.
Zhou Zixi: A Stranger Called ZHOU ZixiArtist Talk March 1 2024 15:00 – 16:00Opening March 1 2024 16:30 – 18:00 Exhibition Period March 1 – April 30, 2024Venue 33/F, Tower A, Victory Plaza, 103 Tiyu West Road, GuangzhouJointly with MadeIn Gallery, Guangzhou 33 Contemporary Art Center is pleased to present "A Stranger Called ZHOU Zixi", the solo exhibition of artist Zhou Zixi on March 1st, 2024. Over the past three decades, Zhou Zixi's landscapes and figures have become the last barrier guarding the marginalized and forgotten human spirit. The tranquil, almost restrained nature of series such as "Lost Landscape" (2014-), "Debris Flow"(2019-), and "Black Hole" (2021-) suggests a suffocating mystery ceaselessly lingering even in the wilderness."A Stranger Called ZHOU Zixi" consists of 13 paintings that embody the signature "flowing" style of Zhou's paintings. He intentionally paints in a sketch-like manner, using large quantities of oil and thin pigments, to loosen the bonds of the complex "environmental drama" created with his brushes, and thus arrive at an unpredictable, even destructive, boundary. The works, despite their different content, focus on uncanny and surreal dreamscapes: theaters and churches flooded with debris flow, black holes suddenly appearing in the wild and urban lands, and a glass suddenly pouring itself out in the mid-air of the living room in the late afternoon... Zhou's different series conspire to emphasize the impossibility of replicating a succession of chance events."Strangers" in the exhibition title serves as a double-entendre, first referring to the fact that Zhou Zixi's name is not familiar to the contemporary art scene in the Guangzhou region; As a middle-aged man who chose to move to Spain to start a new life, the word "stranger" is also a reflection of Zhou's personal reality. Here, Zhou connects with the characters and scenes in his paintings: the deer standing alone on a branch, the library as a symbol of human civilization, or the middle-aged man leaping into the flood... The viewer is endowed with a direct or semi-aerial view in front of the paintings, which reinforces the effect of detachment similar to the indifference in the novels of the French writer Houellebecq.However, despair is merely an undertone of Zhou's painting, on the contrary, the artist's insistent care for the here and now of life is weaved within, offering a warm undercurrent for us to grasp. Decay and renewal, wreckage and growth co-exist in the images, where the past and the future collapse embracing each other. The pictorial world is thus filled with allegory, evenly born by scenes of hope and loss, romance and mystery. Zhou confesses that even in his middle age, he still cannot stop confronting and questioning the problems of our world, among which painting is his way of thinking and responding silently. It is through this solicitude that his work substantiates a tension that transcends the content and the medium of painting.Born in 1970, Zhou Zixi currently lives and works in Shanghai and Valencian. Since the beginning of his career in 1993, Zhou’s brushstrokes have progressively evolved to depict national and population’s trauma, collective memory and oblivion, alienation of individual, as well as contemporary events and crises. Rooted in his studies of history and literature as well as a concern for human sufferings, the paintings create profound narratives of time and space, society and individual, politics and culture, disaster and daily life. A relation is then built among the works, which mutually complement and reflect one another while generating an epic-like quality. The artist sees his artistic career as an ideal architecture, which he hopes can penetrate the desolation and absurdity of the entire history of human civilization.His recent solo exhibitions include: “Ensemble”, MadeIn Gallery, Shanghai, 2023; “Promised Land”, Tsutaya Books, Shanghai (2021); “The Longing the Distant Worlds Aroused Spoke More to the Home Than to Anything Unknown”, Powerlong Museum, Shanghai (2021); “Spring Outing in Xiaogang”, MadeIn Gallery, Shanghai (2015); “One Afternoon…”, ShanghART Gallery, Singapore (2014); “Late Spring and Early Summer”, ShanghART Gallery, Beijing (2011); “China 1946-1949”, ShanghART H-Space, Shanghai (2008); “Interiors”, BüroFriedrich, Berlin, Germany (2006); “Happy Life”, BizART, Shanghai (2005); “Sorry, I don't know”, BizArt, Shanghai (2004). Recent group exhibitions include: “Advent: Inventing Landscape, Producing the Earth”, Qianshao Contemporary Art Center, Shanghai (2019); “Side Lanes”, ShanghART Gallery, Shanghai (2019); “Why Not Ask Again?”, 11th Shanghai Biennale, PSA, Shanghai (2016); “China 8, Contemporary Art from China at the Rhine and Ruhr”, Lehmbruck Museum, Duisburg (2015); 1st Kyiv International Biennial of Contemporary Art, Kyiv (Kiev), Ukraine (2012); “China Power Station - Part 4”, Pinacoteca Agnelli, Torino, Italy (2010); “China Power Station: Part II”, Astrup Fearnley Museum of Modern Art, Oslo, Norway (2007).
广州33当代艺术中心，创办于2014年，坚持以现当代艺术为主线，以探索新市场和新艺术方向为宗旨，致力于推动广州地区艺术生态和文化产业的建设和发展。中心拥有专业的展示空间及配套设施，以美术展览带动学术研究、收藏及公共教育等相关工作的开展。中心定期举办各类艺术沙龙、工作坊、实验性表演的活动。The Guangzhou 33 Contemporary Art Center was officially founded in 2014 and is committed to contemporary art as its main focus, with the aim of exploring new markets and artistic directions. It is dedicated to promoting the development of the Guangzhou region's artistic ecosystem and cultural industry. The Centre has professional exhibition space, supporting facilities, and extensive and exquisite collections that lay forth a path of inventiveness and exploration with the public to serve in the art and cultural sector. The center regularly hosts events for various art salons, workshops and experimental performances. Guangzhou 33 Contemporary Art Center Open Time(last entry at 17:30, closed on Sunday)广州市天河区体育西路103号维多利广场A座33楼
33/F, Tower A, Victory Plaza 103 Tiyu West Road, Guangzhou
（需携带身份证）
(Please carry your ID Card)
2024年将至，祝您新春快乐！
假期通告｜广州33当代艺术中心春节假期通告
对谈回顾｜林于思《你有什么问题？》
33周年庆 | 33当代艺术中心成立9周年
回顾+预告｜广州33当代艺术中心中国式茶道体验
广州33当代艺术中心馆藏作品亮相2023成都双年展
33展览预告 | 《应物随心》——大熙禅师作品展
