站台中国当代艺术机构于4月15日在A展厅开幕代洲个展《自然剧场II》，将呈现艺术家延续2022年首次个展《自然剧场》后的最新创作。

“我喜欢充满想象力的画面。我的画都是在我构建的剧场里上演安排好的情节，比如白天也会有月亮，暴雨让人睁不开眼，但月亮还是清晰可见。”

——代洲

代洲将画面的构想形容为“一小段时间”。时间给了叙事展开的余地，同时也将剧情推向不确定的等待，意图在有限的空间里面提供更多的信息。此次展览似乎是关于马孔多的叙事。湖泊、月亮、夜空、海滩，这些莫须有的风景出现在这片虚构的异乡，孤寂而又浪漫。它们在无形的指引中轮番登场。我们不知道这些马匹和骑手来自哪里，将去往何处。他们在或轻薄或厚重的雨丝密林中穿过，各怀心事，暧昧不明，甚至逐渐消匿于风景之中。他们像一处偶然的情节，在此发生，也将叙事遗失在此。

想象之外，源于生活在绘画中的弥漫，代洲和女友在上海愚园路的百年老建筑中经营了一家古着店。对代洲而言，古着作为一种美学风尚，所有的异域文化都是开放的，不带来任何负担。融合、接纳、内化是他处理外部世界的方式。代洲会把经验与直觉化入到绘画当中，允许艺术家在当下进入不同时空的异地他乡。他观察到，不同地理纬度所呈现出光的颜色也会逐渐变化。这给了他强烈的视觉刺激，也同时为创作提供了更多形式与想象。

代洲的创作依托于主题的主动选择。在社交媒体的大量搜索后，一定有特别吸引他的内容反复出现，可能是一棵树，一条线或者一个形状。它们构成了选择和趣味。例如代洲对马感兴趣，但是他既没有骑马的爱好，也不会骑马。他关注的不是马术，而是“骑马的人”。人有自己的想法，马也有自己的想法。他们好像是一个整体，但又分开，自己想自己的事情。

而这种自我的彰显同样是一种枷锁。对代洲而言，马是被束缚住的。当装饰性的东西画得特别多，例如缰绳，马鞍出现的时候，它就被结实的捆了起来。就像人用各种装饰性的东西修饰自己，形成个性，但是又被这些东西牢牢捆住。当试图摆脱一些既有联结时，为了证明不同而披上的外部标签，同样带来新的约束，这是一个循环。我们没法摆脱关系的存在，关系本身才是永恒。

在面对一个有机的组合时，我们总是下意识的寻找其中的关联，相信是共性使群体结合，一定有根细细的线在一以贯之。但在代洲的绘画中，他却总是试图把一切组合拆分。马和人并不同心，月亮与天空也各自分离，每一位出现的演员都是独立的个体，它们只是拼凑在一起，并没有强烈的共性，似乎都各怀心事。而这也正是当下时代的人的选择：个体的声量逐渐放大，群体的必要性日益降低，也可能是一种新的共识。

如果说风景画里的风景是被观看的，那么在代洲的绘画中，风景反而是观看其他角色的主体，成为了一个旁观者。艺术家为我们构建了一个私密的剧场，自然不再独立发生，而归属于人为的选择。就像画面中从不落幕的月亮，它不受外界影响，不会发生大的改变，似乎在观察下方的一切。它像一个符号，也像电影《楚门的世界》里只在楚门头顶上落下的雨。甚至月亮自身只是一小束光，却在波纹上有着巨大的投影，以至于把湖面上的东西都给遮盖住了。

“我在夜晚里找到属于我的珍贵颜色”，代洲在去年的个展《自然剧场》时曾如此表述，而他在《自然剧场II》中则将“夜晚”带到了城市边缘。源于生活的自然和虚构的文学异乡在此交汇，剧目也将艺术家以个人为主体的叙事陆续剥离，在拾级而上的想象空间中探索出新的土地与秩序。正如代洲所说：“一种生活在剧场中的人与自然。一切都是安排好的，我更喜欢静默中的力量”。

文 / 于畅

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

艺术家简介

About Artist

代洲，1991年出生于辽宁沈阳，现工作生活于上海。“夜“与“自然“是代洲笔下反复出现的主题，也体现着他在绘画语言层面的探索。平面色块的堆叠构造出纵深的、可感知的心理空间，浓郁的情愫收敛于含蓄的笔触与深暗调的色彩。源于生活的自然和虚构的文学异乡在此交汇，艺术家在拾级而上的想象空间中逐渐探索出新的土地与秩序。“这是一种生活在剧场中的人与自然。一切都是安排好的，我更喜欢静默中的力量”。

个展：“自然剧场 II”，站台中国A展厅，北京（2023）；“自然剧场”，站台中国-dRoom空间，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).