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在2004年何香凝美术馆名为“少年心气”的展览中，周文中脱颖而出拿到金奖。在那些充满年青悸动的画面中间，周文中显得有些过早的成熟和冷静。在这之后，他并没有像其他的年青艺术家一样，趁势热热闹闹的把自己推向风头浪尖，而是寂寞又平静地在自己的画室里像农民耕地一样，在画布上耕耘，直到让他晦涩的思想在黑暗里开花。
这次展览包括了他来到北京之后差不多十年间的作品，从唯心主义者照相底片似的鬼影憧憧到被塞进马桶的少年，以及朝霞里边被解构的人体，观众的眼睛从散光的状态一下子聚焦，却又被推进了另一个残酷的梦魇。鲜艳的红色黄色忽然涌出，在黑暗里触目惊心。
各种钢管、器械、绳索冰冷的硬质与人体或者被解构的各种器官的软性形成鲜明的冲突，这里边既可以看出他早年做过的装置的影子，又可以感觉到人在强力面前受到的重创和痛苦。如果说唯心主义者的夜晚更重形而上的气氛，之后的花园游戏和朝霞之类，则在图像上作出了更大的努力。他试图摆脱各种现存图像的影响，形成自己独有的画面情节——达利似的梦魇情节。
周文中一直在他的画面中透漏着一种讯息，痛苦可能还有一点点愤怒。在他话语中常见的思想、精神、信仰这样的字眼，似乎在渐渐离我们的生活远去。他在提醒我们，除了物质，除了太过实在的生活，还有一些东西其实一直在我们的心灵深处。这事实上是一个哲学游戏。
In 2004, Zhou Wenzhong shined out in winning the Gold Medal at He Xiangning Art Museum’s “Ideal of New Generation” award exhibition. Amongst other paintings pulsating with youthful energy, Zhou Wenzhong’s work showed maturity and composure beyond his age. Since this time, he has been like no other young artist around. He has actively made the most of every opportunity he’s had to push himself towards the cutting edge. Lonely yet tranquil in his studio, he has worked like a farmer with his plough, first cultivating his canvas, before finally bringing forth his obscure thoughts like flowers from darkness.
This exhibition includes work from the almost 10 year period he has now spent in Beijing. From photograph-like flickering ghosts, youths being forced into toilet pans, to corps being sawn up in the morning glow, viewers’ astigmatisms are instantly brought back into focus, only then to be thrown back into another cruel nightmare. Bright reds and yellows gush forth a ghastly sight from the darkness.
All sorts of Ice-cold steel pipes, machinery, and ropes create a sharp contrast with the softness of those bodies which are dissected with various tools. From this we can see the reflection of installation work done when he was younger and equally feel the pain and loss man can brutally be faced with. If work from the “Idealist’s Night” series may have concentrated more on metaphysical aspects, work from the “Garden Games” and “Morning Glow” series has shown more attention paid to the image itself. He has tried to let go of the influence of other work, aiming to find a uniquely personal style to tell his own original story – the plot of a Dali-like nightmare.
In all his work, Zhou Wenzhong is revealing a message: suffering perhaps contains an element of anger. In speech he often refers to ideologies, spiritual matters and beliefs; it seems he’s gradually moving further and further away from this life. He’s reminding us that apart from material goods, apart from the extremely concrete reality we live in, there is also something else that has always lain deep within our souls. We come to realize that in actual fact, the game he’s playing is a philosophical one.
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潜力艺术家
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