PACIFICO Yokohama
周蒙 Meng Zhou
不周山顶 Mount Top, 2023
在展厅正中，大型雕塑作品《不周山顶》暗示着时间线的起点，开启了对于自然的叩问。“不周山”作为《山海经》中的上古神山代表着神界与人世的分割，而圣诞树的造型则令人联想到“巴别塔”这一与之平行的西方叙事，跨越地理维度的人类共同在此得到暗合。壁画被转换维度垫于其下，地面上由此打开了通往上苍的门，天地相连，带给观者打破物理维度的、非理性的沉浸。时间和空间由此被同时折叠，传递着古老自然主义的呼唤，也创造着超越现实限制的深远共情。
In the center of the exhibition hall, the large-scale sculpture "Mount Top" hints at the beginning of the timeline and opens up the questioning of nature. "As an ancient sacred mountain in the Classic of Mountains and Seas, Buzhou Mountain represents the division between the divine world and the human world, while the shape of the Christmas tree is reminiscent of the Tower of Babel, a parallel Western narrative, where human beings across the geographic dimensions are united. The frescoes are dimensionally transformed and placed underneath, thus opening the portal of the heavens on the ground, connecting heaven and earth, bringing the viewer an irrational immersion that breaks with physical dimensions. Time and space are collapsed at the same time, conveying the call of ancient naturalism and creating a profound empathy that transcends the limits of reality.
周蒙 Meng Zhou
被遗忘的神话 1 Fading Lore 1，2024
墨、纸 Ink and Paper
51h x 36w cm
59.5h x 44.7w cm（framed）
© Courtesy of the artist
《被遗忘的神话》系列纸本作品环绕四周，回应着对神、信仰与自然的呼唤。在周蒙的创作思考中，信仰与自然似乎是具有同一性的。古老的神祇蛰伏、喘息于四面八方，如同自然一样被现代社会逐渐遗忘和边缘化，却又依然以回声在集体意识中留下潜行的呢喃。
The "Fading Lore" series of works on paper surrounds the perimeter, responding to the call for God, faith and nature. In Meng's creative thinking, faith and nature seem to be of the same nature. Ancient deities lie dormant and breathe in all directions, gradually forgotten and marginalized by modern society just like nature, yet still leaving a submerged murmur in the collective consciousness with their echoes.
星之子 Star Kid，2024
鹿皮胶、墨、敦煌土、矿物粉、蛤粉、虫白蜡、木板
Buckskin glue, ink, Dunhuang mud, mineral powder, clam
shell powder, Chinese white wax, wood panel
48.7h x 48.7w x 3d cm
58h x 58w x 8.8d cm（framed）
© Courtesy of the artist
围绕着人类于世界中的定位、存在方式的哲思，周蒙的作品以多样的材料探索着如同洞穴壁画一般庞大复杂的图景。他使用收藏的化石、陨石、贝壳、珍珠等材料进行创作，如同远古的人类朴素又热烈的自我装饰的思路；又使用蛤粉、鹿皮胶、敦煌土等材料将其精细地整合，创造出足以跨越时间的力量与灵性。
周蒙 Meng Zhou
摇摇欲坠的诺言 Promises on the Brink，2024
木、无机树脂、树脂、化石、蜡
Wood, jesmonite, resin, fossil, wax
70h x 70w x 5d cm
74h x 74w x 12d cm（framed）
© Courtesy of the artist
在今年的创作尝试中，周蒙将视线进一步聚焦于现代的人和社会，以此补全整个创作体系的世界观。他从所擅长的材料入手，将关注点转向了材料的演变与使用。从天然材料的发现与利用，到这些材料被制成工具和武器，再到武器被用于游戏中的象征性作用，每一个阶段都揭示了人类文明发展的不同面向。
周蒙 Meng Zhou
英雄游戏-箭 Hero Game:Arrow, 2024
铜、练习用箭身
Bronze,arrow body
90h x 7w cm x 1.2d cm
© Courtesy of the artist
英雄游戏：锤 一式 二式
Hero Game: Hammers A B, 2024
铁、碳化木 Iron, carbonized wood
42h x 18w x 7.3d cm （left）
42h x 29.3w x 9.7d cm（right）
© Courtesy of the artist
《英雄游戏》系列作品将石器时代的武器与象征着现代化娱乐的“剪刀、石头、布”相结合，戏谑地表达着艺术家对于战役的看法。当宏大与危急的战争被讽刺地简化成人类游戏，人类整体在自然界中似乎才能回到应有的、谦卑的定位。而现代权力更迭所催生出的战争，其本质似乎也与娱乐至死的浪潮一样荒谬。
The "Hero Game" series combines Stone Age weapons with "rock, paper, scissors", a symbol of modern entertainment, to playfully express the artist's view of battle. When grand and critical wars are ironically reduced to human games, it seems that the human race as a whole can only return to its rightful and humble position in the natural world. And the nature of war, which has been spawned by the change of power in modern times, seems to be as absurd as the wave of entertainment to death.
尘世间 Vacuum（31-70）, 2024
墨、木板、矿物粉、动物皮胶、蜡
Ink, wood panel, mineral powder, animal skin glue, wax
18h x 14w x 3.3d cm
20.1h x 16.1w x 4.2d cm (framed)
40 pcs
© Courtesy of the artist
在其下，展位横向陈列了《尘世间》系列作品。更多的色彩似乎是与水墨所描摹的神明的区分，展现了艺术家对于着色探索的成果，也补全了思维阁中有关“人类”的故事线。战争与冲突笼罩其上，人类则在时间轴上留下跳帧般的生存痕迹。不连续的时间被抽取成片段，如同浓缩的历史记录，沉淀成为另一种永恒。
Text by Roxane Fu
Artist 艺术家 ｜
Meng Zhou 周蒙
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