身变—时延与主体展演（节选）

对于一个行为艺术家而言，没必要追问什么是行为艺术。持续的实验本身就是最为准确的答案。这不是定义某个抽象概念，相反，它一方面在拆分和解构一个被机制化或政体化的概念，另一方面则以自我或个体的方式在型塑一个移动的或不确定的非概念的概念。在这个意义上，我想从“行为”到“行—为”或许是周斌近二十年“工作”的一个恰切表征。

本文不想对周斌的实验作一系统的梳理，而更加关心的是，在近二十年的持续“工作”中，周斌到底在做什么，在追问什么。这不是一个本质主义的考察，也不是一个谱系性的检视和罗列，毋宁说只是探寻一个可能的线索及内在于其中的某种诉求。

可以肯定的是，对于身体性的拷问、时间性的自觉及其不确定性的探问构成了周斌实验的基本思路、心路和言路。

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窃以为，周斌实验的意义并不在于获得多少可能，而是开启可能及内在于其中的不确定性、丰富性及层次感、力量感之本身。

有意思的是，在很多曾经的行为艺术家“耻于”称自己为“行为艺术家”的今天，周斌则不然。也或许，正是周斌对于艺术、特别是行为艺术近似“宗教”般的执著与情怀，使得他的实验更具专业性及意义深度。在这里，行为没有明确的意义（即本质主义）指向，因为行为本身就是意义。但前提是行为者要有足够的主体性自觉。而这也是其克服本质主义与虚无主义，回归临界或某个恰切限度的惟一途径。

鲁明军
2011年5月12日于济南

Transformation of the body – lagging and main part exhibition（节选）

For a performance artist it is not essential to inquire what performance art is. The most accurate answer is the continuing experiment. This is certainly not the definition of an abstract concept, rather, on the one hand it dissects and analyzes concepts of a mechanized and governed culture, on the other hand it shapes a flexible and uncertain non-conceptual concept from oneself or any other individual. In this sense, I want to observe the word “performance” and the meaning of “action – being” and Zhou Bins “work” of the last two decades.

I don’t want to systematize Zhou Bin’s experiments; I rather want to put the focus on what Zhou Bin really has been doing in the last 20 years and what he questions. This is of course not an intrinsic investigation; it's also not a deep going inspection and collection. It is just a search for a possible clue as well as a certain kind of appeal of the inner.

I composed the basic thoughts, intentions and communication methods of Zhou Bin’s experiments regarding the questioning of the body, the awareness of time and findings about uncertainty.

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The question is: to explore the question of rationality under rationally limited conditions, what possibilities are there? Maybe the meaning of Zhou Bin's experiments lies not in the range of possibilities, but it wants to open one up to uncertainty, plentifulness, and the feeling of ranks and strength itself. 

Interestingly, in nowadays lots of former performance artists are “ashamed” of calling themselves “performance artist”, Zhou Bin is not. Also perhaps, his dedication and passion towards art especially performance art is religional, which makes his experiments more porfession and significant. Here, performance has no certain meaning(essentialism) intention. For performance is the meaning itself. But the premise is performance artist should hace enough subjective consciousness. This is the way to overcome essentialism and nihilism, and a return to critical point or a critical limit.

Lu Mingjun
2011-05-12 Ji Nan