Bao Dong: At times performance art and all forms of business or political talent are misused. Zhou Bin puts this self-satisfied and introspective dimension of performance art into practice, and it deserves our attention and discussion.
Cui Cancan: The body in performance art has always been the artist’s tool or medium used to express their point of view and intention. Yet, despite this Zhou Bin’s 30 Day project uses body language itself to launch his experiments. However, these experiments do not point to grandiose societal issues, rather they test the endurance or discipline of the body itself. The body, then, becomes the issue at hand, and at the same time becomes a sense, a feeling, and an event. Within this series of prolonged projects, Zhou Bin’s work transforms into that which conducts language experiments and research on the performance.
Du Xiyun: To be simplistic, yet possessing a silent inspiration. This is distinguished from the bulk of the styles in illustration and slogan performances.
He Guiyan: Since the development of Chinese modern art until the late nineties, performance art was continuously a part of the contemporary art scene. Yet, after 2004 a wave of commercialization hit the Chinese contemporary art market and has continued to intensify, marginalizing performance art. If a small section of the exploitative, erotic, and violent style was removed, there could be space to create a stir in the art world that has benefits outside of works of art. Performance art is the most capable form of art to embody the human, experimental, and rebellious nature that is characteristic of contemporary art. Zhou Bin's "30 Days: The Zhou Bin Project" involves him creating a piece of art everyday for a month. Some of the work emphasizes the human body, while others emphasize a process or concept. In my opinion, whether or not the work Zhou Bin creates has any classical significance is not what is important here, rather how he removes the distance between art and daily life, the active attempt to progress, as well as reflecting independent creative consciousness is what matters here. This is exactly the kind of quality that much of Chinese contemporary art has lost.
Lu Mingjun: “30 Days: The Zhou Bin Project” not only gives art a subject, but it also gives art to art
Li Xiaonan: The 30 Day Project is a series of consecutive art pieces. The art work creates an immediate correlation with everyday life activities. Zhou Bin leads his performance art into the blood flow of everyday life. On a more subtle level, the work connects the mutually dependent relationship between one’s actions with one’s life experiences. Thus, it deeply probes into the one’s states of existence and cognition, and creates a subtle connection between the two. This series is like discovering the authentic process of the art work, and within this process perhaps it is possible to begin to break the lie of art.
Yang Wei: Zhou Bin’s “30 Days: The Zhou Bin Project,” consists of 30 different performance pieces, the completion of each performance is limited to one day, with each performance making it difficult for the next one to surpass it’s quality. As such, Zhou Bin’s performance series possesses a tension that arises from this difficulty, yet at the same time, the tension in the chain of performances forms a kind of everyday epic, and allows Zhou Bin’s 30 Day performance project gain a verbal satisfaction. The series does not use simplistic performance nor does use performance to confront the outside environment, rather the art acts as a prison, and this self regulation works to elaborate the meaning of performance art. One can say that this is a rare work in China, performance art that points to the performance itself, performance art is often criticized as arbitrary or without rules, but this has the academic intensity needed in order to demonstrate the purpose of the form.
Zhao Zilong: Neither through painstaking effort nor through a waste of money and manpower, but only through the participation of an artist’s wisdom can the great connection between Heaven, Earth, and humans be constructed. A seemingly simple movement extends to touch on poetic and meditative qualities, nature and humanity, life and existence, energy, death, time, societal events, and numerous complex images, yet the great waves of change are calm, simple, and unadorned. All of this is mixed within one body.
