BANK | 画廊周北京 GALLERY WEEKEND BEIJING | 05.25-06.04
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BANK 参加画廊周北京
GALLERY WEEKEND BEIJING
艺访单元 Visiting Sector
张怡 Patty Chang
张移北 Zhang Yibei
公共单元 Public Sector
张移北 Zhang Yibei
媒体日 Media Day
2023.05.25 10:00-18:00
贵宾日 VIP Days
2023.05.26-05.28 10:00-18:00
公众日 Public Days
2023.05.30-06.11 10:00-18:00
北京798艺术中心
798 Art Center, Beijing
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BANK 欣然宣布即将参与今年的画廊周北京，我们将在艺访单元呈现两位女性艺术家张怡&张移北的展览，聚焦两者创作实践中的隐秘对话。张怡的《沮丧（牛奶）》是一组2017年的摄影，记录了刚产下儿子的艺术家，在乌兹别克斯坦的考察前苏联灌溉工程的途中，用各种容器盛放多余的母乳。而张移北的《Sophia》则是一组新作，该系列灵感来源于人际交往间一些不易察觉的微暗时刻，艺术家将友人的倾诉化作大大小小的深海鱼，在忧愁中感知着洋流、他者与自我。
与此同时，张移北将携一辆巨大的吊车进驻公共单元。一个水泥管和三个同等大小、但材质、密度各不相同的几个物体，随机被吊车吊起，而余下的物件被拉动，共同悬置于半空中。在吊起过程中，它们以一种相互牵动的方式形成了自我组织的形态。这个外部力量强势干预、内部则彼此拉扯的过程，暗指了情绪与状态、团结与异见之间的复杂关系。
BANK is pleased to announce its upcoming participation in this year's Gallery Weekend Beijing. We will present an exhibition by two female artists, Patty Zhang & Zhang Yibei, in the Visiting Sector, focusing on the hidden dialogue in their creative practices.
Patty Chang's Letdown (Milk) is a photo series from 2017, documenting the artist, who has just given birth to her son, pumping excess breast milk in various containers on her way to study irrigation projects in the former Soviet Union in Uzbekistan. And Zhang Yibei's Sophia is her new series of works inspired by some imperceptible dark moments in human interactions, in which the artist transforms the a friend's story into large and small deep-sea fish that perceive ocean currents, otherness and self in sorrow.
Meanwhile, Zhang Yibei will present her performance project in the Public Sector with a huge crane. A cement pipe and three several objects of equal size, but of different materials and densities, are randomly lifted by the crane, while the remaining objects are pulled and together suspended in mid-air. In the process of lifting, they form a self-organized form in a way that pulls each other. This process, in which external forces intervene strongly and internal forces influence each other, alludes to the complex relationship between emotion and state, solidarity and dissent.
艺访单元﹒作品介绍
Visiting Sector﹒Artworks
张怡 Patty Chang
沮丧（牛奶） Letdown (Milk)
收藏级喷墨打印 Archival inkjet print
53 x 76 cm (each)
2017
“我去了乌兹别克斯坦的咸海，由于苏联时代的灌溉工程，咸海失去了 70% 以上的水。我前往水线，当时我刚产子，沿途将母乳泵入空的鱼罐子和杯子中，并拍摄影像。乌兹别克斯坦是一个警察国家，对基础设施的摄影是受限的；这些关于被丢弃的母乳的、亲密而凄惨的图像，不仅是一种日常记录，也代表了一种无法表现和解读的景观。”
"I traveled to the Aral Sea in Uzbekistan which lost over 70% of its water due to Soviet era irrigation projects. I traveled to the waterline while along the way pumping breast milk (I had recently given birth to my son) into empty fish tins and cups, and photographing them. Uzbekistan is a police state where photography of infrastructure is limited; the intimate and abject images of discarded breast milk stand in as a daily record and for an inability to represent and read a landscape."
张移北 Zhang Yibei
Sophia
青铜，玻璃，陶 Bronze, glass, ceramic
尺寸可变 Dimension Variable
2023
当人与人面对面讲话时，社交距离缩近到20-30厘米，此刻，除了谈话的内容，身体的许多信息也极易被对方感知。在这个沟通双方的物理距离无限接近的时空里，人与人之间许多微妙的状态由此产生。
《Sophia》这一作品系列的灵感便来源于这样一些不易察觉的微暗时刻。一次，艺术家的朋友和她分享了自己的故事，他曾受因病导致的口腔异味困扰，在与人交流时，对方往往会下意识或无意识地做出一些微小的动作，例如躲闪、回头、后撤、假装无视等。这些举动触发的复杂情绪有如连锁效应。
有时，他会被这种行为上的拒绝刺痛，却又因为无能为力而感到抱歉、疑惑、委屈和强制性接受自己，有时，他会因对方的善意感到一丝温暖，同时也会因为被歧视而感到气愤。这些情绪成为一抹淡淡的愁云，在他尝试与人拉近距离时往往被刺痛。在双方心照不宣的举止之间，一种无形的心理拉锯也逐渐形成，而谈话仍在继续。
在该系列里，Sophia化身成一个个深海生物，在无法控制的洋流中，它们或许僵硬、或许顽抗、或许敏感而轻盈。忧愁挥之不去，逐流着的他们唯有感知着这洋流、他者与自我。
公共单元﹒作品介绍
Public Sector﹒Artwork
张移北 Zhang Yibei
任凭 Whatever you do
行为 Performance
吊车，水泥，钢板，钢筋
Crane, cement, steel plate, steel bar
尺寸可变 Dimension Variable
2023
一个水泥管和三个同等大小、但材质、密度和塑形方式不同的物体放置在地面上，并被钢索连接。吊车随机吊起其中一个物体，使得余下的物件被拉动，共同悬置于半空中。因为密度和重量的不同，在吊起过程中，它们以一种相互牵动的方式形成了自我组织的形态。物体形态上看似并无差异，但因外界力量的强势干预而彼此拉扯，作品指涉了个体与集体的张力。它暗指了情绪与状态、团结与异见之间的复杂关系。它们在半空中的姿态，传递的是存在于动态和不稳定过程里的坚定力量。
A cement pipe and three objects of equal size, but of different materials, densities and shaping methods, were placed on the ground and connected by steel cables. A crane randomly lifts one of the objects, causing the remaining objects to be pulled and collectively suspended in mid-air. Because of the difference in density and weight, they becomes a self-organized form in a way that pulls on each other during the lifting process. The objects are seemingly indistinguishable in form, but they are pulled by the strong intervention of external forces, and the work refers to the tension between the individual and the collective. It alludes to the complex relationship between emotions and states, solidarity and dissent. Their gestures in mid-air convey the resolute power that exists in a dynamic and unstable process.
艺术家介绍
About the Artists
张怡 Patty Chang
张怡（Patty Chang）是一位工作和生活在洛杉矶的艺术家和教育家。她使用表演、录像、装置的媒介和叙事的形式探讨身份、性别、跨国主义、殖民主义遗产、环境、大型基础设施项目和对主体性的影响。她在博物馆的展览和书籍“游移湖”（The Wandering Lake）调查了受大型水利工程项目影响的自然景观：如苏联从咸海引水的工程，以及世界上最长的供水渠道——中国的南水北调水利工程。她的多频影像项目”奶债”（Milk Debt）将哺乳行为与人们难以言说的恐惧相结合。
她的作品曾多次在国内和国际上展出，包括纽约现代艺术博物馆，纽约古根海姆博物馆，纽约新当代艺术博物馆，香港M+博物馆，荷兰乌德勒支艺术中心，洛杉矶海默博物馆，英国曼彻斯特华人当代艺术中心， 芝加哥当代艺术博物馆，旧金山现代艺术博物馆，中国广州时代美术馆，中国北京美凯龙艺术中心和瑞典斯德哥尔摩的现代美术馆。她曾获得美国艺术家奖学金，洛克菲勒基金会资助，创意资本奖学金，柏林美国学院的古纳-S-蒙德海姆视觉艺术奖学金，约翰西蒙古根海姆纪念基金会奖学金和“匿名者是女性”艺术奖。她目前在洛杉矶的南加州大学任教。
Patty Chang is a Los Angeles based artist and educator who uses performance, video, installation and narrative forms when considering identity, gender, transnationalism, colonial legacies, the environment, large-scale infrastructural projects and impacted subjectivities. Her museum exhibition and book The Wandering Lake investigates the landscapes impacted by large scale human-engineered water projects such as the Soviet mission to irrigate the waters from the Aral Sea, as well as the longest aqueduct in the world, the North to South Water Diversion Project in China. Her multichannel video project Milk Debt combines the act of lactation with people’s unspoken fears.
Her work has been exhibited nationwide and internationally at such institutions as the Museum of Modern Art, New York; Guggenheim Museum, New York; New Museum, New York; M+ Museum, Hong Kong; BAK, Basis voor actuele Kunst, Utrecht; Hammer Museum, Los Angeles; Chinese Arts Centre, Manchester, England; the Museum of Contemporary Art, Chicago; San Francisco Museum of Modern Art; Times Museum in Guangzhou, China; Macalline Art Center, Beijing, China and Moderna Museet in Stockholm, Sweden. She has received a United States Artist Fellowship, a Rockefeller Foundation Grant, a Creative Capital Fellowship, a Guna S. Mundheim Fellowship in the Visual Arts at the American Academy in Berlin, a John Simon Guggenheim Memorial Foundation Fellowship, and an Anonymous Was a Woman Grant. She currently teaches at the University of Southern California in Los Angeles, CA.
张移北，1992年生于大庆。现⼯作⽣活于北京。硕士毕业于英国皇家艺术学院雕塑系，本科毕业于英国伦敦艺术⼤学雕塑系。张移北从一个假定的命题出发，在介于艺术家、材料与观念三者关系的重新思考。在这种构思/反思过程中，艺术家和她的材料形成了实在世界，实在世界构成了观念世界，思维和材料共同构成了艺术家的意象，这种意象就像鸡与蛋的关系，通向了艺术家与材料之间的合作关系。因此，材料、艺术家和思想注定要共存。那么什么是材料，谁是艺术家呢？观念在哪里？我们也许可以认为，艺术家挑选她的材料，无论是石头、硅还是世界上已经存在的东西(现成物)，因为她把她的材料组合成她的潜意识的参考物体。这给移北提出了一个问题，即材料是否属于艺术家，或者反之亦然，即相对于材料，艺术家被选择、移动，或者对于艺术家来说，材料被移动、选择。
张移北曾获得2019年第七届明天雕塑奖，2021年入围华宇青年奖，并获选Longlati基金会2022-2023年度驻留艺术家。近期重要展览包括：个展“所有东西凿出一个孔都可以成为花瓶”（BANK，上海，2021）；群展“应激之机”（泰康空间，北京，2023），“断裂的一代”（松美术馆，北京，2022），“日常的智慧—当代艺术邀请展”（银川当代美术馆，银川，2021），“第四届今日文献展（今日美术馆，北京，2019），“还要什么自行车”（德国文化中心·歌德学院，北京，2019）等。作品被松美术馆、Longlati基金会、北京泰康空间收藏。
Zhang Yibei (b.1992, born in Heilongjiang, China) lives and works in Beijing. Graduated from Royal College of Art MA Fine Art (Sculpture) 2017 and University of Arts London, Wimbledon College of Arts - BA Fine Art (Sculpture) 2015. Yibei Zhang starts with a proposition, that is, a rethinking of the relationship between artist, material and ideation. In this rethinking, the artist and her materials form the entity world and the entity world frames the ideation world; ideation and material together compose the imagery of the artist and this imagery leads, chicken and egg-like, to the collaboration of artist and material. Material, artist and ideation are therefore fated to co-exist. What then is material and who is the artist? Where is ideation? We might deem that the artist picks her material, be it stone, silicon or things that exist in the world (found or sought objects), because she combines her materials as reference objects to her subconscious. This poses for Yibei the question of whether the material belongs to the artist or vice versa, i.e. relative to material, the artist is moved and relative to the artist, the material is moved.
Yibei has won 2019 Tomorrow Sculpture Awards and shortlisted by Huayu Youth Award in 2021. She is also the recipient of Longlati Foundation's Artist-in-Residence Program for the 2022–23 cycle. Her recent exhibitions include: solo exhibition “A Vase In Everything”(BANK/MABSOCIETY, Shanghai, 2021); group exhibitions “BODILY REACTION: VITALIZING THE BARE LIFE”(Taikang Space, Beijing, 2023),“The Disconnect Generation”(Song Art Museum, Beijing, 2022), “Wisdom of Everydau Life-Contemporary Art Invitation Exhibition”(Museum of Contemporary Art Yinchuan, Yinchuan, 2021), “The 4th Today’s Documents ”(Today Art Museum, Beijing, China, 2019), “Whatever Works, Whatever It Takes”( Goethe Institut, Beijing, China, 2019), etc. Her artworks have been collected by important insitituions, including Song Art Museum, Longlati Foundation, Taikang Space.
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