BANK 展览现场｜Installation View｜高手之后 Behind Gesture and Speech
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BANK
让·克里斯蒂安·布卡尔 Jean Christian Bourcart
王裕言 Wang Yuyan
陈天灼 Chen Tianzhuo
柯好理 Tim Crowley
靳山 Jin Shan
白乂乂 Bai Yiyi
展览时间/Show Duration: 2023/08/05 - 2023/09/16
地点/Address: 上海市徐汇区安福路298弄2号楼底楼
Basement, No,2, Lane 298, An Fu Rd, Shanghai
作为当前展览“梁浩：高手”的延伸，BANK用多件与“手”有所关联的作品装点了会客室，涵盖绘画、摄影、雕塑、影像、挂毯等不同媒介，延展观众对“手”这一图像主题的视觉体验。展览至9月16日。
As an extension of the current exhibition "Liang Hao: Gesture and Speech," BANK has adorned the guest room with a number of works related to the theme of "hand," encompassing various mediums including painting, photography, sculpture, video, and tapestry, to expand the audience's visual experience of the imagery of "hands." The exhibition will be on view until 16th September.
相关作品 Exhibited Works
让·克里斯蒂安·布卡尔的摄影《车行者－被保护的女孩》，来自于一个捕捉拥堵交通中的车内人物的系列，这些经历了漫长的一天的人们，面对镜头，有人只是怔怔地看着，有人则是用报纸和手保护自己。
让·克里斯蒂安·布卡尔（生于 1960 年）是法国摄影师和电影制作人。他收集未售出的婚纱照，拍摄堵车的纽约人，将伊拉克受害者的照片投射到美国房屋、教堂和超市上，撰写并出版了自传，并长时间记录了新泽西州卡姆登市——美国最贫穷、最危险的城市之一。他还执导了两部故事片，第一部是在波斯尼亚战争期间拍摄的，第二部是在纽约艺术界拍摄的科幻惊悚片，由获奖演员 Elodie Bouchez 主演。他还是一位活跃的视频电影制作人。关于他作品的九本书已经出版。在他的职业生涯中，他一直在教学和举办研讨会。
他获得的奖项包括：2011 年巴黎纳达尔奖（Nadar Prize）；2010 年和 2011 年皮克泰奖（Pictet prize）提名；2010 年宝马奖（BMW award）；2006 年巴黎巴黎美术馆奖（Prix du Jeu de Paume）；1997 年巴黎吉尔-杜塞恩奖（Prix Gilles Dusein）；1991 年阿姆斯特丹世界新闻奖（World Press Awards）艺术类奖；1984 年波拉罗奖（Prix Polaroïd）等。
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Jean-Christian Bourcart's photograph "Traffic – Fillette Protégéel" is part of a series capturing individuals inside congested vehicles. These people, who have experienced a long day, face the camera; some gaze blankly, while others shield themselves with newspapers and hands.
Jean-Christian Bourcart (born 1960) is a French artistic photographer and film maker. He collected unsold wedding pictures, photographed in brothels and S&M cubs, photographed New Yorkers stuck in traffic jams, projected pictures of Iraqi victims on American houses, churches and supermarkets, wrote and published his autobiography and documented lengthy the city of Camden, NJ, one of the poorest and most dangerous city in the USA. He also directed two fiction feature movies, the first one during the war in Bosnia, the second, a sci-fi thriller in New York art world, starring the awards-winner Elodie Bouchez. He is also an active video filmmaker. Nine books about his work have been published. He has been teaching and conducting workshops all along his career.
His awards include Nadar Prize, Paris, 2011; nominated for Pictet prize 2010 & 2011; BMW award, 2010; Prix du Jeu de Paume, Paris, 2006; Prix Gilles Dusein, Paris, 1997; World Press Awards, categorie Art, Amsterdam, 1991; Prix Polaroïd, 1984.
王裕言的影像作品《The Devil In The Details》挪用和拼接了众多恐怖电影中的手部特写镜头，在Steve Reich的《拍手节奏》（Clapping Musuc）中，这些重复的“手”逐渐脱离了原本的语境，成为直观的体验。
王裕言的作品以影像和装置的形式，从无尽增殖图像工业生产链中获得灵感，尝试捕捉现代生产主义中异化的工业劳动，以及人在机械性复调劳动关系下的恍惚状态。她通过对既有图像的回收实践，记录无所不在的媒体传播对现实的抽象和催眠。
王裕言1989年出生于中国⻘岛，毕业于Le Fresnoy法国国立当代艺术影像研究中心，巴黎国立美术学院和中国美术学院跨媒体艺术系。影像作品曾入选柏林国际电影节、鹿特丹电影节、里斯本独立国际电影节、芝加哥国际电影节、欧洲媒体艺术节、马德里文献展等。她曾荣获地拉那国际电影节最佳纪录短片奖、Netzhaut Ton 电影节青年人才奖、Videoformes 数字艺术节评委会奖和普瓦捷电影节评委会奖。她的影片《All Mouvements Should Kill the Wind》进入亚洲电影资料馆收藏。
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The video work "The Devil In The Details" by Yuyan Wang is a collage and appropriation of numerous close-up shots of hands from horror movies. This repetition of the motif generates an abstract narrative, guided by Steve Reich's composition "Clapping Music", transforming the imagery into a visceral experience.
Yuyan Wang's work oscillates between film and installation, often taking an immersive perspective. Her works focus on the mutation of elementary materials and examine the industrial production chain of images with its endless development towards an abstraction of reality. Beyond the transcription of hypnotic atmospheres generated by omnipresent media, her projects portray alienating industrial labor, revealing how the mechanical and repetitive relationship provokes workers into a state close to trance.
Born in China, Yuyan Wang graduated in 2020 from Le Fresnoy - Studio national des arts contemporains and in 2016 from Beaux-arts de Paris. Her films have been selected in numerous festivals, such as Berlinale International Film Festival, International Film Festival Rotterdam, IndieLisboa Film Festival, European Media Art Festival, Documenta Madrid...She received the Best Documentary Short Film Award at Tirana International Film Festival, the Young Talent Award at Netzhaut Ton Film Festival, the Jury Prize at Videoformes Digital Arts Festival, and the Jury Prize at Poitiers Film Festival. Her film “All Mouvements Should Kill the Wind” is in the collection of the Asian Film Archive.
柯好理的绘画打造了一则来自未来的虚假展讯，他的作品取材于其在全球当代艺术行业中的长期深入参与。
柯好理（1972年, 出生于英国）在中国北京生活和工作。作为一名艺术家，柯好理在他漫长的职业生涯中还扮演了许多其他角色，包括策展人、艺术空间总监、教育家、艺术杂志编辑和纪录片制作人。这些角色将他带到全世界各地，也见证了他与这个行业内最优秀的人的共事和合作。他曾在纽约的White Columns 画廊和米兰的 Tema Celeste 杂志工作；他自2016年起担任北京KWM艺术中心的国际总监以及慕尼黑 Kino Der Kunst 亚洲部分的策展人。
在他最新的一系列画作中，他取材于自己丰富的经验，以及反讽性的敏感，为当代艺术展览的未来走向创作了一篇近乎玩笑的论文。柯好理的作品曾在深圳OCAT双年展，巴西 Mercosul 双年展、米兰的 Perimeter Editions以及北京中央美术学院美术馆展出。柯好理的作品被南京德基美术馆、杭州天目里美术馆及其他收藏。
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Tim Crowley's paintings craft a misleading exhibition announcement in future. His work is marked by his intensive and long involvement with all aspects of the global contemporary art industry.
Tim Crowley (b.1972, England) lives and works in Beijing, China. Practicing foremost as an artist Crowley has also played many other roles throughout his long career. These roles has taken him to the far reaches of the earth and has seen him work with some of the best in the field. In his latest series of paintings he draws from his vast experience, as well as his satirical sensibilities to create a tongue-in-cheek dissertation on the possible future of contemporary art exhibitions. Crowley’s work has been showcased at the OCAT Shenzhen Biennial, Mercosul Biennale, Brazil, Perimeter Editions in Milan, as well as at the Museum of the Central Academy of Fine Arts, Beijing. Crowley’s work is in the collection of the De Ji Museum, Nanjing; By Art Matters, Hangzhou among other prestigious collections.
陈天灼的挂毯来自于他的长篇史诗演出《ADAHA》，该作品中充满了怪诞的神明角色，《ADAHA》曾于2014年在BANK首演，第二部于2016年由巴黎东京宫委任创作并上演。
陈天灼，生于1985年，毕业于英国伦敦中央圣马丁艺术设计学院和切尔西艺术设计学院，目前生活 和工作于中国北京和上海。度人超越，引发狂热几乎成了陈天灼作品创作的诱因，正如炼金术师一样，找寻在现实社会中存在的诱发因素，也即材料，精馏(提纯)之后，通过物质的升华来塑造一种真实存在的引人狂热的气氛。
他的作品当中经常会出现全视之眼、《南方公园》中的种族主义者Eric Cartman、侏儒等一些具有异化可能的线索和符号，无论是木雕装置、表演道具、或录像背景等，他惯用跌宕诡艳的色彩，加之音乐层面的激发和感官互动来完成和升华作品。陈天灼在艺术目的性上的强势，使其更加自由地采撷和运用多元的传播媒介，除雕塑、装置、绘画、录像之外，能够在流行文化，诸如服装、音乐、派对、表演等形式当中来回转换或加以综合使用。
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Chen Tianzhuo's tapestry comes from his epic performance "ADAHA," filled with bizarre divine characters. "ADAHA" premiered at BANK in 2014, and its second part was commissioned and staged by the Palais de Tokyo in Paris in 2016.
Born in 1985, Tianzhuo Chen is currently living and working in Beijing, China. After graduating from Central St.Martins College of Art and Design, he received his Masters in Fine Arts from the Chelsea College of Art and Design. Many of his artworks require others’ participation or that of the audience so to take the form of a “happening”, such as an underground party, staged performance, or more conceptually, a constructed ritual site, and ultimately transforming reality into fantasy.
Within his artworks, Chen mixes his well versed knowledge of elements and symbols found in religion (like Buddhism, Hinduism, Christianity, and Shamanism, etc.), subculture (like cult cultures, drag and rave, etc.), popular culture (such as cartoons, hip hop and electronic music, etc.), and dance (like Japanese Butoh and Vogueing) in order to juxtapose the atmosphere, and cause the participants to transcend both superficial sates of the body and spirit.
靳山（1977年出生于中国江苏）2000年毕业于华东师范大学艺术系，目前在上海工作生活 。创作概念不离他对中国当代社会的关注，喜欢利用如激进讽刺文学般的方式，向观众诙谐地展现同周遭社会性、文化性以及政治性问题的对抗，旨在刻画当代中国现状的同时，探究“人类动机”，是如何逾越了民族与地域的鸿沟、甚至蔓延至人类基因中隐藏的共性——无节制的权欲。
其作品曾在新加坡双年展、威尼斯双年展、荷兰格罗宁根美术馆、美国布朗大学大卫·温顿·贝尔美术馆、洛杉矶郡艺术博物馆、震旦博物馆、昊美术馆、星美术馆等重要机构展出。其作品也已被香港M+美术馆、悉尼白兔美术馆、巴黎卡蒂斯特艺术基金会、乌里·希克、巴黎DSL艺术收藏机构，美国堪萨斯州劳伦斯斯宾塞美术馆以及洛杉矶郡艺术博物馆等收藏。
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A leading voice in an emerging generation of socially engaged contemporary artists in China, Jin Shan is an agent provocateur. Preferring wit and satire to aggression and conflict, his work uses humor and play to draw audiences into a confrontation with the social, cultural and political problems of the day. While specifically describing aspects of contemporary China, his investigation of human motivation extends beyond national boundaries to the seemingly insatiable desire for power programmed into humanity’s DNA.
Jin Shan (b.1977, Jiangsu Province) graduated from Faculty of Fine Art of East China Normal University in 2000, currently works and lives in Shanghai. Jin Shan’s work has been exhibited at the Singapore Biennale, The Venice Biennale, The Groninger Museum, Netherlands, David Winton Bell Gallery, Brown University, Los Angeles County Museum of Art, Aurora Museum, HOW Museum, START Museum, and among many others. His works have been collected by M+ Museum, Hong Kong, China; White Rabbit Gallery, Sydney, Australia; the Kadist Foundation, Paris, France; the DSL Collection, Paris, France; Uli Sigg, Switzerland; Tiroche DeLeon Collection,and the Spencer Museum of Art, Lawrence, Kansas, USA, Los Angeles County Museum of Art, LA USA.
白乂乂1992年出生于山西大同。社交网络上的视觉快感图像、惯用的影像视觉技法、以及装饰物、首饰、模糊的性特征通过工业化的传播美学不断的滚动播放形成一种集合体模式的特殊性别形象或近乎完美的感性外观与心理状态。
“我的绘画来自于工业化的传播美学， 我时常在思考人群的身份与世界的关系。我的颜色系统来自于屏幕、你可以看到胶片的质感、用笔刷点彩技法模仿的广告胶印色点、像是视频中的雪花、还有放大的特写镜头、虚化的模糊效果、他们在画面中我通过寻找一种东方式线条韵律使这些特写来回穿插并制造开放式的故事线索。在我的绘画作品更像是一个快速的电影情节。这来自于社交网络的视觉快感， 我们不需要通过远景近景与特写镜头的方式来描绘故事，我们只是浏览大量的视频只停留在那些吸引人并带来视觉快感的镜头上。在我的绘画中同样采用这样的手法，在一个故事镜头之中，我只关注那些特写并放大这些特写从而使整个场景与空间进行视觉上的收缩。这种观看方式就像你在打量一个人只关注在他身上特别的饰品上一样。我在用一种屏幕的色彩系统采用更高效的手段超越电影的叙事节奏，记录那些特别点通过绘画特有的空间感受实现一种更快捷更持久的叙事手法。”
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Bai Yiyi was born in Shan Xi province, Da Tong City in 1992, currently based in Shanghai.
“My paintings come from the communication aesthetics of industrialization, and I often think about the relationship between the identity of the crowd and the world. My color system comes from the screen, you can see the texture of the film, the color dots of the advertisement offset with the brush technique, like the snowflakes in the video, the enlarged close-ups, the blurred effects, they are in the picture I am looking for an eastern line rhythm to weave these close-ups back and forth and create an open story line. In my painting works is more like a quick movie plot. It comes from the visual pleasure of social networking, we don't have to depict the story through long shots and close-ups, we just go through a lot of videos and just stick to the ones that are attractive and visually pleasing. I also adopt such a technique in my paintings. In a story shot, I only pay attention to those close-ups and enlarge them so as to visually shrink the whole scene and space. It's like you're looking at a person and you're focusing on a particular accessory. I am using a color system of the screen to surpass the narrative rhythm of the film in a more efficient way and record those special points to achieve a faster and more lasting narrative technique through the unique spatial experience of painting.”
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