梁浩 Liang Hao｜“替身”@和美术馆 He Art Museum
和美术馆，广东佛山
He Art Museum, Foshan, Guangdong
不现脸庞的身体、尚未达成的行动、了无事件的场景……梁浩的画中不断重现的手势，让我们难以判定主角的情绪与动机；正如其任务和场景，尽管看似置于模块化的结构和理性的工业光线之中，但语境的真空又使得它们的意义稍经推敲，就能顷刻轰塌，显得荒谬不堪——这何尝不是画家对不断异化着我们的、现当代境况的嘲谑？
但我们也别忘了，他的画中还有另一些手势，一种更具象征意味、也更因情而动的手势。它们被引用在画中之书的封面上，或是被手翻开的一页：卡拉瓦乔笔下的吉普赛女占卜师，她的指尖企图把对未来的想象写进现实；被蜥蜴咬伤的男孩，因为受惊而本能将手抽退；古希腊雕塑的一段残片，或许是神话里特洛伊王子那只捧着金苹果的手，曾引发过美和爱的纷争，并进而掀起了十年的围城之战……
一种手势的图像，嵌于另一种截然不同的手势图像中。引用遥远的他人之作，使得梁浩画中的嵌套并非我们所熟悉的、美术史上作品里那无限递归的镜像自我指涉。比起自我指涉，我们的画家似乎更喜好玩弄图像之间的辩证：情动与克制、意义与真空、行动与悬停、故事与非叙事，再到最不言自明的经典与当下。这也让我们想到他画中种种镜面材料的反射，它们作为另一种嵌套，也总是想在空间里制造更多岔错、替代和繁多——而不是坠入“一”的镜像深渊。
文/游伊一
BANK is pleased to announce Liang Hao's solo exhibition "Doubled Bifurcation" at He Art Museum from December 19, 2023, marking the artist's first solo museum exhibition.
The gestures that keep recurring in Liang Hao's paintings make it difficult for us to recognize the emotions and motives of the figures. Although the scenes are placed in a modular structure and industrial lighting, the absence of context eradicates the meanings and makes them obscure. This is probably a mockery of the reality that constantly alienating us.
However, don't forget that there are other gestures in his paintings. They are more symbolic and mobilized by emotion, being staged on the covers of the books, or on the pages that are flipped by hands. Tips of the fingers are pointing towards an imaginary reality, the gypsy soothsayer in Caravaggio's painting; the boy bitten by a lizard or a fragment of an ancient Greek sculpture.
One gesture is nested within another. By referencing distant works, Liang Hao's images differ from the recursive self-referentiality found in art history. Instead, he prefers to play with the dialectical relationships between images emotional and restrained, meaningful and meaningless, active and suspended, narrative and non-narrative classic and contemporary. In the end, there is no longer a unitary mirror image in his works. The reflections in the paintings become a stimulus of interruption, substitution and multiplicity in the space he creates on canvas.
Text/You Yiyi
展览现场
Installation View
Photo by Hubert Wang. Image courtesy of He Art Museum
关于艺术家 About the Artist
梁浩 Liang Hao
梁浩，1988年⽣于⼴东。2012年毕业于清华⼤学美术学院绘画系，⽬前⽣活和⼯作于上海。其艺术实践以绘画为主，并涉及不同的媒介。他围绕着⼿、凝视和思想之间的动态关系展开创作，通过构建技术⽣产的幻景，亦或对⽂字与艺术史上图像的引⽤，来重新考虑⼿的技术性，以及流转于其中的情感意识。
梁浩的近期个展包括：“替身”和美术馆，广东，（2023）；“高手”BANK画廊，上海，（2023）；“重现” ⽟兰堂，北京，（2022）；“时间的褶皱” 10号赞善⾥画廊，⾹港，（2020）；“⼀种⽬光” ⽟兰堂，上海，（2019）；“映像与猎场” ⽟兰堂，北京，（2017）。他的作品亦在不同机构参与展出，其中包括纽约 Art OMI艺术中⼼、韩国Daechumoo Fine Art、上海⺠⽣现代美术馆、北京今⽇美术馆、冰岛Offshore Project Space、北京中央美术学院美术馆。他曾参加美国纽约Art OMI（2016年）和冰岛塞济斯菲厄泽Island Iceland Offshore Project（2015年）的艺术家驻地项⽬，并于2018年和2016年⼊围“约翰‧莫尔绘画奖”。
Liang Hao (b. 1988, Guangdong Province) currently lives and works in Shanghai. He graduated from the Painting Department of the Academy of Arts and Design at Tsinghua University, Beijing, in 2012. His practice focuses on painting while extending to other media. He is interested in the dynamics between the hand, gaze and mind, reconsidering the technicality of the hand and the affects that flow through it by constructing illusions of technical production and making references to images in art history or texts.
His recent solo exhibitions include: Doubled Bifurcation (He Art Museum, Guangdong, 2023); Gesture and Speech (BANK, Shanghai, 2023); Present, Again (Line Gallery, Beijing, 2022); Unfolding into the Expanse (10 Chancery Lane Gallery, Hong Kong, 2020); A Kind of Gaze (Line Gallery, Shanghai, 2019); Image and Hunting Ground (Line Gallery, Beijing, 2017). His work has been exhibited in worldwide institutions that include: Art OMI, New York; Daechumoo Fine Art, Korea; MinSheng Art Museum, Shanghai; Today Art Museum, Beijing; Offshore Project Space, Iceland; CAFA Art Museum, Beijing. His past artist residencies include: Art OMI International Artist Residency (New York, 2016); Island Iceland Offshore Project (Seydisfjordur, 2015). His award nominations include: John Moores Painting Prize (2018,2016).
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