BANK | 展位 E19 | 洛杉矶弗里兹艺博会 2024 Frieze Los Angeles | 2.29-3.3

—

BANK 参加洛杉矶弗里兹艺博会

Frieze Los Angeles 2024‍

 Booth 展位 E19 

梁浩 Liang Hao

林科 Lin Ke

陈天灼 Chen Tianzhuo  

张怡 Patty Chang

孙一钿 Sun Yitian

白乂乂 Bai Yiyi

贵宾预览 VIP Preview

2024.02.29   10:00-18:00 

2024.03.01   11:00-18:00

公众开放日 Public Days

2024.03.02   11:00-18:00

2024.03.03   11:00-17:00

洛杉矶圣莫尼卡机场大道3027号

3027 Airport Avenue, Santa Monica, 90405

—

BANK 欣然宣布即将举参与洛杉矶弗里兹艺博会（Frieze Los Angeles）。为了庆祝BANK成立10周年，我们将带来一群充满活力的跨文化与代际的艺术家。我们展位将呈现来自洛杉矶的艺术家张怡（Patty Chang）及其极具先锋性、突破传统的作品；作品受到洛杉矶当代艺术馆和洛杉矶现代艺术馆欢迎并被收藏、运用电脑软件探索感知的“魔术师”林科；运用影像、装置和表演三位一体呈现庞大世界观的艺术家陈天灼；才华横溢的新生代艺术家孙一钿，她的作品亦受到国际美术馆与机构的广泛关注及收藏；以及同样作为冉冉升起的年轻一代画家的白乂乂和梁浩。作为十年经验的缩影，此次BANK将精心展示我们向来的关注与视野展望。

BANK is pleased to participate in the upcoming Frieze Los Angeles. To celebrate our 10th year, we have assembled a special selection of our dynamic, cross-cultural, and cross-generational roster of artists. The booth will showcase works by the pioneering, boundary-breaking artist LA-based Patty Chang; by perceptual explorers like software magician Lin Ke (in the collections of LACMA and MoCA LA), and film, installation and performance artist Chen Tianzhuo; as well as by denizens of a new generation of supremely talented young painters: Sun Yitian, whose works gained attentions from worldwide museums and institutions, Bai Yiyi, and Liang Hao. For this presentation, BANK has gathered a consummate selection from the gallery’s decade of experience.

---

 精选作品 Selected Works 

梁浩 Liang Hao

追溯与石化 Retrace and Fossilization

布面油画 Oil on linen

160 x 120 cm

2024

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。 

梁浩近期个展有：“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）。他的作品亦在不同机构参与展出，包括上海ASE基金会、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。梁浩作品已进入澳大利亚白兔美术馆、香港M Art Foundation、ASE基金会、松美术馆、和美术馆、星美术馆等各大机构和基金会收藏。

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”。

← EN

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). His work has been exhibited in worldwide institutions that include: ASE Foundation, Shanghai; 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 notable public collections include: White Rabbit Gallery, Australia; M Art Foundation, Singapore; ASE Foundation; Song Art Museum, Beijing; He Art Museum, Guangdong; START Museum, Shanghai, etc..
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).

👈 滑动查看 Slide for more

林科 Lin Ke

绿色眼睛 02 Green Eyes 02

低反射UV打印 UV print on low-reflection acrylic

30 x 40 cm

2023

绿色眼睛 01 Green Eyes 01

低反射UV打印 UV print on low-reflection acrylic

30 x 40 cm

2023

在《天空绘画》中，林科将经由水彩产生的图像电子化，打印再造在各种材料之上。它们几近历经迁徙的状态，被转曲、喷绘、数码印刷等方式出现在各种透明材料媒介上，林科的实践过程提出了一些疑问，关于艺术的媒介，图像的产生，以及展示艺术的本能，种种重要性及其本质。

艺术家写道：“我从虚空中采集图像（水彩）再把虚拟（Photoshop绘画）再到 TIF，再到空间中的事物，这是这个展览作品中的大的关系。甚至还有元图像背后的图像，是我画水彩的时候的观看图像，一些模糊的，刺激我的任何的头像，然后我对着这样的图像画水彩肖像画，像在虚空之中抄写。虚空采集。灵感来自藏传佛教里的伏藏师。天空出现一行字，伏藏师可以看见，并把它抄写下来。” 

如他所言，如藏传佛教的神秘主义者，观望天空，占卜星象。艺术家亦凝视天空，试图内省，观看自身和周遭。空间的物理意义已不复存在，图像的真实性也变得毫无必要。故在展览中的图像，林科可视化了一个想象中的无形态的世界，神仙所居之地。天空的虚无，才孕育了大地的真相。这一切，都促使艺术家关注到这缘起的虚无，正如我们日常相伴却不胜存在的虚拟世界，如电磁场，如光影般。

← EN

In Sky Painting, Lin Ke re-presents the digitized remains of these watercolors as reconstituted prints on various surfaces. Through the long journey of analysis, conversion, and re-production Lin Ke’s practice questions the import and essence of artistic medium, image making, as well as the impulse to exhibit art. 
The artist writes: “From Void to Solid (Watercolor) to Virtual (photoshop Painting) to TIF and then to object in the space - the context of the exhibition of the work. There is even an image behind the meta-image, which is what I look at when I paint watercolors. I see some fuzzy, stimulating images of a head, and then I draw a watercolor portrait of such an image, like copying in the void. I am inspired by the Tibetan Buddhism Fuzang. A line of texts would appear in the sky, and Fuzang would see it and write it down.” 
Inspired by the mystics of Tibetan Buddhism who gazed at the sky for divinatory revelations Lin Ke equates the sky with the image as a muse for introspection- a mirror onto himself and his surroundings. In a space where physicality no longer exists, resemblance and authenticity ultimately lose their substance. So in the remains of the images presented in the exhibition Lin creates a visual language imbued with the celestial inhabitants of the sky, an immaterial universe, a formless sky world. Conversely, the void of the sky like that of the image unveils truths about the earth, inspiring the artist to examine the immaterial substances that permeate our every day spaces, from electromagnetic fields to rays of light.

陈天灼 Chen Tianzhuo

Exo-Performance/Baby Chinayu & Exo-Performance/Beio

影像 Video

5:43

2019‍‍

Edition 2 of 5

威尼斯林冠基金会展览现场 2019

Installation view at Faurschou Foundation 2019

在影像作品《Exo-Performance/Baby Chinayu》与《Exo-Performance/Beio》中，陈天灼试图阐释传统神学中天堂和地狱的两极，作品经由艺术家与好莱坞后期制作团队合作完成。天灼同时借鉴东方寓言和当代科幻作品中的神灵形象来构建数码雕塑，并将这些形象映射于其长期合作的表演者Baby Chinayu和Beio身上，使他们在虚拟的电子场景中一齐舞动。

在《Exo-Performance/Beio》展示的数字化天堂中，穿着草帽手持神棍的Beio仿佛一位萨满大祭司，他以“舞踏”（Butoh）的姿态穿过冬日蓝染的废墟。而在代表地狱的《Exo-Performance/Baby Chinayu》中，体态肥硕的演员脚踏一片恐怖与爆炸蔓延之地，神灵雕塑在此类似一位龙舞者喷斥怒火，仿佛这片用电脑技术生成的惊惶景观得以觉醒。

陈天灼在两件作品中巧妙建构一种传统神话与当代文化的挪用并置。与此同时，艺术家探索着雕塑，身体与电子科技的关系。

← EN

Chen Tianzhuo’s Exo-Performance/Baby Chinayu and Exo-Perfomance/Beio interprets the classical dual phases of mythological afterlife: Heaven and Hell, in this video installation. Working with a CG postproduction studio in Los Angeles the artist built digital sculptures in the form of spirit – gods, which borrow simultaneously from Chinese traditional allegories and contemporary science fiction. These digital sculptures were then mapped onto the bodies of Chen’s long time collaborative actors, Baby Chinayu and Beio, as they move around a fictional, digitized landscape. 
In the digital heaven, Beio dressed in a traditional farmers hat and staff behaves like an ancient shaman, crusading in Butoh dancelike steps, across a wasteland of wintry blue haze. In the hell of Exo-Performance/Baby Chinayu, the overweight actor stomps around in a reign of terror as explosions abound around him. The spirit sculpture here resembles a dragon dancer spitting fire and leaving a wake of terror in the computer generated landscape behind him. 
Chen’s ability to construct a total encompassing world using references from traditional mythology and contemporary culture continues in these dual works. Here the artist also explores the relationship between sculpture, the body and digital technology.

张怡 Patty Chang

架构 Configurations

收藏级喷墨打印 Archival inkjet print

29 x 42 inches (74 x 107 cm)

2016

Edition of 5+2AP

张怡（Patty Chang）是一位工作和生活于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。

“架构”（Configurations）系列作品源于艺术家对南水北调工程沿线的考察。艺术家的考察从丹江口的工程起点一直延续到北京郊区的蓄水池。这项工程的最初构思于1952年提出，截止 2014 年底一期工程完工，已成为世界上河道最长、耗费最昂贵的工程项目之一。通过三条水渠，最终的目标是每年将 448 亿立方米的淡水从华南输送到干旱和工业化的北方。

旅途中的艺术家沉思着水渠的构架，黄河的筑坝历史，中华的帝王史，大规模基础设施建设与人体之间的关系。为了长途旅行的便利，沿途中艺术家经常使用塑料水瓶自制简易的FUD（女性排尿装置）小便器。基于此种经验，艺术家为制作了一系列玻璃 FUD 雕塑。

这些私密且造型不定的自制小便装置与里程碑式规模的中国水渠系统形成了鲜明对比，更提供了大量的联想空间。“架构”既是日记式的叙事，也是对于未来工程文明的隐喻，展现了艺术家用自己的女性身份直面人类改变自然规律的诸多尝试。

← EN

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. 

Configurations serie was based on the artist’s travels along the South-North Water Diversion Project, from its beginning at Danjiankou to the final reservoir in the outskirts of Beijing. The Water Diversion Project, which began with an idea of Mao in 1952, by 2014 had become the world’s longest aqueduct, and one of the most expensive engineering projects in the world. The three-channel aqueduct aims to channel 44.8 billion cubic meters of fresh water annually from southern China to the arid and industrialized north. 
During Chang’s travels the artist meditates on the aqueduct's relationship to the Yellow River’s historic flooding, Chinese imperial history, and massive infrastructure in relation to the human body. During the long trip Chang sculpts an improvised FUD (female urinary device) out of plastic bottles as a convenient way to pee along the roadside. For this exhibition, Chang has converted these plastic-bottle FUDs into a series of blown-glass sculptures. 
These intimate, amorphous, DIY urinary devices contrasted with the monumental scale of China’s aqueduct system create a surfeit of associations. Part diaristic narrative, part metaphor for engineering the future of civilization, Configuration sees the artist exploit her femininity against the great attempts of mankind to divert the course of nature.

孙一钿 Sun Yitian

肯 Ken布面丙烯 Acrylic on canvas
183 x 183 cm2024‍

孙⼀钿，1991年⽣于中国浙江，2015年毕业于中央美术学院油画系，并于2018年获得同系硕⼠学位，现于清华⼤学⼈⽂学院攻读博⼠学位。她的作品涉及绘画、装置、⾏为、时装跨界。她的作品以“物”为切⼝⼜暗喻背后的劳动与⽣产，揭示消费社会的内在机制。 孙⼀钿的作品通常以照⽚写实的⽅式来审视诱惑和恐惧，⼆者之间的秘密、⽇益脆弱的联系，以及雕塑性的「物质」，共同构成了她的创作主题。 

孙⼀钿曾入选2019年亚洲福布斯30岁以下杰出⻘年，荣获WSJ中⽂版2022-2023“年度出⾊创作者”以及罗博之选 The Best of Best 2022“年度⻘年艺术家”奖项。作品曾在 BANK 画廊、香港 Mine Projects、 施博尔画廊（柏林）、阿尔敏·莱希（上海）、柏林 狮⼦⾏宫、巴黎莎玛丽丹、澳⻔艺术博物馆、UCCA 尤伦斯当代艺术中⼼、伦敦弗⾥兹艺博会和巴黎国际当代艺术博览会等国内外各⼤机构展出。作品还被纽约霍特家族收藏、悉尼⽩兔美术馆、荷兰瓦塞纳尔福尔林登美术馆、杭州天⽬⾥美术馆、上海 Longlati 基 ⾦会、⽊⽊美术馆、以及上海余德耀美术馆和四⽅当代美术馆等国内外各⼤机构展示收藏。

← EN

Sun Yitian (b.1991, Zhejiang, China) graduated from the Painting Department of China Central Academy of Fine Arts, Beijing (CAFA) in 2015 and earned her Master Degree in 2018. She is now completing her doctorate of Literature at the School of Humanities at Tsinghua University, Beijing. Her practice, which spans painting, installation, performance, and fashion, employs material objects as metaphors of labor and production to reveal the inner mechanisms of our consumer society. Sun's often photo-realist works examines the secret, increasingly tenuous connection between seduction and fear as well as the sculptural ‘thingness’ of her subjects. 
Sun was selected in the Forbes 30 Under 30 Asia Class of 2019 , and awarded the 2022-2023 “Creator of the Year” by WSJ.Chinese Magazine. Her works have been exhibited at BANK Gallery, Mine Projects, Esther Schipper, Almine Rech, as well as Frieze London and FIAC, Paris and major organizations such as the Lion Palace, Berlin; Samaritaine, Paris; Macao Museum of Art; UCCA Edge, Shanghai. Her works are also in the prestigious collections of Hort Family Collection, New York; White Rabbit Gallery, Sydney; By Art Matters, Hangzhou; Longlati Foundation, Shanghai; MWOODS, Beijing; YUZ Museum, Shanghai; Sifang Art Museum, Nanjing; Museum Voorlinden, the Netherlands, etc.

白乂乂 Bai Yiyi
地衣 Lichen  布面丙烯 Acrylic on canvas230 x 190 cm2023

在安静的荒野间，当我背对着站在植物覆盖的岩石层边，面对着太阳，让光斑似灼烧般覆盖在皮肤、衣服之上。阳光温热了身上的衣物透出丝丝带着温度的味道。将一切融入在大地之上，并与其链接， 形成一个逐渐消融的气漩。 

《地衣》所描绘的是一次漫长的旅途。将大量的关于褶皱的肌肤，运动鞋的胶底材质、太阳、电子光斑与植物杂草岩层，通过消除轮廓将具象图像消融并链接在一起，灵感来自于一次 7000 公里的自驾行程。

《地衣》描述的是一个自我放逐在这个世界中游荡的故事，就像地衣一样逐渐蔓延与扩散，无限地、漫无目的地游荡到未知的区域。 对于游荡的人而言，如今的世界已经无法寻找到任何激进的目标。采用地衣般的生长策略，是一种对这片没有边界的世界景观下迷失方向的妥协，也作为一种象征着顽强生命力的游荡信念。

← EN

In the quiet wilderness, with my back turned towards the layers of rocks covered in vegetation, I face the sun, allowing the patchy sunlight to burnish my skin and clothes. The sunlight warms the garments on my body, emanating a subtle fragrance of warmth. Everything blends into the earth, connecting with it, forming a gradually dissolving vortex of atmosphere. 
Lichen depicts a long journey. The abundance of details, such as the wrinkles of the skin, the rubber sole texture of sports shoes, the sun, electronic light spots, and the layers of vegetation and rocks, are melted and linked together by eliminating the outlines, inspired by a 7000-kilometer road trip. 
Lichen narrates a story of self-exile, wandering aimlessly in this world, gradually spreading, and diffusing like lichen, wandering endlessly into unknown territories. For those who wander, the contemporary world no longer offers any radical objectives. Adopting the lichenlike growth strategy is a compromise to the disorientation in this boundless world landscape and serves as a symbol of the tenacious vitality of the wandering belief.

---

洛杉矶弗里兹艺博会线上展厅 

 Frieze LA Viewing Room 

开放时间 Duration

2024.02.23 3:00 am (北京时间 UTC+8) 

- 2024.03.09 10:00 am (北京时间 UTC+8)

链接 Link

https://www.frieze.com/fairs/frieze-viewing-room

*点击“阅读原文”查看 Click on "Read More" to access

 - 正在展出 Current Exhibition - 

BANK十周年展览BANK 10th Anniversary Show

《生日派对！》Birthday Party!
展览时间/Duration: 2023.11.10-2024.02.24
地点/Address：上海市安福路298弄2号楼底楼 No.2 Lane 298 An Fu Road, Shanghai

🔗 周末画报 Modern Weekly｜封面故事：打开那道窄门🔗 十周年庆生会回顾 Recap of BANK's 10th Birthday Party

 - 即将展出 Upcoming - 

2024 春季展讯预告 Upcoming Shows & Art Fairs in Spring 2024



点击进入“金库”商店👇

Click to access "THE VAULT" store👇 

---