林科 Lin Ke | 参与曼彻斯特华人艺术中心群展 Chinternet Ugly，IKON美术馆放映，OCAT上海馆群展

BANK is very proud to announce that artist Lin Ke participated in CFCCA group show 'Chinternet Ugly’(2019) in Manchester and also a screening Fly at Tower Room in IKON Gallery, Birmingham, UK. At last, BANK is very excited to announce that Lin Ke solo show will be on from mid-August.

BANK 荣幸宣布艺术家林科参与英国曼彻斯特华人艺术中心群展 Chinternet Ugly 2019 及英国伯明翰 IKON美术馆 Tower Room 放映作品《飞行》。最后，BANK隆重宣布林科个展将于8月中旬开幕于BANK开幕。

CFCCA

Manchester，U.K

Chinternet Ugly, 2019, photography by Michael Pollard, courtesy of CFCCA

中国拥有80200万互联网用户，4.31亿微博客，7.88亿互联网移动电话用户，以及全球十大互联网公司中的四家。这个庞大的用户群与少数无处不在的在线平台和电子商务巨头（包括微信，腾讯和阿里巴巴）相结合，导致文化潮流以惊人的速度流动 - 传播和发展的速度远远超过'全球'网络，并创造了独特的互联网文化 - 'Chinternet'。利用这个空间作为文化和政治谈判，评论和游戏的场所，“Chinternet Ugly”中的艺术家们探讨了中国互联网用户的数量如何确保该国有效地成为自己的在线重心，有能力创建自己的网络规范影响范围。

专注于年轻一代的艺术家 - 第一个与大众数字技术共同成长的艺术家 - 'Chinternet Ugly'邀请观众从一些最具活力和最具活力的视角探索中国超调节数字领域的复杂和矛盾的本质。吸引艺术家。来自徐文恺（aaajiao）和林科对所发现的数字资料和标准软件程序的操纵;到了陆扬的增强现实;叶甫纳的庆祝流行美学在刘昕的作品中对网络自由的黑暗面，以及对苗颖作品中丑陋和无艺术的彰显。

在平滑过渡，抛光自拍，瑕疵修正软件和自动修正等数字世界的裂缝之间发现的凌乱人性，“Chinternet Ugly”庆祝低保美学，并突出Chinternet潜在的颠覆文化刻板印象，拒绝社会规范和产生充满活力的讽刺模因和在线亚文化。

作为第一代与中国开放政策和互联网一起成长的艺术家，苗女士以幽默的方式探索中国互联网及其用户的视觉语言。与“Chinternet Ugly”中的其他五位艺术家一样，她在网上工作，经常使用GIF，屏幕截图和低保真视觉元素以及物理装置。

'Chinternet Ugly'由曼彻斯特大学艺术史总统学术研究员Ros Holmes博士和CFCCA研究策展人Marianna Tsionki共同策划。

这个展览是通过艺术基金会的Jonathan Ruffer策展研究资助实现的。

China is home to 802 million Internet users, 431 million micro-bloggers, 788 million Internet mobile phone users, and four of the top ten Internet companies in the world. This vast user base combined with a handful of ubiquitous online platforms and e-commerce giants including WeChat, Tencent and Alibaba results in cultural currents that flow at a blinding pace – spreading and evolving far more rapidly than on the ‘global’ web and creating a distinct internet culture – the ‘Chinternet’. Utilizing this space as a site for cultural and political negotiation, critique and play, the artists presented in ‘Chinternet Ugly’ probe how the sheer volume of Internet users in China ensures that the country is effectively becoming its own online center of gravity, one with the power to create its own sphere of influence over network norms.

Focusing on a younger generation of artists – the first to have grown up with mass digital technology – ‘Chinternet Ugly’ invites the viewer to explore the complex and contradictory nature of China’s hyper-regulated digital sphere from the perspective of some of its most dynamic and engaging artists. From Xu Wenkai (aaajiao) and Lin Ke’s manipulations of found digital materials and standard software programs; to the augmented reality of Lu Yang; the celebratory pop aesthetics of Ye Funa to the dark side of internet freedom in the works of Liu Xin, and the veneration of the ugly and artless evident in the works of Miao Ying.

Paying tribute to the messy humanity found between the cracks in a digital world of smooth transitions, polished selfies, blemish correcting software and autocorrect, ‘Chinternet Ugly’ celebrates lo-fi aesthetics and highlights the Internet's potential to subvert cultural stereotypes, reject societal norms and generate a vibrant vernacular of satirical memes and online subcultures.

As an artist from the first generation to grow up with China’s open policy and the internet, Miao explores in a humorous way the visual language of the Chinese internet and its users. As with the other five artists featured in ‘Chinternet Ugly’, she works online, often using GIFs, screenshots and lo-fi visual elements alongside physical installations.

‘Chinternet Ugly’ has been co-curated by Dr Ros Holmes, Presidential Academic Fellow in Art History at the University of Manchester and Marianna Tsionki, Research Curator, CFCCA.

This exhibition was made possible with a Jonathan Ruffer Curatorial Research Grant from the Art Fund.

Chinternet Ugly, 2019, photography by Michael Pollard, courtesy of CFCCA

Ikon Gallery

Birmingham，U.K

展览时间 Duration: 8 February - 11 May 2019 Expired 已结束

Fly（2016）是林科最近的一部表演视频。视频在ikon-gallery的Tower Room里放映，这个年轻的中国艺术家面对着一台笔记本电脑相机，他的冥想姿势被他的鼠标的恼人的动作所挫败，仿佛它是一只空中的飞虫。在他的计算机桌面的边界内创作，艺术家同时将自己连接到的全球化的虚拟世界，在哪儿天堂有着重重麻烦。林科于2018年被为白南淮艺术中心奖提名。

Fly (2016) is a recent performance video by Lin Ke. Screened in our Tower Room, it features this young Chinese artist facing a laptop camera, his meditative position foiled by the irritating movement of his mouse cursor as if it were a flying insect.  Working within the boundaries of his computer desktop, the artist is at the same time networked into a globalized virtual world where there is trouble in paradise. Lin Ke was nominated for the Nam June Paik Art Center Prize in 2018.

林科 , Fly (2016). Courtesy the artist.

《重蹈现实——来自王兵的影像收藏》

 Remapping Reality

OCAT

上海馆，中国

展览时间 Duration：2019年3月23日-6月16日已结束

策展人 Curator: 孙冬冬、鲁明军 Dongdong Sun, Mingjun Lu

Installation view @ OCAT, SHANGHAI

林科在已过的OCAT上海馆展览《重蹈现实》中共展出八件作品，展出了从2010年至今的一系列代表作品。作为展览的“重蹈现实”，首次集中展示当代艺术收藏家王兵先生所关注的“后奥运时代”中国新一代影像艺术的重要收藏，并将之视为一个契机，在历史的断裂（节点）之处，尝试寻找一个新的叙事框架，既能以此说明中国在全球化时代所展现出矛盾性与复杂性，同时又能实现中国话语所强调的中国经验内部“连续性”之可能。而基于现代媒介技术的影像艺术，作为一种兼具“现代化”与“现代性”两种面向维度的技术制品，它在中国当代艺术系统内部的传播与演变，恰好映射出始于中国改革开放前后的现代化物质生产（器物层面）与文化信息生产、传播（精神层面）之间存在的辩证关系。所以，作为展览主题的“重蹈现实”，一方面旨在重申生活世界的意义，通过解析中国新一代影像艺术实践所累积的普遍化的媒介经验，从而在现实的实际经验中，阐释中国问题的话语情境与历史源头；另一方面，正值全球陷入混沌与冲突之际，“重蹈现实”的目的也旨在从未来的角度，提示在历史转折的关口我们所要面临的“重建工程”。

BANK is happy to announce that Lin Ke participated in past shows of OCAT, Shanghai Remapping Reality. A series of artist’s symbol works have been showcased."Remapping Reality" marks the first comprehensive presentation of Wang Bing’s collection of Chinese video art from the post-Olympic era. In this moment of historical rupture, the exhibition attempts to take the collection as a point of departure to develop a new narrative framework that, on the one hand, is able to account for the ironies and complexities of China in the age of globalization, while on the other hand addresses the possibilities of "continuity" that is emphasized in China's public discourse as an integral part of the Chinese experience. Developed simultaneously with the advent of modern media technologies, video art is a technological product that embodies at once both the characteristics of modernization and modernity. Its dissemination and transformation within the purview of Chinese contemporary art mirror, precisely, the dialectical relationship between material production (object) and the production and dissemination of cultural knowledge and information (ideology), spawned by China's economic reform. In this light, "Remapping Reality" evinces a shift in focus to the social world, and strives to comprehend the discursive contexts and historical origins of questions concerning China through an in-depth analysis of universally mediated experiences found in contemporary video practices. Meanwhile, amid ongoing global conflicts, the exhibition also highlights the urgent task of "reconstruction" we must bear, at this critical juncture, in order to preserve our collective future.

展场图，图片由OCAT上海馆提供

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