BANK | 展位 W16 | 上海廿一当代艺术博览会 ART 021 Shanghai
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BANK 参加廿一当代艺术博览会
ART021 SHANGHAI
2019.11.07-08 贵宾预览VIP preview
2019.11.09-10 公众开放日Public Days
上海展览中心，延安中路1000号
No.1000 Middle Yan An Road, Shanghai
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Exo-Performance/Baby Chinayu,2019陈天灼，生于 1985 年，毕业于英国伦敦中央圣?丁艺术设计学院和切尔?艺术设计学院，目前生活和工作于中国北京/上海。近年重要个展包括Ghost（温特图尔美术馆，瑞士温特图尔，2017）、“自在天”（?征空间，中国北京，2016）、 “陈天灼”（chi K11 美术馆，中国上海，2016）、“陈天灼”（东京宫，法国巴黎， 2015）、“野餐 天堂 婊子”（BANK，中国上海，2014）。他曾参与包括2019 威尼斯林冠艺术基金会“熵”、广州空港双年展、2018雅典双年展、2018克利夫兰当代艺术三年展、2017 葡萄牙BoCA双年展、“中国当代艺术年鉴展2016”（北京民生现代美术馆，中国北京，2017）、2016上海双年展在内的国际重要展览。他的表演作品曾在洛杉矶布洛德美术馆、伦敦巴比肯艺术中心、维也纳戏剧节、汉堡世界戏剧节、东京艺术祭等地上演。Tianzhuo Chen (b.1985) graduated from Central St. Martins, and Chelsea College of Arts, London. He currently lives and works in Beijing, China. Recent solo exhibitions of his work have been held at Kunsthalle Winterthur (2017); Long March Space, Beijing (2016); chi K11 art museum, Shanghai (2016); Palais de Tokyo, Paris (2015) and BANK, Shanghai(2014). Chen has participated in many international exhibitions including the Faurschou Foundation, Venice(2019);Guangzhou Airport Biennale (2019); Athens Biennale (2018); Cleveland Triennial for Contemporary Art (2018); Biennale of Contemporary Arts, Portugal (2017); and the Shanghai Biennale (2016). His performance works have been staged at the Broad Museum, Los Angeles; the Barbican Centre, London; Theater Der Welt, Hamburg; and the Tokyo Festival, amongst many others.
Archival pigment inkjet print 收藏级喷墨照片陈哲的艺术实践往往始于对个人遭遇和心理经验的探求，最终呈现为一个不断发现与研究的过程。2012 年至今，在长期项目《向晚六章》里，陈哲以黄昏为母题，在视觉和语言的交汇处持续探索“可见”与“可说” 的界限。艺术家的创作吸取了源自不同文化与历史的图文材料，并尤为注重阅读经验和观看经验的比较研究。项目的每个章节既独自成立，又相互作用，共同编织出一个持续生长的立体网络。 陈哲(b . 1989)， 工作居住于北京，2011年毕业于洛杉矶艺术中心设计学院，获摄影与图像学士学位。作品曾展出于巴登巴登国立美术馆，巴登巴登，德国 (2019);第 9 届亚太当代艺术三年展(APT9)，布里斯班，澳大利亚(2018); 东京都写真美术馆，东京日本(2018);Para Site 艺术空间，香港(2018); OCAT 西安馆，西安(个展, 2018);中央美术学院美术馆 ，北京(2017);第11届上海双年展，上海(2016); 上海当代艺术博物馆，上海(2016);民生现代美术馆,上海(2016);尤伦斯当代艺术中心，北京(2013); 三影堂摄影艺术中心，北京(2011)等 。她曾先后获得 FOAM Talent 摄影奖(2018)，无忌新锐摄影奖(2015)，连州摄影节新摄影奖(2012)，三影堂摄影奖(2011)与玛格南基金会颁发的 Inge Morath 奖(2011)。 Chen Zhe (b.1989, Beijing) received her BFA in Photography and Imaging from Art Center College of Design in Los Angeles. Her works has recently be featured in exhibitions at Staatliche Kunsthalle Baden-Baden, Baden-Baden, Germany (2019);The 9th Asia Pacific Triennial of Contemporary Art (APT9), Brisbane, Australia (2018); Tokyo Photographic Art Museum, Tokyo, Japan (2018); Para Site Art Space, Hong Kong (2018); OCAT Museum Xi’an, Xi’an (solo, 2018); CAFA Art Museum, Beijing (2017); The 11th Shanghai Biennial, Shanghai (2016); Power Station of Art, Shanghai (2016); Minsheng Art Museum, Shanghai (2016); The Ullens Center for Contemporary Art, Beijing (2013); and Three Shadows Photography Art Centre, Beijing (2011). Chen is the recipient of the Foam Talent (2018), Xitek New Talent Award (2015), Lianzhou Festival Photographer of the Year Award (2012), Three Shadows Award (2011) and the Inge Morath Award from the Magnum Foundation (2011). 轨迹 Orbit, 2019
塑料 水泥 铁丝 钢筋 水晶石，玻纤布
Plastic, concrete, iron wire, rebar, crystal, fiberglass
H56.5 x W34 x D32cm
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。创作概念不离他對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·贝尔美术馆等展出。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、巴黎DSL艺术收藏机构以及美国堪萨斯州劳伦斯斯宾塞美术馆等收藏。 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, among 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 and the Spencer Museum of Art, Lawrence, Kansas, USA. 
Congqiao,2019
铝板UV打印 UV print on aluminium
176cm x 210 cm
Wood frame and UV print on Silk
林科1984年生于浙江温州，现生活工作于上海。从2010年开始, 林科将自己变成自己的实验对象，投身于计算机时代的行为艺术之中。林科将笔记本电脑作为其艺术工作室，从计算机软件和互联网中提取素材作为其艺术作品的素材与形式。日常互联网的探索和对应用软件的操作催生出他的艺术创作和自画像。他使用屏幕截图和屏幕录制软件记录操作行为和概念图像。他主要的作品形式为装置、图像、声音、文字、视频和电脑绘画。 在他的作品中，林科以非常规的方式使用电脑软件，在软件原本设计的意图之外寻找新的功能，从而使的语言从基本的交流功能中得以解放而获得诗性。如果诗歌表达了语言的乐趣，那么林科的作品则呈现了软件用户图像界面的愉悦。 林科的创作实践为他赢得了2014年OCAT-皮埃尔·于贝尔奖与2015第九届AAC艺术中国年度青年艺术家大奖。他的作品曾在OCAT当代艺术中心，ZKM媒体艺术中心，Folkwang博物馆， 东京都现代美术馆，民生美术馆, 上海当代艺术博物馆，何香凝美术馆，克利夫兰当代艺术博物馆，曼切斯特华人当代艺术中心,伯明翰 Ikon Gallery等艺术机构展出。他的作品亦被广泛收藏， 香港M+视觉文化博物馆，北京新世纪基金会，及K11美术馆馆藏。
Lin Ke b.1984,Currently Lives and works in Shanghai.Since 2010, Lin Ke has turned his attention to the behavioral science of the computer age by making himself his own Guinea pig. Converting his laptop into a studio, Lin extracts material from computer software and the Internet as the fodder and form of his art. The mundane act of exploring the vicissitudes of the world wide web and various applications becomes the catalyst for art making and self-portraiture. He records operational behavior and conceptual images by using screenshots and screen recording software. His work takes the form of installation, image, sound, text, video and computer painting. In his work, Lin Ke uses software to set its various functions free from their original purpose in the way that language is liberated from its communicative functions to become poetic. If poetry expresses the joy of language, Lin Ke’s work brings out the pleasure of the graphical user interface. Lin Ke has gained major critical acclaim for his work by winning the OCAT - Pierre Huber Art Prize in 2014, and the Chinese Youth Artist Award of the 9th AAC Art 2015. His work has been shown at ZKM, Karlsruhe; Museum Folkwang, Essen; Museum of Contemporary Art Tokyo, Tokyo; Minsheng Art Museum, Shanghai, Museum of Contemporary Art Cleveland; Centre for Chinese Contemporary Art, Manchester, and Ikon Gallery, Birmingham. His work is featured in the collections of M+ Museum, Hong Kong, The New Century Art Foundation, Beijing; K11 Art Foundation and among others. 
林明弘1964年生于日本东京，现今生活于比利时布鲁塞尔与台北。他最为人熟知的是放大传统花布图案，绘製在展示空间中，铺天盖地的花样姿态，令人惊艳。这样绚烂缤纷的大型公共艺术作品与空间形成互补、相辅相成的「合作关係」，并将作品所在的空间转化成一种「状态」，提供社交、互动和共享愉悦气氛的场合，也是艺术知性对话与日常生活情境的结合。他说：「我希望能打破看画的艺术概念，艺术作品是可以踩、躺、坐、卧的」，于此，他的作品有效体现了这个时代当代艺术的一个重要精神：艺术不只是被观看，而是即时体验甚至可以触摸的。又由于他取材于日常生活布料，传统印花布图案在他的挪用之下绽放出让人无比欢愉的亲民特质，因为当观众置身于那些花色和图纹之中，在感叹人处身在浩大艺术之中有如沧海一粟之馀，也处于这些图纹所蕴含的文化、历史与记忆氛围之中。藉由这些图案，林明弘诉诸观者的文化想像、反思与奇想，吸引观者进入他的创作世界。他视自己为一面镜子，反映出在他眼前已经存在的事物，同时延续极简主义精神，虽然使用既有的图案，又以一些手法消除图案彼此之间的关连，例如製造图案之间的错位或去除一些元素，藉此宣告他要表现的不是那些美丽盎然的图案，而是以这些图案吸引观众走进他所创造的世界，聆听画作与空间的对话，领略包含其中的讯息，同时思考「何谓艺术」。由此出发，林明弘以无穷的想像辩诘和凝聚空间关係，创造出鲜活独特的美学。Michael Lin is an artist living and working in Taipei and Brussels. Lin turns away from painting as an object of contemplation toward painting as a bounded, physical space, that one can settle into and inhabit. Lin orchestrates monumental painting installations that re-conceptualize and recon- figure public spaces. Using patterns and designs appropriated from local textiles his works have been exhibited in major institutions and Biennials around the world. He has also had solo presenatations at PS1, NY 2005; The Vancouver Art Gallery, 2010, Towada Art Center, 2011, Rockbund Art Museum 2012, The High Museum 2015, Museum Contemporary Art and Design, Manila 2016, and most recently at the National Gallery of Victoria. Transforming the institutional architecture of the public museum, his un- conventional paintings invite visitors to reconsider their usual perception of those spaces, and to become an integral part of the work, giving meaning to its potential as an area for interaction, encounter, and re-creation.
Lin has exhibited at the Palais de Tokyo in Paris, MoMA PS1 in New York, Kunsthalle Wien in Vienna, Kuntsmuseum in Lucern, and the Museum of Modern Art in New York. His solo shows include "Model Home: A Proposition by Michael Lin" (Rockbund Art Museum, Shanghai, 2012), “Michael Lin: A Modest Veil” (Vancouver Art Gallery, Vancouver, 2010), and “Michael Lin” (Kunsthalle Wien, Vienna, 2005). His works have been featured in a number of international exhibitions, including "If you were to live here"(5th Auckland Triennial, 2013), California-Pacific Triennial 2013, “The Spectacle of the Everyday” (Biennale de Lyon, France, 2009), Moscow Biennial of Contemporary Art (Moscow, 2007), “Notre Histoire” (Palais de Tokyo, Paris, 2006), “Spring 2003″ (Palais de Tokyo, Site de Creation Contemporaine, Paris, 2003), “Bibliotherapy” ( Kuntsmuseum, Lucerne, 2003), “International:Liverpool Biennial” (Liverpool, 2002), 7th Istanbul Biennal (Istanbul, 2002), 49th Biennial of Venice, Taiwan Pavilion (Venice, 2001), etc.His work is in the prestigious collections of the Deutsche Bank; Rockbund Art Museum, Shanghai; Towada Art Center, Japan, Belgium Ullens Center of Contemporary Art; China; Museum of Contemporary Art, Tokyo; The Netherlands 21st Century Museum of Contemporary Art, Japan; Guangdong Art Museum, Guangzhou; Museum of Contemporary Art, Istanbul; National Taiwan Museum of Fine Arts, Taiwan; Fukuoka Asian Art Museum, Japan.
混印摄影, 收藏级喷墨打印, Diasec装裱, 定制铝框
Hybrid photography, archival pigment print, diasec, custom-made aluminium frame
Michael Najjar( 生于1966年 ) 在德国柏林工作和生活。Najjar 的照片和录像作品充分体现了 他对艺术的跨学科理解。他有关形式和内容的图像语言可以引导观众进入一个由图像和元素蒙太奇而成、以模拟现实的复杂结构。他将摄影图像从其固有的观览模式中移除，并重置于一种全新的视角下。Najjar 将科学、艺术和技术融入进有关高新技术影响下未来社会秩序的愿景和乌托邦中，对塑造及改变了 21 世纪的技术力量进行了复杂的批判。
Najjar 的作品曾展出于巴塞罗那的米罗基金会美术馆 ; 2006 年威尼斯双年展第十届国际建筑展 ; 第九届哈瓦那双年展 ; 第七届莫斯科国际艺术双年展 ; 柏林艺术学院 ; 科隆路德维希博物馆 ; 汉堡美术馆 / der Gegenwart 画廊 ;Deichtorhallen 汉堡国际摄影博物馆 ; 玛尔塔黑尔福德博物馆 ; 奥尔登堡 Edith Russ Site for Media Art 美术馆 ; 图森艺术博物馆 ; 伦敦科学博物馆 ; 伯明翰当代艺术博物馆 ; 阿姆斯特丹新媒体艺术学院 ; 米兰 FORMA 国际摄影中心 ; 日内瓦 CIC 当代艺术中心 ; 萨拉曼卡 Museo DA2 (Domus Artium 2002); 马拉加当代艺术中心 ; 马略卡岛帕尔马 Museo Es Baluard; 台北国家科学博物馆 ; 北京中央美术学院等。
hybrid photography, archival pigment print, diasec, custom-made aluminium frame 混印摄影，收藏级喷墨打印，Diasec 装裱，定制铝框 Michael Najjar (b. 1966) works and lives in Berlin, Germany. Najjar’s photo and video works exemplify and draw on his interdisciplinary understanding of art. His pictorial language of form and content guides the viewer into a complex construction of simulated reality which is generated by the montage of multiple image sources and elements. He removes the photographic image from its historical viewing conventions and resituates it in a fundamentally new mode of perception. Fusing science, art, and technology into visions and utopias of future social orders emerging under the impact of cutting-edge technologies, Najjar takes a complex critical look at the technological forces shaping and drastically transforming the early 21st century.
Najjar has exhibited at Joan Miró Foundation, Barcelona; the 2006 Venice Biennale’s 10th International Architecture Exhibition; the 9th Havana Biennale; the 7th International Moscow Biennial; Academy of Arts, Berlin; Museum Ludwig, Cologne; Kunsthalle Hamburg / Galerie der Gegenwart, Hamburg; Deichtorhallen International Museum of Photography, Hamburg; Marta Museum, Herford; Edith Russ Site for Media Art Oldenburg; Museum of Art, Tucson; Science Museum, London; Museum of Contemporary Art, Birmingham; New Media Art Institute, Amsterdam; FORMA International Centre for Photography, Milan; Centre pour l’image contemporaine, Geneva; Museo DA2 (Domus Artium 2002), Salamanca; Centro de Arte Contemporaneo, Málaga; Museo Es Baluard, Palma de Mallorca; National Museum of Science, Taipei; Central Academy of Fine Arts, Beijing. 
Yanyan Huang 黄彦彦
Cloud Poetry VIII 云诗8
ink, gouache, and acrylic on canvas 布面墨水,水粉与丙烯
183 × 152 × 5 cm
黄彦彦(生于1988四川)，工作居住于北京、纽约、和加州。她的作品汲取多种文化和地点的影响，绘制出了一系列复杂的地理、身份和情感。 她的近期个展包括“黄彦彦”（BANK画廊，上海，2018），“舞会” (Jelato Love 画廊,西班牙，2018)，“化烟云”(Salt Projects 画廊， 北京，2016), “时间迷雾”(Ibid画廊，洛杉矶，伦敦，2017), “时间花园”(Tomorrow 画廊， 纽约，2016), “沉默”(地下室罗马(库拉))，罗马，2016), 也参与群展 “日未言语”(空白画廊， 上海，2017), “After Effect Vapegoat Rising”(Ballroom Marfa画廊，德州，2016); “Win- does”(The Composing Rooms画廊，柏林，2015)。 她的作品被华美银行收藏，也被张恩利、Nominic Ng、Susan、Michael Hort、应青蓝、黄勖夫 及其他私人收藏家收藏。她被提名为福布斯:30位30岁以下精英榜单。Born 1988 in Sichuan, China, Yanyan Huang is based between Beijing, New York, and California. Deriving influence from a wide span of cultures and time, her work maps out an elaborate array of temporal geographies, identities, and relationships. Recent solo shows include “Yanyan Huang” at BANK(Shanghai, CN), “El Baile” at Jelato Love Palma de Mallorca, Spain, Cloud Tempo at Salt Projects (Beijing, CN), Nebbia del Tempo at Ibid (Los Angeles, London), Giardino del Tempo at Tomorrow Gallery (New York, NY) and Ex Silentio at CURA’s Basement Roma (Rome, Italy) both in 2016. Notable group shows include Hidden Words at Gallery Vacancy (Shanghai, CN), After Effect “Vapegoat Rising” Arturo Bandini at Ball- room Marfa (2016) and Windoes at The Composing Rooms, Berlin, DE (2015). Huang’s artworks are in the East West Bank and in the private collections of Zhang Enli, Dominic Ng, Susan and Michael Hort, Kylie Ying, and Michael Xufu Huang and many others. She has been nominated for Forbes 30 under 30.
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