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BANK | 陆扬《出道》陈天灼《后台男孩》双个展本周六开幕 Opening this SAT

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陆扬 Lu Yang

《出道》Debut

陈天灼 Chen Tianzhuo

《后台男孩》Backstage Boys

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开幕/ Opening:

2019.11.09 4-7pm

展期/ Duation:

2019.11.09-2020.01.12

地点/ Venue: 上海市徐汇区安福路298弄2号楼底楼

Building 2, Lane 298, An Fu Road, Xuhui District, Shanghai

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Lu Yang 陆扬

Daily Life of Azazel-san 恶魔阿萨谢尔的日常，2019

Acrylic on canvas, mixed media

布面丙烯，综合材料
178 ×138 cm

陆扬《出道》

对于一个艺术家来说，再次出道代表着什么样的意义？势必要以另外一种形象出现跌破众人眼镜，在过去他曾经以某种过于鲜明的形象出现于公众的视野，重新出道后必然颠覆既有的刻板印象，必然让人耳目一新。这次陆扬在全新创作的系列架上纯手绘作品中，即将展示出艺术家不为人知的一面，绘画重新燃起了艺术家幼年时渴望成为一名创作者的激情。在这系列创作中出现的元素看似陌生却又似曾相识，主要来自于流行文化与亚文化。陆扬在前阵子刚发表的游戏作品中把自己过去录像中的主要角色集结起来组成了一队英雄联盟；反之，在新创作的绘画中，他把自己改造成荧光怪兽，组成了一组邪典（cult）联盟，一起捣蛋。善与恶在陆扬的认知中，本就不是二元对立的，颠覆好人与坏人的形象对他而言只是趣味的角色扮演与幽默的戏谑模仿（parody），艺术家让观者在面对艺术时能自由地感受并自行调整其态度。

撰文/ 杨诗涵

Lu Yang: Debut

Is a “second debut” an oxymoron? What does it mean to an artist? To his/her audience, an artist lives inside a box – a public image based on the works he had created, and the works he/she “should” be making. A second debut topples the box over. In this latest solo exhibition, Lu Yang makes a second debut as an artist, and this time as a painter. Taking visual elements from popular and sub-culture, Lu Yang’s new body of work reflects themes familiar throughout his practice. In many paintings, Lu Yang reincarnates himself as demons or monsters that conjure a cult of annihilation – a direct reference to a recent video game work where characters from his past videos gather as a superhero alliance to fight evil. In Lu Yang’s universe, good and evil are not polemic. By subverting this dichotomy, Lu Yang tips over the balanced and the normative with a wicked sense of humor. Like a good parody, Lu Yang’s paintings are loud and border on absurd, but make enough room for his audience to react and shift their attitude towards art and an artist’s second debut.

Text by Ida Yang

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Tianzhuo Chen 陈天灼

Brain Damaged Wife-1 脑损伤的妻子-1，2019
Aluminum panel, inkjet print, oil stick

铝板，喷墨打印，油画棒

67 ×45 cm

陈天灼《后台男孩》

陈天灼本人便是后台男孩。他曾说自己从不能站在与观众相同的视角观看他的演出作品，因为那一刻的他正忙于后台男孩的工作：在监视屏幕调度演员、把握时间、控制音乐与灯光。后台男孩“消失”在自己的作品里。手稿绘画是陈天灼的工作方法，从剧本的构思到台词编排，从人物形象塑造到舞台设计，可以说表演亦是他绘画的延伸。在此次的绘画创作中，后台男孩成为了表演者本人，绘画的肢体行动本身就是一场表演。这一刻后台男孩与观众一同凝视。

展览中的大部分画作来自于过往演出作品的花絮，以及对人物造型、舞台美学构思的再创作。从早期在冥币上的绘画开始，陈天灼探寻绘画在这种亚洲文化中沟通生死的媒介上传递信息的可能性，及材料综合使用的突破。“后台男孩”所展出的画作中，陈天灼将演出记录照片打印，或翻刻3D模型于木板上，以油画棒、炭笔等材料进行再创作。绘画让演出中的化身（avatar）更加极端、荒谬与浪漫，艺术家本人也将自己的皮肤扫描、展开，以其为画布，交还图像的疯狂以生命。“后台男孩”创造的不仅仅是映像，也是作为偶像的图像。

毕昕惬意忙MondayOFF联合创始人

Tianzhuo Chen: Backstage Boys

As the artist and director, Tianzhuo Chen has only seen his performance work from backstage. He is, to quote himself, a “backstage boy”. A good backstage boy disappears into his own work: he is part of the stage direction, lighting design, and sound composition. From the conception of a new work to its avatar characters and prop design, Chen likes to visualize his ideas through hand made sketches. The performance, to an extent, is a continuation of his works on paper. In his first painting showcase, the backstage boy steps onto the stage. The act of painting, though private, is performative in itself and for the very first time, he will be seeing his works front-stage, as an audience.

Paintings included in “Backstage Boys” give motifs from Chen’s past performance work a second life. His early drawings on Hell Bank Notes (a psychic medium in Asian culture) meditate on an image’s transcendence beyond life and death, and catapult his painting practice into a new material realm. In “Backstage Boys”, Chen continues his experimentation with various painting surfaces. Still images from past performances are printed on aluminum panels or rendered sculpturally as reliefs on density fiberboards, and then painted over with oil stick or charcoal. Chen’s painterly strokes furthers the lifespan of his avatars by taking their absurdity and romanticism beyond the limitations of live performances. In some cases, Chen evokes the uncanny by painting on his own skin – scanned and flattened as canvases. As a painting showcase, “Backstage Boys” begins with representation, but lands on musings over idolatry and iconophilism embedded in Tianzhuo Chen’s practice.

Xin Bi, co-founder of MondayOFF

关于艺术家/About Artists

陆扬是一位出生以及工作于上海的多媒体艺术家。陆扬所创造对死亡、无性、精神疾病以及对真实生命形式和神灵的神经结构的幻想，通常是病态和令人震惊的。陆扬的作品形式受动漫，电子游戏和科幻的亚文化影响，其输出涵盖3D动画，视频游戏装置，全息，现场演出，VR甚至程序操作等，陆扬的作品涉及与科学家，心理学家，表演者，设计师，实验作曲家，流行音乐制作人，机器人公司和偶像明星的频繁合作。

陆扬在UCCA（北京），木木美术馆（北京），Cc 基金会（上海），Spiral（东京），福冈亚洲美术馆（福冈），Société（柏林），克利夫兰当代艺术博物馆（克利夫兰）等场馆举办过重要的个人展览。陆扬还参加了众多双年展三年展，如：2018年和2012年上海双年展，2018年雅典双年展，2016年利物浦双年展，2016年蒙特利尔国际数码艺术双年展，2015年第56届威尼斯双年展中国馆，以及2014年福冈亚洲艺术三年展等。

Lu Yang (b. Shanghai, China) is a multi-media artist based in Shanghai. Mortality, androgyny, hysteria, existentialism and spiritual neurology feed Lu’s jarring and at times morbid fantasies. Also taking inspiration and resources from Anime, gaming and Sci-fi subcultures, Lu explores his fantasies through mediums including 3D animation, immersive video game installation, holographic, live performances, virtual reality, and computer programming. Lu has collaborated with scientists, psychologists, performers, designers, experimental composers, Pop Music producers, robotics labs, and celebrities throughout his practice.

Lu Yang has held exhibitions in UCCA (Beijing), MWoods (Beijing), Cc Foundation (Shanghai), Spiral (Tokyo), Fukuoka Museum of Asian Art (Fukuoka, Japan), Société (Berlin), MOCA Cleveland (Cleveland, Ohio). He has participated in several international biennials and triennials such as 2012 & 2018 Shanghai Biennial, 2018 Athens Biennale, 2016 Liverpool Biennial, 2016International Digital Art Biennale (Montreal), China Pavilion, the 56^th Venice Biennale, and 2014 Fukuoka Triennial.

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); and Palais de Tokyo, Paris (2015); BANK(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.

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