BANK 即将展出 Upcoming｜三个展 TRI-SOLO：柯好理、尼克·科斯马斯、陆明龙

艺术家 / Artist

 陆明龙 Lawarance Lek

开幕 / Opening

2021.03.13，周六 (Saturday), 2pm

展期 / Duration

2021.03.13 - 04.21

陆明龙 Lawarence Lek

爱道 AIDOL, 2019

影片静帧 Film Still

83 min

柳树会哭泣

柳树会哀鸣

希望我的 AI 在思念我

它偷走了我的心

在我的巅峰期

——《我的巅峰》

继陆明龙的科幻电影《中华未来主义》和《风水师》之后，《爱道》作为艺术家的最新长篇电影，将首次登陆化身为超级影院的 BANK。影片围绕了一位在电子竞技奥运会中复出的昔日超级巨星Diva和“远见”全球性超级集团的故事，它提出了人类和人工智能的深层矛盾，质疑了在如今全自动化创作的环境之下，艺术家的角色是否真的可以由人工智能来担当，人类创造力所谓的真实性来源何在？是否有可能突破人类与人工智能的二元区分，从而成为一切的生命物种呢？

陆明龙将《爱道》的故事设定在未来世界2065年，在艺术家的虚构世界里，云顶这迷雾森林般的异托邦作为全球娱乐中心，拥有感知能力的无人机“观音”，梦想成为艺术家的人工智能“风水师”，和怀疑着人类“真实性”的Diva，这些浪漫的关于机器和人类灵魂性的种种讨论，不仅仅是人类对于机器的绝对理性、精准和永垂不朽的渴求，它同样发生在人工智能对人类的欲望、孤独和荒谬的无法识别，因人类脆弱而美丽的不可触及之上。

陆明龙的作品《爱道》运用了3D渲染、游戏软件，以及动作捕捉技术制作而成，剧本和配乐则由艺术家谱写及编排。陆明龙以一系列CGI创作为基础，借鉴了电子游戏、科幻小说、音乐录影带和集团动画，造就了时空交替出现的虚拟现实和多重世界。《爱道》（原声带）将于展览期间同步发售。

陆明龙 Lawarence Lek

爱道 AIDOL, 2019

影片静帧 Film Still

83 min

艺术家 / Artist

尼克·科斯马斯 Nik Kosmas

开幕 / Opening

2021.03.13，周六 (Saturday), 5-7 pm

展期 / Duration

没有比刀刃更厚的东西能把快乐和忧伤分开。

——弗吉尼亚·伍尔夫(Virginia Woolf) 《奥兰多》

与艺术世界暂别之后，尼克·科斯马斯转向体育格斗和地下俱乐部文化。此次，艺术家将带一系列新作回归艺术的阵地——画廊，在他最新的作品中，人的各类情境彰显出狂喜与痛苦、绝望与幸福、痛苦与快乐、战斗与教学、性与治愈，自由与陷阱之间的微妙边界。

“身体猎人”是一个艺术家创造的科幻世界，在芸芸世界之中涵盖了包括雕塑、家具和时尚物品等等诸多品类之物。科斯马斯的虚拟美学世界植根于科技人类学（anthropotechnics）的概念，一个兼具机器和人类属性的概念，试图驯服、教导和训练自己。这些规则并非设限自身，而反之像人类的欲望有无穷无尽之意。

科斯马斯的作品无疑体现了社会对科学/技术的普遍的狂热崇拜，这种崇拜性不再将身体视为自然的优胜劣汰的产物，而将身体视作相互关联的特定功能的特定部件（如机器一般），可以被操纵。对技术的狂热崇拜即是人类超越肉体追求不朽、完美和坚不可摧的愿望，它令人为之神魂颠倒，而加速主义带给信徒们的只有颠沛流离的转瞬即逝般的体验。科斯马斯通过呈现悬浮在狂喜、紧张或疏离状态中的身体，疼痛转化为多巴胺、速度转化为停滞、肉体转化为精神的微妙能量转换的瞬间，阐明了这一悖论。

跪地持刀的变异人

kneeling mutant with knife 2020

聚乳酸树脂 Model Printing

照片拍摄于ALL Club, Shanghai

Nothing thicker than a knife's blade separates happiness from melancholy.

——Virginia Woolf, Orlando

After a brief hiatus in the arts, during which Nik Kosmas turned to contact sport fighting and underground club culture, he returns to the gallery with a series of works that posits the human figure as a vehicle for examining the fine boundary between Ecstasy/Agony; Despair/Happiness; Pain/Pleasure; Battling/Teaching; Sex/Healing; and Freedom/ Entrapment. 

BodyHunter is a science-fiction world created as a setting for Kosmas’ works to co-exist while Perspective Expand refers to the particular content of this exhibition and covers different mediums such as sculpture, furniture and fashion items. Kosmas’ virtual paradigm is grounded in anthropotechnics, a set of rules with both machine and human properties that tame, teach, and train ourselves. These rules aren’t meant to set limits but instead open possibilities as limitless as human desires.

Kosmas achieves this by underscoring society’s pervasive worship of science/technology which regard bodies, no longer as products of natural selection, but as discrete parts with specific functions connected to each other that are open to manipulation. Technology activates humankind’s desire to transcend flesh in pursuit of immortality, perfection and invulnerability. However, at the same time, technology has an uncompromising hold on the human experience, limiting it as well as expanding it. Kosmas’ illuminates this paradox by presenting his bodies suspended in a state of rapture, tension or alienation; and focusing on the subtle shift of energy that converts pain to dopamine; speed to stasis, the flesh to spirit.

芭蕾舞者月亮

Ballerina Moon

艺术家 / Artist

柯好理 Tim Crowley

开幕 / Opening

2021.03.13，周六 (Saturday), 5-7 pm

展期 / Duration

2021.03.13-04.21

广告已经无孔不入，渗透入当代生活的方方面面，只要你转转头，刷刷手机，广告就直愣地在你身边，在你身边。艺术世界也不例外。

展览宣传很可能是我们参与艺术活动的第一步，甚至我们可能都不用肉身前往。展览广告试图概括展览的态度和理念，通过简单的文字和图像手段，起到了展览本身的替代作用。它是一个试验场，让艺术做我们期望它做的事情，与人交流。当代艺术的圣经艺术论坛(Art Forum)和弗里兹(Frieze)似乎为读者提供了更多的展览广告，而不是编辑内容，它们是全球艺术界通过巧妙、克制的广告审视过去、现在和未来展览的最重要平台。艺术杂志还通过排列顺序，主张了艺术行业的市场政治(首先是大型画廊广告，其次是中型画廊的广告，然后是机构广告和NFP广告)。在最新的作品之中，柯好理(Tim Crowley)通过对自身经历近乎日记式的叙述，调查了当代艺术中的宣传形式。柯好理在很小的时候就选择了成为一名艺术家，他曾在画廊、机构担任艺术家和艺术杂志图片编辑，担任艺术界的策展人和纪录片制作人。在走遍了艺术行业的所有角色和地理中心之后，柯好理从一个局内人的角度向外看，以一种荒谬的、滑稽的光芒预测着遥远的未来和地方的展览。

柯好理看似将随机和无关的艺术家与图像，和古怪的展览标题混合在一起（有时直接取自从艺术家之前的作品系列），他以一种玩笑的方式，迷恋、批评、夸大、庆祝和讽刺当代艺术及其附带的广告版面的有趣自负和矛盾。

Advertising has undoubtedly penetrated all aspects of modern life. All one has to do is turn their head in any direction or switch on their phone and they are bound to be confronted with an advertisement of some sort. The art world is no exception to this.

Exhibition publicity is most likely the first way we experience the event of art before, or instead of getting there. By attempting to encapsulate the attitude and concept of the show, the exhibition advertisement functions as a surrogate to the exhibition itself via the simple means of text and image.  It is a testing ground for art to do what we expect of it- communicate to us. Art Forum and Frieze, the bibles of contemporary art, which seem to offer its readers more exhibition ads than editorial content, are the foremost platforms for the global art world to survey exhibitions past, present and future through clever, nonchalant ads. The magazine also lays down, through its sequencing, the market politics of the art industry (Ads for big galleries first, medium sized ones second, then institutions and NFP last). In this body of work Tim Crowley investigates the formats of publicity in contemporary art through an almost diaristic narrative of his own experiences. Crowley made his choice to be an artist at a very young age and has worked as artist as well as art magazine photo editor, in galleries, institutions, as a curator and documenter of the world of art. Having traversed the full gamut of art industry roles and geographical centers, Crowley, from an insider’s perspective looking out, anticipates exhibitions of the far future and in far off places with an absurd and often comic flare. 

Conflating, on the surface, random and unrelated artists with images, sometimes pulled from the artists’ previous series, and quirky exhibition titles, Crowley playfully fetishises, critiques, exaggerates, celebrates and satirises the interesting conceits and contradictions of contemporary art and its attendant billboards. 

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