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“映像：表面与实质”
Reflections: Surface and Substance
Torggler Fine Arts Center, Virginia, USABANK欣然宣布梁浩的作品《暗面涌动》和张怡（Patty Chang）的影像《喷泉》即将亮相美国托格勒艺术中心的展览“映像：表面与实质”，展览将于2024年11月2日开幕。
展览“映像：表面与实质”呈现了艺术家们以“映像”为题所展开的艺术潜力，既有物理意义上的光的反射，也有隐喻意义上作为一种思维类型的反思。展览探讨了在当代艺术中对反光材料的使用方式，涵盖闪粉、玻璃、镜子，以及水晶和高度抛光的表面等。
BANK is pleased to announce that Liang Hao's The Dark Side Surges and Patty Chang's Fountain will be featured in the exhibition "Reflections: Surface and Substance" at the Torggler Fine Arts Center in the U.S., which opens on November 2, 2024.
The exhibition “Reflections: Surface and Substance” features artists who engage the artistic potential of reflection, both in the physical sense of the specular movement of light, and in the metaphorical sense of reflection as a type of thought. The exhibition examines the ways in which materials that reflect light, ranging from glitter and glass to mirrors, crystals, and highly polished surfaces, are used in contemporary art.
展览作品
Exhibited Works
梁浩 Liang Hao
← 左滑查看细节 Slide for details梁浩 Liang Hao
暗面涌动 The Dark Side Surges*滑动详见 Scroll for more ↓
梁浩，1988年生广东。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。
梁浩的个展包括：“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）；“一种目光”玉兰堂，上海，（2019）；“映像与猎场”玉兰堂，北京，（2017）。他的作品亦在不同机构参与展出，其中包括纽约 Art OMI艺术中心、韩国Daechumoo Fine Art、上海民生现代美术馆、北京今日美术馆、冰岛Offshore Project Space、北京中央美术学院美术馆。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”。 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); A Kind of Gaze (Line Gallery, Shanghai, 2019); Image and Hunting Ground (Line Gallery, Beijing, 2017). His work has been exhibited in worldwide institutions that include : 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 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).
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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。她在博物馆的展览和书籍“游移湖”（The Wandering Lake）调查了受大型水利工程项目影响的自然景观：如苏联从咸海引水的工程，以及世界上最长的供水渠道——中国的南水北调水利工程。她最近的合作项目 "学习结局"（Learning Endings）是一项以气候危机、海洋生态系统危机以及科学专业知识危机等作为多重背景的跨学科研究，由多部分组成。该项目针对科学家们以不为人知的关怀形式，对死亡的海洋哺乳动物进行尸体解剖的工作进行研究，并探讨了各种艺术实践如何支持这种关怀工作。
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. Her museum exhibition and book The Wandering Lake investigates the landscapes impacted by large scale human-engineered water projects such as the Soviet mission to irrigate the waters from the Aral Sea, as well as the longest aqueduct in the world, the South to North Water Diversion Project in China. Her most recent collaborative project, Learning Endings, is a multi-part interdisciplinary research that has surfaced amidst the overlapping contexts of climate crisis, threatened ocean ecosystems, and challenges to scientific expertise. It examines the work of scientists who perform necropsies of dead marine mammals as unacknowledged forms of attention and care, and explores how various kinds of art practice can support this care work.
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