BANK | 本周六TRI-SOLO三個展開幕

三個展 TRI-SOLO：

孫一鈿 SUN YITIAN     「一鈿」  a twinkle 

王芮 WANG RUI           美好而變得模糊  Fuzzeautiful

KIM LAUGHTON           停車 Parking

展期 / Duration：2018.09.15 - 10.28

開幕 / Opening：2018.09.15  5-7 pm

地址 / Address：上海市徐匯區安福路298弄2號樓底樓

 Building 2, Lane 298 Anfu Road, Shanghai, 200031

BANK 榮幸宣布孫一鈿、Kim Laughton、王芮三位藝術家的獨立個展開幕，他們的作品以不同維度探索了我們所處的過度消費主義和社交網絡化狀態。BANK將空間形態劃分為三個獨立運作的部分，各自為陣。從孫一鈿的繪畫作品，到 Kim Laughton 的3D動畫裝置，再到王芮的沉浸式視覺意象，三者探尋了虛擬與真實之間脆弱的心理界限，物質愈發豐富狀態下的的明與暗面，以及通訊技術解構化的現實狀況。

BANK is proud to announce the opening of TRI_SOLO, three separate solo exhibitions by three young artists whose works probe the soul of our hyper-consumerist and networked condition in diverse ways. BANK has separated its space into three portals so that each exhibition project functions independently. From a painting solo by Sun Yitian to a singular 3D animation installation by Kim Laughton to Wang Rui’s immersive imagery feast, these three projects examine the fragile psychological boundaries between the virtual and authentic; the light and dark sides of material abundance, and the mediation of reality by communication technology.

SUN YITIAN 孫一鈿

"一鈿" a twinkle

藝術家 / Artist

SUNYITIAN 孫一鈿

開幕 / Opening

2018.09.15，周六 (Saturday), 5-7 pm

展期 / Duration

2018.09.15 - 10.28

上海市徐匯區安福路298弄2號樓底樓

Building 2, Lane 298 Anfu Road, Shanghai, 200031

孫一鈿 SUN YITIAN 

有藍色翅膀的粉色恐龍

Pink Dinosaur with Blue Wings, 2017

布面丙烯 Acrylic on canvas

230 x 230 cm

「因此，塑料不僅僅是一種物質，而是它無限轉化的理念; 正如它的日常名稱所示，它無處不在。 事實上就是這樣。 這是一種神奇的物質：奇蹟永遠是對自然的突然轉變。 塑料仍然充滿了這種奇蹟：與其說是一種東西，不如說是一種痕跡。」——羅蘭·巴特

孫一鈿的首次個展「一鈿」展示了她最新的超寫實繪畫作品，她探討了自然與人造表達之間的神秘又愈發脆弱的聯繫。塑料——這種完全新穎又多彩的材料，在上世紀六十年代被藝術家們廣泛使用，他們在作品中專注於探討材料本身的易變和無常的特性，但孫一鈿採取了不同的方法。在一個業已離不開塑料的世界中 出生、成長，在旦夕間，塑料因其永久性和耐用性成為我們生存世界的救世主和禍根。從塑料本身的誘惑性、人造特質、義烏小商品市場的喧囂以及她自身主題的雕刻屬性獲得靈感，孫一鈿將其同時感知到的對立的溫暖與恐懼，回溯於繪畫本身之中。藝術家用其敏銳的目光和嫻熟的技法使我們注意到那些駭人直接又同時被忽視的細節，畫面交織在抽象和寫實之間， 其中所蘊含的大量藝術歷史參考文獻信息也被吸納於作品的線索之中。孫一鈿用超寫實的現實主義和自然主義的同時並行的做法，巧妙地用非自然材料來體現自然主義。作品以丙烯繪畫為主，也同時微妙地回應訴諸虛空派——用這種景物繪畫的方式來傳達的生命的稍縱即逝，歡愉的無意義和確鑿性的死亡命途。在孫一鈿的作品中，無疑是材料本身和它們描繪的意象永恆地誘惑和困擾我們——正如塑料本身。

孫一鈿 SUN YITIAN

火焰深處 Deep in the Fire, 2016

布面丙烯 Acrylic on canvas

「So, more than a substance, plastic is the very idea of its infinite transformation; as its everyday name indicates, it is ubiquity made visible. And it is this, in fact, which makes it a miraculous substance: a miracle is always a sudden transformation of nature. Plastic remains impregnated throughout with this wonder: it is less a thing than the trace.」 

-Roland Barthes

 「A twinkle」 Sun Yitian’s solo debut showcases her latest photo-realist works in which she examines the secret, increasingly tenuous, connection between nature and its man-made expressions. While many artists from the 1960s incorporated plastic- a completely novel and colorful material into their works- they concentrated on the material’s fickle and impermanent qualities, Sun Yitian takes a different approach. Sun was born and reared in a world already teeming with plastic, a plastic paradise of sorts in which the permanent and utilitarian qualities of this material became both the savior and bane of our existence. Drawing inspiration from plastic’s seductive, artificial qualities, the cacophony of Yiwu’s markets, and the sculptural 『thingness』 of her subjects, Sun’s depiction is one paradoxically charged by both warmth and fear and enhanced by a return to painting. Her sharp eye and skilled hand draws us to the frighteningly explicit as well as overlooked details, vacillating between abstraction and representation and dragging a plethora of art historical references in tow. Her works take a photographic approach to realism and a classical approach to naturalism, but it’s a naturalism found in unnatural materials. Executed in acrylic, these works also nod to vanitas, a tradition that shows the transience of life, the futility of pleasure, and the certainty of death. In Sun’s work it is the material itself and the objects they depict that purports to tantalize and haunt us forever.

孫一鈿 SUN YITIAN

豹紋 Leopard Print, 2017

布面丙烯 Acrylic on canvas

150 x 150 cm

孫一鈿 SUN YITIAN

 右手 Right Hand, 2017

木板丙烯 Acrylic on board

53 x 45 cm

孫一鈿於2018年獲得中央美術學院繪畫碩士學位。她的作品曾在紐約大都會館、澳門藝術博物館、 Lion Palias，柏林； 羅中立美術館，重慶;  紐約；  天普大學博物館和北京中央美術學院博物館等機構展出。 孫一鈿目前在北京生活與工作。

Sun Yitian received her post-graduate degree in painting from CAFA in 2018. Her works have been exhibited internationally at such venues as The Metropolitan Pavilion, NY; Macau Museum of Art; Lion Palias, Berlin; Luo Zhongli Art Museum, Chongqing; Alfred University Museum, NY and the CAFA Museum, Beijing. Sun Yitian works and lives in Beijing. 

WANG RUI 王芮

美好而變得模糊 Fuzzeautiful

藝術家 / Artist

WANG RUI 王芮

開幕 / Opening

2018.09.15，周六 (Saturday), 5 - 7 pm

展期 / Duration

2018.09.15 - 10.28

上海市徐匯區安福路298弄2號樓底樓

Building 2, Lane 298 Anfu Road, Shanghai, 200031

王芮 WANG RUI

Me, 2017

picture, screenshots

電子截圖  

720 x 281 像素 pixel

和我們大多數人一樣，王芮的生活也不時陷入網絡購物、聊天、衝浪、娛樂、遊戲和藝術的虛擬深淵中。這是一場冒險——同時強化並混淆了傳統的現實存在，我們正在遠離形上學的真理，更接近信息狂歡的大雜燴的冒險中。「美好而變得模糊」展出了王芮在過去幾年裡創作的一些多媒介作品，這些作品描述了一種既美又朦朧，同時浪漫又無聊的情感狀態，以一種審慎姿態編輯重組視覺意象，使之達到和解的一種情感狀態。王芮的審美語言成形於多個相互矛盾又並存的渠道中——精英藝術院校與淘寶廣告，數碼繪畫與傳統油畫， 現實日常與幻覺。她的敘事方式充滿了多愁善感、孩子氣的幻想。這些圖像是花和跳舞的女孩，日落和高跟鞋。這些意象，它並非思維幻覺，而是不受束縛的直覺流露、陳詞濫調、記憶、物質救贖、對諷刺和狂喜的先驗——而這些其實恰恰就是生活在資訊時代的滄桑。

王芮 WANG RUI

戒指 Ring, 2014

布面油畫 Oil on canvas

100 x 100 cm 

Wang Rui’s life, like most of ours, is punctuated by regular intervals into the virtual abyss of online shopping, chatting, surfing, entertainment, gaming and art. It is an adventure that simultaneously enhances and confounds conventional reality leaving us further from metaphysical truth and closer to the boundless smorgasbord of information revelry. Fuzzeautiful culls Wang Rui’s works produced in multiple mediums over the last few years to describe an emotive state that is both beautiful and fuzzy, both romantic and blasé, an emotive state reconciled by the careful editing of imagery. While Wang’s aesthetic language is culled from multiple conflicting sources - elite art school vs. taobao advertising; digital brushes vs. oil paint; quotidian vs. psychedelic- her narratives are laden with sentimental, childlike fantasy. Pictured here are flowers and dancing girls, sunsets and high-heeled shoes. Images, not of conceptual conceit but unencumbered intuition, cliché, memory, material salvation, irony and ecstatic transcendence. Such are the vicissitudes of living in the information age.

王芮 WANG RUI

Picture in Computer, 2016

painting in computer

電子繪畫  

27.31 x 36.41 cm

王芮(1989年出生於四川) 畢業於四川美術學院，現居住與生活在上海。王芮的作品曾在北京salt項目展出;大衛·卓納畫廊，香港;蘇州藝術博物館;深圳何香凝美術館。王芮還參加了漢斯·烏爾裡希·奧布裡斯特在FIAC 2017的「89+和谷歌藝術與文化」座談會。本次在BANK呈現的Fuzzeautiful同時也是她在上海的首個個展。

Wang Rui (born in Sichuan 1989) graduated from the Sichuan Academy of Fine Arts and now lives and works in Shanghai. Wang’s work has been shown at Salt Projects, Beijing; David Zwirner Gallery, HK; Suzhou Art Museum; and He Xiangning Art Museum Shenzhen. Wang has also participated in Hans Ulrich Obrist’s  「89+ and Google Arts & Culture」 Conversation Room at FIAC 2017. Fuzzeautiful at BANK marks her first solo show in Shanghai. 

KIM LAUGHTON

停車 Parking

藝術家 / Artist

KIM LAUGHTON

開幕 / Opening

2018.09.15，周六 (Saturday), 5 - 7 pm

展期 / Duration

2018.09.15 - 10.28

上海市徐匯區安福路298弄2號樓底樓

Building 2, Lane 298 Anfu Road, Shanghai, 200031

KIM LAUGHTON

Parking, 2018

3D mixed media installation

3D綜合媒介裝置

《停車》是一部3D生成動畫，去年在上海的一個音樂俱樂部首播。在現場演出時，場景和角色存在於遊戲引擎中，隨機選擇不同的攝像機，從而生成一個不斷更新的非線性敘事。儘管 Kim 構建了這個神秘的場景，幾乎就像一個真實的電影場景， 但這個世界是自動運行的，不受任何特定作者或邏輯的影響。相反，我們似乎是在潛意識中無意中發現了這件事，像是在秘密窺探一件瘋狂的私人事件。儘管勞頓拒絕透露這個超現實場景的靈感來源和古怪的角色，但他自稱是淘寶迷，他的很多元素都是在網上找到的，並通過電腦軟體進行製作。藝術家的完全虛擬的、自我參照的編程空間，描繪了一個怪異逼真的現實世界，突顯了自然和技術之間乏味的鴻溝。

該裝置包含了來自遊戲引擎的錄音，伴隨著來自音樂人 Suda 的配樂和電影道具的物理重現。

影像截圖 Film still

Parking is a 3D generative animation that premiered last year at ALL, a music club in Shanghai. When operating live the scene and its characters exist in a game engine that randomly selects different cameras to generate a continually new, non-linear narrative. Even though Laughton constructed this enigmatic scene almost like an actual film set, complete with dolly tracks and gaffing, this world operates automatically, undetermined by any particular author or logic. Instead it appears as if we have subconsciously stumbled upon and are secretly peeking into a deranged private affair. While Laughton refuses to disclose the inspiration for this particularly surreal setting and its eccentric characters he is a self-professed Taobao freak, sourcing much of his elements online and manipulating them via computer software. The artist’s entirely virtual, self-referential computational space is the domain in which his eerily realistic depictions come to life, underscoring the tedious divide between nature and technology. 

This installation contains recordings from the game engine accompanied by music from Suda and physical recreations of film props.

影像截圖 Film still

Kim Laughton是一位多學科的藝術家和設計師，他的作品主要通過活動平臺和夜總會在網上展示。他的作品曾在北京UCCA、卡內基藝術博物館和波特蘭當代藝術學院展出。他的作品已經在LEAP、Artnet、FASIC Art和Art World雜誌上發表。他是數字檔案「淘寶媒體」的發起人，擁有自己的時尚品牌，為紅牛、騰訊等多個品牌製作內容。

Kim Laughton is a multi-disciplinary artist and designer whose work is primarily showcased online, through event-based platforms and in nightclubs. His work has been shown at UCCA Beijing, Carnegie Museum of Art, and the Portland Institute for Contemporary Art. His diverse endeavours have been profiled in LEAP, Artnet, FASIC Art and Art World magazines. He is the author of the digital archive 'Taobao Media', has his own fashion brand, and has produced content for various brands including Red Bull, Tencent and others.

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Building 2, Lane 298 Anfu Road, Shanghai, 200031

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