Liang Ban Pearl Rolling Across the Floor
滾過地板的珍珠 梁半 de Sarthe
目錄 Content
Artist Biography 藝術家簡介 Pearl Rolling Across the Floor Exhibition Forward 《滾過地板的珍珠》 Caged Bird 《籠中鳥》 On a Slow Boat to China 《慢船去中國》 Stutter Series 《口吃》系列 Pearl Rolling Across the Floor Series 《滾過地板的珍珠》系列
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Liang Ban
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梁半1985年生於中國廣西，目前居住在北京。 梁半的創作方式是將人類文明、虛構傳說等相關信息的 精髓從普世意識中抽離出來，然後連接到個人或社會政 治的悲劇中，並賦予更為深層次的意義。 梁半的個展和個人項目包括：《滾過地板的珍珠》 ，德薩畫廊，香港（2020）；《拓荒者日記》，德薩 畫廊，香港（2018） ；《自製世界》，Klein Sun畫 廊，紐約，美國（2017）；《風景瀏覽器》，德薩畫 廊，北京，中國（2016）；《輕微腦震盪》，泰康空 間，北京，中國（2016） ；《Game》A4青年藝術家 實驗季，A4當代藝術中心，成都，中國（2014）。 他也曾受邀參加上海當代藝術博物館，尤倫斯當 代藝術中心，上海OCAT藝術中心，上海民生現代 美術館，泰康空間（北京），北京德國文化中心歌 德學院，芝加哥當代攝影博物館（美國），北京民 生現代美術館，蜂巢當代藝術中心，何香凝美術 館（深圳），廣州33當代藝術中心，上海愛琴海購 物公園&UCCA，澳門藝術博物館，南藝美術館（ 南京），西安美術館，韓國釜山美術館，成都A4當 代藝術中心，都靈衛城博物館（意大利），中央美 術學院美術館，清華大學美術館，北京大學藝術 學院等學術機構的展覽。 梁半獲集美·阿爾勒提名獎（2016），也曾入圍第 五屆華宇青年獎（2016）。 5
Liang Ban
Liang Ban was born in Guangxi, China in 1985. He currently lives and works in Beijing, China. Liang Ban’s creative practice draws from human civilization and fictional mythologies. By connecting the essence of universal consciousness to individual or socio-political tragedies, he elucidates the deeper implications of modern events. Liang Ban’s solo exhibitions include, Pearls Rolling Across the Floor, de Sarthe, Hong Kong (2020); Diary of a Pioneer, de Sarthe, Hong Kong (2018); Liang Ban and Ye Funa: Self-Created Universe, Klein Sun Gallery, New York, USA (2017); Landscape Browser, de Sarthe Gallery, Beijing, China (2016) and Slightly Confused, Taikang Space, Beijing, China (2016).
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His has also been invited to exhibit at museums and institutes including: Power Station of Art, Ullens Center for Contemporary Art, OCAT Shanghai Project Space, Taikang Space (Beijing), Goethe-Institut China, Chicago Museum of Contemporary Photography, Beijing Minseng Art Museum, Shanghai Aiqin Shopping Center & UCCA, Macao Museum of Art, Art Museum of Nanjing University of the Arts, CAFA Art Museum, Busan Museum of Art, Chengdu A4 Contemporary Arts Center, Museum of Contemporary Art of Rome, Qinghua University Art Museum, School of Arts Peking University. Liang Ban is the recipient of the Jimei x Arles Nomination Award (2016), and Art Sanya Hua Yu Youth Discovery Award (2016).
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《滾過地板的珍珠》 文 / 德薩畫廊
梁半認為手機在當下是一種 控制個體的技術，如同 在 2 0 世 紀 初 輪 船，飛 機，汽車對於現代建築 的影響一樣，藝術家很 敏 銳 地捕 抓 到生活在 此 刻 的人 類 是 如何 被 手機所改變的。在錄像 作品《籠中鳥》(2019)和《慢船去中國》 (2019)中，藝術家利用智能手機應用程 式的圖標重演了標題中的諺語。
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Pearl Rolling Across the Floor Article by de Sarthe
Liang Ban believes that in the current era mobile devices have evolved to become a “possessive technology”, that is one which has taken control of its users. In the same way that ships, planes, and cars influenced architecture in the early 20th century, the artist captures how mobile devices have influenced modern humanity. In the video works Caged Bird (2019) and On a Slow Boat to China (2019), the artist reenacts idioms using the icons of smartphone applications. 11
Liang Ban
因馬雅•安傑洛(Maya Angelou)的小說《我知道籠 中鳥為何歌唱》而得名，《籠 中鳥》(2 0 2 0) 將 社 交 媒 體 Twit ter的經典小鳥logo演 繹成試圖突破屏幕的一次壯 舉，藝術家滑動“鳥兒”飛過 一片紅色白色條紋組成的屏 幕空間，然而卻永遠無法實 現對於屏幕空間的逃離。 Titled after Maya Angelou’s novel I Know Why the Caged Bird Sings, Liang Ban’s Caged Bird depicts the social media platform Twitter’s famed icon of a bird attempting to escape its screen. The bird flutters across a field of red and white stripes, only to discover that its effort has been in vain. While red and white stripes are associated with certain flags, the artist likens its banded pattern to a cage. 12
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Caged Bird 《籠中鳥》 2019 Single channel video, 6’00” 單頻視頻，06’00” Dimensions variable 尺寸可變 Ed. 3+1 AP
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《慢船去中國》則描繪著一 個船夫圖標在空蕩屏幕中永 無止盡原地劃動狀態。在英 文中有個比喻“On a slow boat to China”—慢船去中 國，西方人 用這個固定俗成 的說法來形容一個漫長的， 永遠都達不到終點的旅程。 On a Slow Boat to China, conversely, shows an icon of a man in a boat, slowly struggling across the screen but never reaching its destination – a depiction its titular saying, which is used as a metaphor for a long, unending journey.
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On a Slow Boat to China 《慢船去中國》
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2019 Single channel video, 06’00” 單頻視頻，06’00” Dimensions variable 尺寸可變 Ed. 3+1 AP
Liang Ban
類似網絡病毒的圖片作品《口吃》(2020) 由數 組智能手機屏幕圖案重重疊疊而成。手機屏幕 上的應用APP圖標組成「fuck」一詞，作品視覺 上模仿著過時電腦系統被凍結的狀態，藝術家 將停滯的視窗比喻成言語 結巴，表達政治態度時口吃 的狀態也寓意著言語上的 自我壓抑。 Visually resembling a virus stricken computer, Stutter (2020) is a body of artwork that depicts an array of smartphones overlapping one another, with the word “fuck” written on the home screen using app icons. Referencing the frustrating yet familiar errors of antiquated computer systems, the work compares lagging windows to stuttering, and stuttering to the self-suppression of speech, a consequence of living in a collectivist society. 16
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Stutter No.1 《口吃》No.1 2020 Giclee on aluminum composite panel 收藏級藝術微噴，鋁塑板 113 x 131 cm (44 1/2 x 51 9/16 in.)
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Stutter No.2 《口吃》No.2 2020 Giclee on aluminum composite panel 收藏級藝術微噴，鋁塑板 77 x 150 cm (30 5/16 x 59 1/16 in.)
Stutter No.3 《口吃》No.3 2020 Giclee on aluminum composite panel 收藏級藝術微噴，鋁塑板 78 x 160 cm (30 11/16 x 63 in.)
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Stutter No.4 《口吃》No.4 2020 Giclee on aluminum composite panel 收藏級藝術微噴，鋁塑板 115 x 153 cm (45 1/4 x 60 1/4 in.)
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與展覽同名的錄像裝置作品《滾過地板的珍珠》(2020)，由中國坐獅像分別腳踩在五個電子屏幕 上構成。這些獅像均由水晶磚堆砌而成。這種水晶磚材料像玻璃一樣純淨透明，但同時它又 是中國南方黑心廠家製作假珍寶的原材料。歷史上，玻璃是很重要的發明，它來自西方，很早 傳入中國，但是歷史上中國一直不重視玻璃，避免使用玻璃。這跟中國的政治有著些暗合， 在藝術家看來透明是很重要的，所以藝術家利用這種透明性來打破「獅子是權威的象徵」這 種傳統的看法。而獅像腳下的屏幕，由一系列不同時期室內地板的圖片不定時翻頁構成，翻 頁的同時，背景則傳出珍珠滾過地板時發出的的聲音。沉重的地板被輕盈的紙頁自然替代， 封固的獅像被一塊塊透明的水晶磚塊瓦解，兩者也因珍珠虛無的存在被聯繫在一起。在藝 術家看來，「珍珠」代表著一個個獨立脆弱的個體，同時也隱喻被譽為「東方之珠」的香港。
Sharing a title with the exhibition, the multimedia installation Pearl Rolling Across the Floor (2020) consists Chinese guardian lions either sitting atop a digital screen, or resting one of its legs on top of it. Constructed using crystal clear blocks, the lions appear as clear and pure as glass. Yet, its material is ironically the same as that of counterfeit treasures produced by corrupted manufacturers in Southern China. The invention of glass is historically important. It was imported into China from the west early on, but was overlooked and rarely utilized as a construction material. China’s historical tendency to steer away from glass seemingly speaks to the transparency of the Chinese political framework. By recreating stone lions using a transparent material, the artist undermines the traditional conception that “the lion is a symbol of power and status”. The digital screens, on which the lions sit, display video fragments of a person periodically flipping through printed images of interior floors. As the reader turns the page, the distant sound of a pearl rolling across the floor plays in the background. The weight of the floor is lifted by the lightness of the pages, the solidity of the lion is deconstructed by the transparency of its building blocks, and the two are connected by the lack of visual presence of the pearl. From the artist’s perspective, pearls represent fragile individual entities and simultaneously are symbolic of Hong Kong, a city reputed as the “Pearl of the Orient.”
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Pearl Rolling Across the Floor No.3 《滾過地板的珍珠》No.3 2020 Video installation, crystal blocks, TV screen, single channel video, audio, 7’06” 錄像裝置，水晶磚，屏幕，單視頻錄像，音頻，7’06” Dimensions variable 尺寸可變 Ed. 1+1 AP
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Pearl Rolling Across the Floor No.1 《滾過地板的珍珠》No.1 2020 Video installation, crystal blocks, TV screen, single channel video, audio, 8’29” 錄像裝置，水晶磚，屏幕，單視頻錄像，音頻，8’29” Dimensions variable 尺寸可變 Ed. 1+1 AP
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Pearl Rolling Across the Floor No.2 《滾過地板的珍珠》No.2 2020 Video installation, crystal blocks, TV screen, single channel video, audio, 7’39” 錄像裝置，水晶磚，屏幕，單視頻錄像，音頻，7’39” Dimensions variable 尺寸可變 Ed. 1+1 AP
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Pearl Rolling Across the Floor No.4 《滾過地板的珍珠》No.4 2020 Video installation, crystal blocks, TV screen, single channel video, audio, 5’01” 錄像裝置，水晶磚，屏幕，單視頻錄像，音頻，5’01” Dimensions variable 尺寸可變 Ed. 1+1 AP
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Pearl Rolling Across the Floor No.5 《滾過地板的珍珠》No.5 2020 Video installation, crystal blocks, TV screen, single channel video, audio, 13’26” 錄像裝置，水晶磚，屏幕，單視頻錄像，音頻，13’26” Dimensions variable 尺寸可變 Ed. 1+1 AP
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Liang Ban Liang Ban b. 1985 in Guangxi, China 2010
B.F.A. Sculpture Department, Guangxi Art Institute, Nanning, China
Solo Exhibitions 2020 2018 2017 2016-2017 2014
Pearl Rolling Across the Floor, de Sarthe Gallery, Hong Kong, China Diary of a Pioneer, de Sarthe Gallery, Hong Kong, China Liang Ban and Ye Funa: Self-Created Universe, Klein Sun Gallery, New York, USA Landscape Browser, curated by Bao Dong, de Sarthe Gallery, Beijing, China Slightly Confused, Taikang Space, Beijing, China Game, A-4 Contemporary Arts Center, Chengdu, China
Group Exhibitions 2020 2019 2018
2017-2018
2017
2016
Flow Boundary, Hunan Art Museum, Hunan, China Imprimitura, LangKong Art Museum, Beijing, China Oscillation, 33 Contemporary Art Center, Guangzhou, China New Video in China: New Attitude since 2010, Anren OCT-LOFT, Shenzhen, China Screen refreshing/Labor - 2018 AMNUA International exhibition of photography, Art Museum of Nanjing University of the Arts, Nanjing, China Ghosts in the Information, PPPP, Beijing, China Mirroring, Aegean Place, Shanghai, China Light Up Therapy Resort, Power Station of Art, Shanghai, China Visuality is the Scene of Negligence, Jimei x Arles International Photography Festival, Xiamen, China “Outsiders of Life's Feast,” The New Normal: China, Art, and 2017, Ullens Center for Contemporary Art, Beijing, China The Exhibition of Annual of Contemporary Art of China, Minsheng Art Museum, Beijing, China Trace in the Hidden Silence, Boxes Art Space of Oct Harbor, Shenzhen, China Moments and More: Documents of Culture Pavilion, OCAT Shanghai Project Space, Shanghai, China The New Normal: China, Art, and 2017, Ullens Center for Contemporary Art, Beijing, China Inexplicable, Pearl Lam Galleries, Shanghai, China Without Leaving Any Traces, MOCUBE, Beijing, China Digital Samplers or a New Generation Deep Dive into Internet Superposition, The Galaxy Museum of Contemporary Art, Chongqing, China Accessing the Memory, I: project space, Beijing, China Reversal Ritual, de Sarthe Gallery, Hong Kong, China Inception, Fifth Art Sanya, Sanya, China Position Fixing, Arte Place at the Guangzhou Opera House, Guangzhou, China In the Dimensionality, Between Art Lab, Shanghai, China Pixel Park – Contemporary Video Art Exhibition, Shanghai Jing An
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de sarthe 梁半 1985年出生於中國廣西省 2010
廣西藝術學院雕塑系本科學位，南寧，中國
個展 2020 2018 2017 2016-2017
《滾過地板的珍珠》，德薩畫廊，香港，中國 《拓荒者日記》，德薩畫廊，香港，中國 《梁半／葉甫納：自制世界》，凱尚畫廊，紐約，美國 《風景瀏覽器》由鮑棟策展，德薩畫廊，北京，中國 《輕微腦震盪》，泰康空間，北京，中國
2014
《Game》，A-4當代藝術中心空間，成都，中國
聯展 2020
《流動的邊界》，湖南美術館，湖南，中國
2019 2018
《基底》，朗空美術館，北京，中國 《游移——新媒體影像藝術展》，33 當代藝術中心，廣州，中國 《中國新影像：2010 年以來的新態度》，安仁華僑城創意文化園，深圳，中國 《刷屏/勞作——2018 AMNUA 國際攝影展》, 南京藝術學院美術館，南京，中國 《信息中的鬼魂》，PPPP，北京，中國
2017-2018
《鏡像》，上海愛琴海購物公園，上海，中國 《光源度假村》，上海當代藝術博物館，上海，中國
2017
《可視恰巧是造成忽視的情境》，集美阿爾勒國際攝影季節，深圳，中國 《中國當代藝術年鑒展》，民生現代美術館，北京，中國 《例外狀態：中國境況與藝術考察 2017》，尤倫斯當代藝術中心，北京，中國 《消聲覓跡》，華僑城歡樂海岸盒子藝術空間，深圳，中國 《不可思議》，藝術門，上海，中國 《無行地》，魔方空間，北京，中國 《朋友圈+：文化館線上藝術計劃展》，OCAT 藝術中心，上海，中國 《數字採樣者：或處於網絡態疊加中的新世代》，星匯當代美術館，重慶，中國 《無法兌現》，I: project space，北京，中國 《儀式逆轉》，德薩畫廊，香港，中國
2016
《不隅之間》，第五屆三亞藝術季，三亞，中國 《活的》，智先畫廊，北京，中國 《定位》，三玄社美術館，廣州大劇院，中國 《维度间》，Between Art Lab，上海，中国 《像素公园》，静安雕塑公园，上海，中国
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PUBLICATION Texts 文字 Liang Ban 梁半, Willem Molesworth 毛育新, Allison Cheung 張嘉容 Editing and copy-editing 編輯及校對 Willem Molesworth 毛育新, Allison Cheung 張嘉容, Vivian Yau 邱寶儀 Graphic Design 平面設計 Vivian Yau 邱寶儀
Liang Ban 梁半 Pearl Rolling Across the Floor《滾過地板的珍珠》 www.desarthe.com | hongkong@desarthe.com
DE SARTHE 20/F, Global Trade Square, No.21 Wong Chuk Hang Road, Hong Kong T: +852 2167 8896 F: +852 2167 8893 All rights reserved. No part of this publication may be reproduced in any form or by any means in whole or part, without prior written permission from the gallery and the artist. 版權所有。未經畫廊和藝術家的事先書面許可，不得以任何形式或手段全部或部分複製本出版物 的任何部分。
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