DE SARTHE
Hong Kong, China
Liang Ban, Stutter No.3. 78x160cm.
On-Going
2022
Liang Ban was shown in exhibition 'On-Going' with other artists presented by DE SARTHE, which is an inaugural group show to announce DE SARTHE's new location. The show brings the audience on re-exploration of DE SARTHE featured artists’ significant evolvement through their artistic practices in the past 6 years.
梁半與其他由德薩畫廊代理的藝術家共同參展德薩畫廊新址的首展「進行式」。展覽帶領觀眾回顧並重新探索畫廊藝術家在過去六年的藝術發展與蛻變。
Hunan Art Museum
Hunan, China
Flow Boundary
2020
Liang Ban's artwork was shown at Hunan Art Museum as part of the group exhibition Flow Boundary. The exhibition ran from 3 November through 3 December.
LangKong Art Museum
Beijing, China
Imprimitura
2019
Liang Ban's work was featured in 798 Art Zone's contemporary group show Imprimatura in Beijing. Produced by Xu Dong and Li Xiaonong, this exhibition is the inaugural show of the LangKong Art Museum after renovation. It initiates disclousures around the originality and multimediality of contemporary art, featuring an array of works from ten Chinese contemporary artists, diverse in painting, sculpture, installation art, and video art.
梁半參展了北京798藝術區聯展「基底」。出品人為徐東與栗小農，這次展覽是朗空美術館裝修完畢後的首次展覽。「基底」披露了當代藝術的獨特性與多元化，聚集了十位不同的中國藝術家，展示著多種多樣的藝術品，當中包括油畫、雕像、裝置藝術、影片藝術等等的作品。
33 Contemporary Art Centre
Guangzhou, China
Oscillation
2018
Liang Ban's works were featured in 33 Contemporary Art Centre's group exhibition "Oscillation" in Guangzhou. By studying the self-consciousness of images in video works, this exhibition extends the discussion of the logic of exhibition from the ontology of video media. "Oscillation" is not an eclectic attitude, but a volatile value, a kind of "shock" and "fluctuation"; it involves the motivation of video language, the effectiveness of conceptual expression, and the reflection on the deep meaning of video works.
梁半的作品展示於廣州33當代藝術中心《游移—新媒體影像藝術展》中，此展覽通過研究影像作品中影像的自我意識，從影像媒介的本體延伸出對於展陳邏輯的討論。 “游移”並不是一種折衷的態度，而是一種搖擺不定的價值，一種“震盪”和“波動”；它涉及影像語言的動機、觀念表達的有效性，以及對影像作品深層意義的思考。
Art Museum of Nanjing University of the Arts
Nanjing, China
Screen refreshing/Labor - 2018 AMNUA International exhibition of photography
2018
Photography as a motion seamlessly connects contemporay daily life with artistic creation. In the new millennium, a photo has been more than merely an visual narrative of Bresson's "classic moments" or an "objective gaze" of social landscapes. Photography exists in the informatization and networked reality, becoming a new kind of prosthetic conditional reflection and a new alienation behavior of contemporary human beings. If Benjamin's image of "Emigration" is already in jeopardy in the paper-media era, then in the era of the screen, it will be further dispelled by the continuous improvement of pixels.
攝影作為一個動詞，無縫銜接起當代人類的日常生活與藝術創造。攝影在新的千年以來，已經不僅僅是布勒松「經典瞬間」的圖像敘事，也不僅僅是對於社會景觀的「客觀凝視」。攝影在信息化與網絡化的現實中存在，成為一種新的義肢般的條件反射，也是當代人類一種新的異化行為。如果說本雅明呼喚的圖像的「靈光」在紙媒時代就已岌岌可危的話，那麼在屏幕時代則隨著像素的不斷提高進一步煙消雲散。
Aegean Place
Shanghai, China
Mirroring
2017-18
Mirroring: Aegean Place Public Art Project" is devoted to the popularization of contemporary art, creating the Aegean Place as an open, artistic and interactive city public space, leading the audience through the experience of art creation and thereby enriching the daily eperience of this world. "Mirroring" invites renowned artists from home and abroad, including Leandron Erlich, Hou Yong, Liang Ban, to create exclusive public works of art based on the geo-environment and spatial structure of Aegean Place, including works of paintings, installations, videos, site-specific arts and performance performances. 2017 The first "Mirroring" was jointly presented by Aegean Place and UCCA Beijing. It was jointly planned by You Yang and Che Xuanqiao.
《鏡像：上海愛琴海公共藝術項目》致力於當代藝術的公眾化，將愛琴海購物公園打造為具有開放藝術性的互動城市公共空間，引領觀眾通過體驗藝術創作從而更為豐富地感知日常世界。《鏡像》邀請海內外知名藝術家，包括萊安德羅 埃里希、侯勇、梁半等等， 根據愛琴海購物公園地緣環境和空間結構創作專屬公共藝術作品，包括繪畫、裝置、影像、場地特定藝術、行為表演等作品類型。2017年首屆「鏡像」由愛琴海購物公園和北京尤倫斯當代藝術中心(UCCA)聯合呈現，由尤洋和車宣橋聯合策劃。
Jimei x Arles International Photography Festival
Xiamen, China
Visuality is the Scene of Negligence
2017-18
Visuality is the Scene of Negligence is shown at Jimei × Arles International Photo Festival, with the aim of embracing a wider social context, exploring and discussing photographic art and image production, artistic creation and the boundaries of commercial mechanisms. One of our jobs is applying a reading of commercial images that puts these photographers' works in a completely different context - in your daily life, they may replace your elevator's real estate advertising or your computer desktop image. The viewing conditions will also change. Next to different mounting methods, they will be exposed to the rough lighting in the post-industrial era - office buildings, shopping malls, street lights or the beam of a car light passing through a projection. This takes you far away from the light you are accustomed to as you stand before an exhibit at the museum. You are no longer a well-prepared art spectator, and you go back to your daily identity, someone able to quickly switch scenes and apply business mechanisms to your life. What you are able to do now is screen the photographic art you see, or simply ignore it.
power station of art
Shanghai, China
Shanghai, China
Light Up Therapy Resort
2017-18
2017-18
“Light Up Therapy Resort” is a psychological healing resort located in the center of Shanghai. The curator, as the founder of the resort, invites Chinese artists of the ‘80s generation from all over the world with 13 coordinates to create an immersive healing experience for the audience and simulate the paradise that urbanites always long for.
Participating Artists: Chen Wei, Zheng Tingting, Ding Xingjian, Hu Jing, Liang Ban, Liu Yu Yang, LOVE HD Channel (Peng Wenbiao, M, Li Guan Ting, Nio) (Huangshan + Huanghe), Wang Xin, Huang Huiyan, Yang Peikeng, Tong Yi Xin, Yu Shupi
《光源度假村》是一所處於上海中心地帶的心理治療度假村。展覽策展人以度假村創辦人的身份，邀請來自各地的13位八十後華人藝術家打造出沉浸式的治療環境，模擬都市人一直渴望的世外桃源。參展藝術家包括：陳維、鄭婷婷、丁行健、胡靖、梁半、劉禹揚、滷味高清頻道（彭文彪、米、李冠廷、Nio)、山河跳！ (黃山+黃河) 、王欣、黃慧、黃慧妍，楊沛鏗，童義欣，餘淑培
Ullens center for contemporary art
beijing, China
beijing, China
The New Normal: China, Art and 2017
A Poet Who Never Saw the Ocean Wrote a Novel about the Ocean
2017
The Ullens Center for Contemporary Art (UCCA) is proud to present The New Normal: China, Art, and 2017, a large-scale exhibition running from 19 March to 9 July 2017 with new and recent works by 23 artists and groups from China and beyond. Held in the Great Hall, Central Gallery, Long Gallery, and Nave, “The New Normal” takes China’s evolving national condition vis-à-vis the rising backlash against globalization on other continents as a point of departure, interrogating the efficacy of art—as a medium for both expression and action—in responding to a fragile and unpredictable present. Continuing UCCA’s ongoing commitment to emerging artists as well as its practice of mounting a center-wide survey of recent developments once every four years, first with “Breaking Forecast: 8 Key Figures of China’s New Generation of Artists” in 2009 and followed by “ON | OFF: China’s Young Artists in Concept and Practice” in 2013, “The New Normal” explores the state of art today against the backdrop of the unprecedented social realities of 2017. The exhibition is organized by UCCA curators Guo Xi, Yang Zi, Alvin Li, and Wenfei Wang working with UCCA Director Philip Tinari.A Poet Who Never Saw the Ocean Wrote a Novel about the Ocean
2017
Coined by Carl Schmitt and expanded by Giorgio Agamben, a “state of exception”—the exhibition’s Chinese title—refers to a political situation in which the normal laws and regulations of a society are abruptly suspended, replaced by temporary conditions that in turn become a new status quo. States of exception have been imposed at moments of crisis throughout modern history. Crisis today is constant, as ideals of freedom, equality, and openness, once held by some as universal values, give way to mass shootings, aborted ceasefires, violated norms, and tainted elections. In 2015, the Chinese leadership introduced “the new normal,” a way of talking about economic growth rates that, while lower than during the exuberant years of the early 2000s, continue to trump those of most other major economies. China’s assertively capitalist, internationalist response to these increasingly acute dynamics—recently typified by President Xi Jinping’s address to the World Economic Forum in Davos—might also be considered a “state of exception,” one that runs parallel to the new patterns of globalization that inform artistic cosmopolitanism today.
UCCA當代藝術中心於2017年3月19日至2017年7月9日在大展廳、中展廳、長廊、甬道呈現群展“例外狀態：中國境況與藝術考察2017”，收錄23位/組國內外藝術家的作品，立足於中國在全球化語境中的現實境況，探討“藝術”作為一種表達與行動的媒介，如何應對某種脆弱、動盪而變化莫測的世界局勢，即持續醞釀、演變的“例外狀態”。本展覽建立在UCCA對當代藝術實踐的長期研究與考察的基礎上，延續“中堅：新世紀中國藝術的八個關鍵形象”（2009）、“ON ￨ OFF: 中國年輕藝術家的觀念與實踐”（ 2013）等每4年在UCCA舉辦一次的大型群展，試圖在2017年這一特殊的歷史性時刻將藝術實踐置於切近的社會現實中進行審視。展覽由UCCA館長田霏宇，以及UCCA策展人郭希、楊紫、李佳桓、王文菲聯合策劃。
展覽的中文標題“例外狀態”源於卡爾·施米特（Carl Schmitt），在吉奧喬·阿甘本（Giorgio Agamben）的論述中得到進一步延伸，指涉一種政治境況——其中，社會的既有法律與規章制度被驟然懸置，為某種臨時狀況所取代，並由此促成一種全新的現實。在現代歷史的進程中，例外狀態在危機時刻被強制執行；在當下,危機已變得司空見慣，正如曾被奉為普世價值的自由、平等與寬容在大規模槍擊案、流產的停戰協議、被僭越的法則與骯髒的選舉面前黯然失色。換言之，“例外狀態”與“常態”之間構成了一種辯證關係。而早在2015年，中國政府便引入“新常態”一詞描述中國經濟增長的狀態；儘管現下中國的經濟增長率與2000年代早期的盛況不可同日而語，但仍然優於其他大部分主要經濟體。面對愈發緊迫的動盪局勢，中國正以不容置疑的資本戰略與全球性部署做出回應——這或許將催生出藝術家們賴以生活與創作的另一重“例外狀態”，而這一狀態又恰恰根植於全球化狀況的日常性之中。
Pearl Lam Galleries
Shanghai, China
Inexplicable
2017
Inexplicable is a group exhibition of 18 Chinese young artists, revolving around their imaginative and incredible creations. With a booming and fast-moving pop culture in China, young artists are constantly exposed to all kinds of inspiration, ranging from social media, fiction and movies, magazines, and daily life in a globalized context. This exhibition explores Chinese traditions and modernization, fantasy and science fiction, as well as literary narrative and social realism. The title Inexplicable refers to an experience that is indescribable and inconceivable to the beholder. The show aims to introduce audiences to multi-faceted styles of art forms that are made by millennials, whose works mirror the society in which they dwell.
《不可思議》群展，探索18位年輕藝術家如何運⽤豐富想像⼒，在快速變動的消費型社會中找到創作靈感。本次展覽跨界多元緯度，包括中國傳統與現代化的碰撞，科幻題材，⽂學敘事與社會批評。 ⽽展名“不可思議”不僅指出展出作品天⻢⾏空的型態，更是反映了⼀段⽆法解釋的經驗，⽽迷惘是必然的結果。我們期望能為每天被資訊橫掃的觀眾們開拓眼界，不帶偏⻅地欣賞多元化的藝術表達形式。藝術不再需要附帶任何價值或意義，因為沒有事情是絕對的，或必須被解釋的。
De Sarthe Gallery
Hong Kong, China
Reversal Ritual
2017
Liang Ban's works were featured in De Sarthe Gallery's group exhibition "Reversal Ritual" in Hong Kong. It is a group exhibition organised by gallery directors Willem Molesworth and Vincent de Sarthe to inaugurate the new Hong Kong space. The show references to the comically festive events depicted by 16th century novelist François Rabelais, Bakhtin, who asserts that the carnival was an expression of an alternative world liberated from the social, political, cultural and religious structures of the time. The exhibition aims to highlight how several young Chinese artists have begun to express themselves through similar means in reaction to the newly established order of Chinese society.
梁半的作品展於香港德薩畫廊的群展「儀式逆轉」當中，是次展覽參照了二十世紀俄國文學評論家Mikhail Bakhtin受到十六世紀法國小說家弗朗索瓦・拉伯雷（François Rabelais）筆下趣怪節日活動啟發而發揚光大的「狂歡荒誕」（carnivalesque）概念，認為充滿著幽默，諷刺、怪誕的嘉年華在傳統上代表了一個從當時的社會、政治、文化、宗教權力結構中解脫，繼而短暫建構出來的「另類世界」（alternative world） 。參與展覽的藝術家以米哈伊爾・巴赫金（Mikhail Bakhtin）這個帶點烏托邦思想的論述作為基礎，透過同樣荒誕的手法回應正在急速發展成形中的新中國社會秩序。
Taikang Space
Beijing China
Liang Ban, Sunset-Sunrise, 2015. video, 35”.
Ghost in Flash: After Photography
2016
“Ghost in Flash: After Photography”, a companion exhibition, also a continuation of “La Chambre Claire”, which is an exhibition at Taikang Space in 2012, can be viewed as an extension of photography as a medium, as well as a re-discussion about the mutation of its exchange with other media. The exhibition will display a dozen works from seven artists. The exhibits sometimes stand in contrast to one another and are sometimes closely related to one another for their striking similarities. These works, for their keen insight into our life in the new era, as well as for their sensitivity to photography, its role as a medium and its essence, speaks of the effort that this medium is making to explore new territory. From the perspective of photography, we may gain a deeper understanding of these works. The ghost / aura of photography is always there---never fails.
作為2012年在泰康空間舉辦的“明室”展覽的姊妹篇與延續，“閃靈：攝影之後”是泰康空間對攝影這一媒介自身的演進，以及它與各媒介交往變異的再討論。本次展覽共邀請了7位年輕藝術家與他們的十餘組／件作品參展，展出的作品與作品之間有時候呈現為一種比照關係，有時候呈現為一種同構關係，籍著對新時代生活的深刻體認，以及與攝影從媒介到本質的不期而遇，或者說他們的作品都掩飾不住地忽閃著攝影的靈光，都可作為這一媒介正努力開拓疆域的力證，或者經由攝影這個維度的觀看，對他們的作品會有一個更新的認識。攝影的幽靈／靈光從來沒有泯滅。
goethe institut china,
Shanghai, China
Shanghai, China
GOOOOOOOOOOOOOOOAL!
2016
2016
Football is one of the most popular sports in the world. The connotations of football extend into important topics such as politics, capitalism, and race. Yet, the vernacular nature of the sport makes it an equalizer through which people share happiness, regret, and dreams. At this very moment, adults and children of different races and religions are playing football everywhere in the world. The game of football transcends beyond class division and is relatable to all.
This exhibition aims to build a relaxed relationship between the art and the audience. The displayed artworks are mainly past works by the artists and were not specifically created for the curated theme of football. This exhibition was curated by the group “Qualified” (Zhang Si, Ye Su, Xu Xiaodong, Mok Wai Hong), and was advised by German curator Johan Holten.
Finally, the title of the exhibition was inspired by the typical South American football commentary phrase said when a player has scored: GOOOOOOOOOOOOOOOAL!
足球作為全世界的熱點之一，背後既有政治、資本與種族等大話題，也有關於人們日常生活中的快樂、協作、遺憾和夢想。此刻，在世界的各個角落，不同膚色不同信仰的大人、孩子正開展足球運動——足球超越階級而聯動著全球。策展人利希望在藝術品和觀眾之間建立放鬆的關係。展出的大多數作品為藝術家已有的創作或方案，因此這些作品並非是帶有足球元素的命題創作 。展覽由“出線小組” （張嗣、耶蘇、徐小鼎、莫偉康）的四位青年藝術家擔任策展人。展覽還得到了德國策展人Johan Holten先生的智力支持。展覽題目源於南美洲足球解說員的激情解說：GOOOOOOOOOOOOOOOAL！
Space Station
Beijing, China
A Room Not of One’s Own
2014
An experimental exhibition A Room Not of One’s Own is to be held by Space Station from June 21st to July 13th, 2014. The exhibition, organized by Fu Xiaodong, includes 22 artists’ works and aims to criticize the political rights of private space and to transform individual’s daily life. The exhibiting works show how the artists think and implement towards the studio, the private living space; they are the process and result of the transformation of private space.
一間不屬於自己的房間
2014
空間站於2014年6月21日至7月13日舉辦由付曉東策劃的22位藝術家參加的《一間不屬於自己的房間》的空間實驗性展覽。旨在嘗試私人空間的政治權力批判和個體日常生活改造。展覽作品全部由藝術家針對私人生活空間工作室來進行思考和實施，展廳中呈現的是改造私人空間的過程和結果。
Zajia Lab
Beijing, China
Not Only a Taoist Troublemaker!
2011
A ZaJia project curated by Forget Art project in which artists Hu Xiaoxiao, Wu Yuren, Lu Zhengyuan, Ma Yongfeng, Liang Ban and Alessandro Rolandi take over the main room of the former Hong Er Daoist Temple to reflect on the current state of things in art, culture, society and life, with a series of installations, performances and naked Interviews.