BANK|弗里兹洛杉矶艺术博览会 Frieze Los Angeles 2026|展位A21

BANK欣然于2026年的弗里兹洛杉矶艺博会（Frieze Los Angeles）呈现群展，探讨意识与身体的“幽暗时刻亲密”。

展览从郑庆和（Ching Ho Cheng）的水粉画作展开，这位于上世纪在声名远扬的切尔西旅馆留下重要创作的艺术家，我们带来其描摹光晕和阴影的作品，为展位定下冥思的基调。惠特尼美术馆近期展览“六十年代超现实”回顾了他彼时的重要作品。

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BANK is pleased to present a group exhibition at Frieze Los Angeles 2026, exploring the intimacy of consciousness and body in their “gloaming moments.”

The presentation opens with contemplative gouache works by Ching Ho Cheng, an artist whose legacy is intertwined with New York's historic Chelsea Hotel. Two pieces—depicting halos and shadows—set a meditative tone for the booth, reflecting an artist recently celebrated in the Whitney Museum’s Sixties Surrealism.

一旁，林明弘（Michael Lin）的绘画挪用了传统印花，醒目的尺幅为公众提供了一个休憩和思考的场域。这位因介入式公共装置而在全球享有盛誉的艺术家，最新委任项目刚于台中市立美术馆和新加坡国家美术馆亮相。

梁浩的画作如局部特写镜头，进一步探讨了更私密的场景，翻动书页的手，人退场后留下的袅袅余烟，把玩着观众对距离感的各种想象。今年，这位受到机构和藏家青睐的艺术家即将在海外展开全新个人项目。

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Alongside, Michael Lin offers a moment of rest and reflection with his large-scale paintings, which borrow from traditional textile patterns. Known globally for his immersive public installations, Lin's latest commissions have just been unveiled at the Taichung Art Museum and the National Gallery of Singapore. 

Liang Hao’s paintings zoom in on private, elusive scenes: a hand turning a page, residual smoke hovering in an absent figure’s space. These intimate vignettes play with the viewer’s sense of proximity and distance. The artist, whose work continues to gain institutional and collector recognition, will embark on new solo projects abroad this year.

展位一侧，一组摄影记录了张怡（Patty Chang）在90年代最激进的那些经典行为表演，在《蜜瓜（有所失〉》里，她呢喃着因乳腺疾病去世的亲属的曾经，切开胸衣里的蜜瓜并食用。口腹欲望、私密经验、女性表达在这个场域中融化和流动。受到LACMA Art+Technology奖项的支持，张怡与大卫·凯利的最新项目“我们的深渊亲族”刚结束了在ArtCenter College of Design的展览和在LACMA的特别放映与演出。

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On one side of the booth, a photographic series documents Patty Chang’s radical performance works from the 1990s. In Melon (at a loss), she murmurs about a relative lost to breast disease while cutting into and consuming a melon strapped to her chest—a potent fusion of bodily desire, personal memory, and feminine expression. Recently supported by LACMA’s Art+Tech grant, Chang’s latest project with David Kelley, Our Abyssal Kin, just concluded its run at ArtCenter College of Design with a special performance at LACMA.

另一侧，孙一钿的《肯》描摹了玩偶的头部，这位曾与Louis Vuitton合作的艺术家再一次用精妙的笔触成全了一种商品化的完美光泽，任人摆弄的中性玩偶同时承载着来自外界的投射，令人联想到社会性别的角色扮演性质。

陆扬带来其“独生独死”系列的最新作品，其中，DOKU是艺术家的电子转生形象，在最新的科技和艺术家独有的视觉语言之下，角色在轮回中穿越、重生、涅槃。

多米尼加共和国裔的艺术家博尼·拉米雷斯（Bony Ramirez），用大胆的构图和直观的形象，带来对加勒比文化和旅游业后殖民更深刻想象和描绘。这几位艺术家的视觉经验从消费社会、神秘体验、宗教与传统出发，提供对于亲密体验的更多幽暗时刻想象。

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On the other side of the booth, Sun Yitian’s painting Ken depicts the head of a doll. The artist, who has collaborated with Louis Vuitton, once again employs exquisite brushwork to achieve a kind of commodified, flawless gloss. This neutral, manipulable doll serves as a screen for external projections, subtly evoking the performative nature of social gender roles. 

Meanwhile, Lu Yang presents the latest work from the DOKU series—DOKU, meaning “born alone, die alone,” is the artist’s digitally reincarnated avatar. Through cutting-edge technology and a uniquely developed visual language, the work traces the avatar’s journey across cycles of rebirth.

Dominican Republic–born artist Bony Ramirez with his bold compositions and visceral imagery, offers a profound reimagining of postcolonial Caribbean culture and tourism. The visual lexicon of these artists departs from consumer society, mystical experience, religion, and tradition, offering further gloaming meditations on intimacy.

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