BANK|香港巴塞尔艺术博览会 2026|姜琤|展位 1D37

BANK荣幸于2026年香港巴塞尔艺术博览会呈现艺术家姜琤的个展。姜琤的创作围绕“观看及其产生的结构”展开，自2018年起，他以“U”系列为主线构建了一套以身体性为核心的绘画语言。“U”可视作You的缩写，既指向承载痕迹的画布，也指向自我意识之外更为原初的世界。

姜琤的创作中显现着尺幅、距离、体能等多重因素对呈现结果的微妙影响。艺术家放弃对图像的惯性凝视，意识对身体的支配被切断，绘画进入“看”与“非看”之间的临界状态。他将此体验称为“冷意识”/“冷颤”，即对身体性的回归。

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BANK is pleased to present a solo exhibition by Shanghai-based, Jiang Cheng at Art Basel Hong Kong. Central to Jiang’s rigorous painting practice is an inquiry into “seeing and the structures it produces.” Since 2018, he has developed the “U”, (you) series as the core of his artistic output—a body of work depicting fictional human faces grounded in a painterly language that foregrounds physicality. “U” refers both to the canvas as a surface marked by gesture and to a more primordial world beyond conscious thought.

In Jiang’s process, factors such as scale, distance, and physical exertion come into play, subtly shaping the final image. By relinquishing habitual modes of looking, the artist allows the conscious control of the body to fall away, bringing painting into a liminal space between seeing and possessing. He describes this sensation as “the shiver”, which is a return to the physical.

姜琤的绘画由动作或情绪引发，他不预设人物身份，形象跟随意象在油彩叠合中浮现隐去。观众常在他的绘画中看到多重眼睛痕迹，这是画家不断转动画布、打断图像吸引所致。对他而言，“肖像画”是晦涩的存在，艺术家不提供叙事，人物也无预设身份，二者之间的地带正是绘画语言诞生的场域。在近年的“U”系列中，有两个意象持续出现——“Michael”与“Gabriel”，他们兼具人与天使的面孔。

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Jiang’s paintings often begin with a gesture or an emotion, with no predetermined identity assigned to the figure. Forms emerge and dissolve through layers of oil. Traces of multiple eyes, lips and noses often appear across the canvas—a result of the artist constantly rotating the surface to interrupt the compositional pull of the image. For Jiang, portraiture operates in a space of indeterminacy. Narrative is withheld; identity remains unfixed. It is precisely in this interval that Jiang’s painterly language takes shape. In recent iterations of the “U” series, two recurring characters have emerged: “Michael” and “Gabriel,” each bearing faces that are at once human and angelic.

最新系列呈现底部光源照射下的人脸，人物处于惊讶状态，仿佛发现观众，或因被观看而存在。这些形象逐渐脱离艺术家控制，拥有自身意志，甚至对观看抱有警惕。由此，绘画本身成为一个自足的世界，在掌控和失控的边界等待观众的进入，亦等待意识幻象破裂时发出的轻响。

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In his newest works, figures appear lit from below by ominous neon hues, caught in expressions of surprise—as though suddenly aware of the viewer, or of their own existence. Over time, these figures seem to drift beyond the artist’s reach, assuming their own will and, at times, a wary vigilance toward being watched. Painting, in this sense, becomes a self-sufficient world—hovering at the edge of control and its loss, waiting for viewers to enter, and for consciousness, however briefly, to slip its moorings.