佩特拉·科特赖特 & 马克·霍洛维茨
Petra Cortright & Marc Horowitz
艺术家 / Artists
佩特拉·科特赖特 Petra Cortright, 马克·霍洛维茨 Marc Horowitz
展期 / Duration: 2018.03.22 - 2018.05.20
地址 / Address: 上海市徐汇区安福路298弄2号楼底层
Building 2, Lane 298 Anfu Rd, Xuhui District, Shanghai
BANK荣幸呈现佩特拉·科特赖特（Petra Cortright）和马克·霍洛维茨（Marc Horowitz）的双个展。此次展览是这对来自洛杉矶的艺术家夫妻首次联合于上海举办展览，呈现了他们迥然于对方却又和谐相融的艺术研究与创作。
科特赖特是后网络艺术的焦点人物，在“自拍”还未成为现象与日常的时候，她就已经开始用摄像头录制低保真的视频短片并将这些作品上传到网络上。她以那些形式怪异的个人“表演”探索了人们对女性的看法，并因此开始在艺术界崭露头角。除此之外科特赖特还将个人行为与批量生产戏谑地混杂在一起，创造纷繁的“触屏绘画”：通过使用数码软件，她将自己创作的图像以及一些挪用的元素组合成为绚烂的图画，这些内容通常以填满整个“画布”的形式印制于铝板或织物上。科特赖特的作品曾展出于纽约市新当代艺术博物馆、新媒体线上组织“根茎”（Rhizome） 、威尼斯双年展、伦敦的白教堂美术馆以及北京的尤伦斯艺术中心和木木美术馆。
霍洛维茨曾经发起过许多疯狂的社会实践行为，他善于在当下的瞬息万变中提取幽默与戏谑的成分；也正是凭借这些项目，霍洛维茨在全美范围内获得了极为广泛的关注。而他近期却专注于绘画创作，以此试图理解自己的过去。他的“堆叠画”以其工作室来访者的脚印为底，以意大利传统大师的名作为注脚并进行挪用，再叠加以卡通样式的大面积色块——最终呈现出来的作品融合了多方能量，充分诠释了“每件画作都包含了有关绘画过程的记忆”这一理念。而他那些极具讽刺意味的雕塑和视频作品，则在如今非线性、游牧式的时代背景下对造物和创造力提出了质疑。霍洛维茨的作品曾展出于伦敦的Hayward画廊、旧金山的芳草地艺术中心、洛杉矶的Depart Foundation，以及Creative Time线上平台等。
BANK is proud to present Petra Cortright and Marc Horowitz, marking the first time these married, LA-based artists are exhibiting their diverse but congruent creations together, and in Shanghai.
Cortright is the poster-girl for ‘post-internet’ art, having come to fame with her lo-fi, webcam videos that, anticipated the rise of the selfie by exploring the perception of women online through her own eccentric ‘performances’. Cortright’s practice also includes intricate “touch-screen paintings” that are the ironic fusion of personal gesture and mass-production. Using digital software, she combines appropriated and self-generated elements in fantastical, all-over compositions that are printed on aluminum or fabrics. Cortright has exhibited at the New Museum, NY; Rhizome; Venice Biennale, Whitechapel Gallery, London; as well as at UCCA and MWoods Museum, Beijing.
Horowitz’s social interventions helped garner him big media and artistic fame in the US by poking fun at the immediate present. Surprisingly Horowitz’s recent paintings seem preoccupied with making sense of the past. His “pile paintings” layer studio visitors’ footprints with citations of Italian Master paintings, which are then obliterated by cartoon-like color explosions. The resulting works reconcile disparate forces and embody the idea that “Each painting contains the memory of painting”. Horowitz’s satirical sculptural and video works question artifact and creativity in our non-linear, nomadic times. His work has been showcased in presentations at The Hayward Gallery, London; Yerba Buena Center for the Arts, San Francisco; The Depart Foundation, LA and online with Creative Time, NY, etc.
Petra Cortright & Marc Horowitz
艺术家 / Artists
佩特拉·科特赖特 Petra Cortright, 马克·霍洛维茨 Marc Horowitz
展期 / Duration: 2018.03.22 - 2018.05.20
地址 / Address: 上海市徐汇区安福路298弄2号楼底层
Building 2, Lane 298 Anfu Rd, Xuhui District, Shanghai
BANK荣幸呈现佩特拉·科特赖特（Petra Cortright）和马克·霍洛维茨（Marc Horowitz）的双个展。此次展览是这对来自洛杉矶的艺术家夫妻首次联合于上海举办展览，呈现了他们迥然于对方却又和谐相融的艺术研究与创作。
科特赖特是后网络艺术的焦点人物，在“自拍”还未成为现象与日常的时候，她就已经开始用摄像头录制低保真的视频短片并将这些作品上传到网络上。她以那些形式怪异的个人“表演”探索了人们对女性的看法，并因此开始在艺术界崭露头角。除此之外科特赖特还将个人行为与批量生产戏谑地混杂在一起，创造纷繁的“触屏绘画”：通过使用数码软件，她将自己创作的图像以及一些挪用的元素组合成为绚烂的图画，这些内容通常以填满整个“画布”的形式印制于铝板或织物上。科特赖特的作品曾展出于纽约市新当代艺术博物馆、新媒体线上组织“根茎”（Rhizome） 、威尼斯双年展、伦敦的白教堂美术馆以及北京的尤伦斯艺术中心和木木美术馆。
霍洛维茨曾经发起过许多疯狂的社会实践行为，他善于在当下的瞬息万变中提取幽默与戏谑的成分；也正是凭借这些项目，霍洛维茨在全美范围内获得了极为广泛的关注。而他近期却专注于绘画创作，以此试图理解自己的过去。他的“堆叠画”以其工作室来访者的脚印为底，以意大利传统大师的名作为注脚并进行挪用，再叠加以卡通样式的大面积色块——最终呈现出来的作品融合了多方能量，充分诠释了“每件画作都包含了有关绘画过程的记忆”这一理念。而他那些极具讽刺意味的雕塑和视频作品，则在如今非线性、游牧式的时代背景下对造物和创造力提出了质疑。霍洛维茨的作品曾展出于伦敦的Hayward画廊、旧金山的芳草地艺术中心、洛杉矶的Depart Foundation，以及Creative Time线上平台等。
BANK is proud to present Petra Cortright and Marc Horowitz, marking the first time these married, LA-based artists are exhibiting their diverse but congruent creations together, and in Shanghai.
Cortright is the poster-girl for ‘post-internet’ art, having come to fame with her lo-fi, webcam videos that, anticipated the rise of the selfie by exploring the perception of women online through her own eccentric ‘performances’. Cortright’s practice also includes intricate “touch-screen paintings” that are the ironic fusion of personal gesture and mass-production. Using digital software, she combines appropriated and self-generated elements in fantastical, all-over compositions that are printed on aluminum or fabrics. Cortright has exhibited at the New Museum, NY; Rhizome; Venice Biennale, Whitechapel Gallery, London; as well as at UCCA and MWoods Museum, Beijing.
Horowitz’s social interventions helped garner him big media and artistic fame in the US by poking fun at the immediate present. Surprisingly Horowitz’s recent paintings seem preoccupied with making sense of the past. His “pile paintings” layer studio visitors’ footprints with citations of Italian Master paintings, which are then obliterated by cartoon-like color explosions. The resulting works reconcile disparate forces and embody the idea that “Each painting contains the memory of painting”. Horowitz’s satirical sculptural and video works question artifact and creativity in our non-linear, nomadic times. His work has been showcased in presentations at The Hayward Gallery, London; Yerba Buena Center for the Arts, San Francisco; The Depart Foundation, LA and online with Creative Time, NY, etc.
