Han Bing (1986, China) is presenting “7:77”, her first personal exhibition to be held at a European institution, at Passerelle Centre d’Art Contemporain. A graduate of CAFA in Beijing – China’s central Academy of Fine Arts – and of Parsons School of Design in New York, Han Bing has studied a very diverse range of references and influences, enabling her to develop multicultural sensibility and an enhanced vision of the world.

Han Bing’s painting is intimately linked to the abundance of images available in the public space. The artist sometimes captures elements from posters mentally and sometimes photographs an advertisement with her phone. From all around her she picks out images which we no longer see because they are in front of us all the time. Back in her studio, she assembles her discoveries very freely over the canvas. Her approach echoes those of the new realists of the 1960s, among them Jacques Villeglé and Raymond Hains. Villeglé took ripped and loose posters from the walls of the town and transformed them into vibrant and poetic works of art. Like Han Bing today, he revealed the strata of the urban environment, which bear the marks of time and of human intervention. Han Bing willingly
evokes the ‘anonymous poetry’ of her paintings. The juxtapositions she creates emerge ‘in unexpected ways’ and very spontaneously. She prefers using the word ‘to grow’; rather than ‘to build’ when talking about her way of arranging the canvas and compares painting to a living, organic material.

Part of the exhibition is devoted to works on paper. Han Bing uses newspaper articles as raw material. She selects them for their aesthetic quality and covers up certain parts of the photographs illustrating the article. By erasing the information, the artist seems to be questioning the place given nowadays to truth and objectivity, and recalling that the world has entered the era of fake news and deep fakes – the ultra-realistic doctoring of video and audio created by artificial intelligence.