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【展览预告】“Rebekka Steiger：猫头鹰－virages nocturnes”本月底开展

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Rebekka Steiger：猫头鹰－virages nocturnes
2018.8.28－10.21
开幕：9月1日，下午4点｜ Opening：Sept 1, 4 pm

麦勒画廊北京部荣幸地宣布我们将举办瑞士新锐艺术家Rebekka Steiger（1993年生于瑞士苏黎世）在中国的首次个展“猫头鹰－virages nocturnes”，我们此次将展出其今年参加麦勒画廊北京“艺术家驻地项目”期间创作的最新绘画和纸上作品。展览标题里的“猫头鹰”字面含义是长着猫头的鹰。艺术家在查找她在北京古玩市场淘来的雕塑摆件的历史寓意时获悉了这一词汇。这一雕塑恰好和她时常绘画的意象也有所关联。而标题中的法语“virages nocturnes”则指代午夜漫步或日夜颠倒。这一组合标题也契合了艺术家所要刻画的意象及要传递的讯息。

Galerie Urs Meile is pleased to announce the first solo exhibition 猫头鹰–virages nocturnes in China by Swiss emerging artist Rebekka Steiger (b. 1993, Zurich, Switzerland). We will present recent paintings and works on paper created during her residency at Galerie Urs Meile in Beijing. The Chinese part of the title is the mandarin word for ‘owl’ but literally translates into cat-headed hawk. The artist got across this word when she was looking for the historical meaning of a little bronze figure that she bought on the Beijing antiques flee market. The sculpture reminded her strongly of her often painted figures, meanwhile virages nocturnes is a colloquial term in French that describes a nightly stroll or being up in the night, meaning a nightly bend, turn or shift. This combination of the title coincides with what the artist wants to depict and deliver through her imageries.

通过层层叠叠的色彩渲染，Rebekka Steiger将其对情感和氛围的感知以微妙而有趣的方式转化成具有浓厚神秘感的画面，从而达到出其不意的效果。

Through layer-by-layer color rendering, Rebekka Steiger transforms her perception of emotions and atmosphere into mysterious and delicate art pieces, achieving unexpected visual results.

2018年在北京进行在地创作期间，Rebekka Steiger延续了其一贯的创作风格，但异国他乡这一客观物理空间的变化也使其心理和创作状态更为开放、自由，惯常的导向系统在此失效，从而也展开了更多的可能性。曾经熟悉的绘画材料因为异地的差异性导致其画面出现了意想不到的“失误”和惊喜。她甚至刻意将这种出其不意推向更远——摒弃以往参照老照片和旧书籍并从中获取灵感的创作方式，而转向“行动在先，画笔先行”的自发式创作，异乡人的乡愁、不安、困惑和新奇因而通通消解于绘画之中。

During her onsite artistic practice in Beijing 2018, Rebekka Steiger continued her usual creative style, but the change of the physical space to a foreign country also brought her more mind freedom and openness, while the failure of her accustomed navigation system opened up more possibilities. Due to regional differences, once familiar painting materials have caused unexpected “mistakes” and surprises. She also deliberately followed these surprises further along—abandoning her previous method of referencing old photographs and old books for inspiration in favor of a spontaneous approach of “action first, brush first,” thus folding the homesickness, restlessness, confusion and novelty of the outsider into her painting.

她任由其作为女性艺术家更为鲜明、敏锐的直觉和情绪肆意蔓延、发酵，并最终流淌于画面之上。与此同时，出人意料的绘画主题也更为自然地迸发于画面之中——独角马（《another tired man lays down his hand》，2018，布面蛋彩油画，190 × 240 cm）、长着猫耳的女子（《running for the flesh (of dinosaurs and men)》，2018，布面蛋彩水粉蜡笔油画，200 × 240 cm）、犹如幻境中的神秘植物（《virages nocturnes (under the volcano）》，2018，布面蛋彩水粉蜡笔油画，240 × 200 cm）……

She draws on her sharper intuition, and allows her emotions to spread and fertilize freely before ultimately flowing onto the canvas. At the same time, unexpected new motifs find their way quite naturally into her paintings—a unicorn (another tired man lays down his hand, 2018, oil and tempera on canvas, 190 × 240 cm), a cat-eared woman (running for the flesh (of dinosaurs and men), 2018, oil, tempera, pastel and gouache on canvas, 200 × 240 cm), and mysterious plants seemingly from a fantasy dreamland (virages nocturne (under the volcano), 2018, oil, tempera, pastel and gouache on canvas, 240 × 200 cm).

《virages nocturnes (under the volcano）》，2018，布面蛋彩水

《virages nocturnes (under the volcano）》，2018，布面蛋彩水粉蜡笔油画 / oil, tempera, pastel and gouache on canvas，240 × 200 cm

而这些意象其实都源于作为异乡人的艺术家在北京的生活经历——古玩市场淘来的青铜猫头鹰摆件、道路两旁随处可见的黑皮参天大树（《blind bend》，2018，布面蛋彩油画，190 × 240 cm；《back to the roots》，2018，布面蛋彩油画，50 × 70 cm），诸如此类。在反复的绘画中，这些画面中反复出现的具象的“形态词汇”也在持续地发生变异并，迷失于抽象之中（《queen》, 2018，布面蛋彩油画，50 × 70 cm）。一些依稀能辨认出来的形状被为画面赋予了某种节奏，另一些似是而非的则消融于颇具乌托邦意味的背景之中，将观者引向不可捉摸、宁静的同时又潜藏着某种危险的神秘之域（《night shift》，2018，布面蛋彩油画，54 × 65 cm；《lady bird》，2018，布面蛋彩蜡笔油画，170 × 240 cm）。具象与抽象的冲突和博弈、鲜亮色彩的层叠渲染、毫无叙事逻辑可循的画面，这一切不仅让绘画创作本身天马行空，也让观者感觉妙趣横生的同时又有所不安。

These motifs are actually derived from the life experiences of the artist as a stranger to Beijing—the bronze owl bought from the antique market, the tall and straight black-skinned trees seen everywhere on roadside (for example blind bend, 2018, oil and tempera on canvas, 190 × 240 cm; back to the roots, 2018, oil and tempera on canvas, 50 × 70 cm). By repainting her “vocabulary of forms” over and over again, those figurative motifs go through constant metamorphosis, at times dissolving into the almost abstract (as seen in queen, 2018, oil and tempera on canvas, 50 × 70 cm). Some faintly recognizable shapes endow a certain rhythm to the picture, while others are ambiguous and lost in the utopian background, which leads the viewer to an unpredictable territory, the calm concealing potential danger (as seen in night shift, 2018, oil and tempera on canvas, 54 × 65 cm; and lady bird, 2018, oil, tempera and pastel on canvas, 170 × 240 cm). The “contradiction” between abstraction and representation, the expressive rendering of strong colors, as well as the presentation of figurative content without imposing a straight narrative on the viewers’ interpretation, is what not only makes the painting itself intriguing, but also unsettling.

《cat-headed hawk (watching over me)》，2018，布面蛋彩蜡笔画

《cat-headed hawk (watching over me)》，2018，布面蛋彩蜡笔画 / tempera and pastel on canvas, 240 × 180 cm

关于艺术家

About the Artist

Rebekka Steiger，1993年生于瑞士苏黎世，新锐艺术家。她以绘画为主要艺术媒介，作品颇具大师风范。她的个展包括：“Sykomore”, Kabinettausstellung，卢森美术馆，瑞士卢森（2017）；Helen Faigle，瑞士苏黎世（2015）。群展包括：“Extended Ground”，麦勒画廊，瑞士卢森（2017）；“Rebekka Steiger and Sven Egert”，Luzerner Kantonalbank，瑞士卢森（2017）；Jahresausstellung Zentralschweizer Kunstschaffen，卢森美术馆，瑞士卢森（2016）。

Born 1993 in Zurich, Switzerland, Rebekka Steiger is a young emerging artist who chose painting as her artistic medium, in which she expresses herself in a virtuoso manner. Her solo exhibitions include: Sykomore, Kabinettausstellung, Kunstmuseum Luzerne, Lucerne, Switzerland (2017); Helen Faigle, Zurich, Switzerland (2015). Group shows include: Extended Ground, Galerie Urs Meile, Lucerne, Switzerland (2017); Rebekka Steiger and Sven Egert, Luzerner Kantonalbank, Lucerne, Switzerland (2017);

Jahresausstellung Zentralschweizer Kunstschaffen, Kunstmuseum Luzern, Lucerne, Switzerland (2016).

Galerie Urs Meile 798

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