麦勒画廊@巴塞尔艺术展迈阿密海滩展会｜展位M1

M1展位

First Choice（只限获邀请人士出席 by invitation only）
2016年11月30日，星期三（Wednesday, November 30）11:00-16:00

贵宾预展Preview（只限获邀请人士出席 by invitation only）
2016年11月30日，星期三（Wednesday, November 30）16:00-20:00

开幕日 Vernissage（只限获邀请人士出席 by invitation only）
2016年12月1日，星期四（Thursday, December 1）11:00-15:00

公众开放日Public days
2016年12月1日，星期四（Thursday, December 1）15:00-20:00

2016年12月2日，星期五（Friday, December 2）12:00-20:00

2016年12月3日，星期六（Saturday, December 3）12:00-20:00

2016年12月4日，星期日（Sunday, December 4）12:00-18:00

麦勒画廊荣幸地宣布我们将参加2016年巴塞尔艺术展迈阿密海滩展会，我们将重点展出一系列代理及合作的新兴及成熟的当代中国艺术家的最新作品。

Galerie Urs Meile will focus on a selection of new works by emerging and established artists.

我们将展出程然（1981年生于中国内蒙）的全新影像作品《信鸽》（2016）。10月底程然在美国美术馆的首个个展“狂人日记”在纽约新美术馆开幕，该作品正是多频道录像装置狂人日记的核心部分。作品试图聚焦鸽子并以鸽子为前景，融合时代广场的标志性意象，去捕获纽约这座城市的精神，同时节选了艾伦·金斯堡的著名长诗《嚎叫》的章节，但被艺术家的声音所覆盖。

Cheng Ran’s (*1981 in Inner Mongolia, China), brand-new video work The Homing Pigeon (2016) will be presented at our booth. As an essential part of a multi-video installation Diary of A Madman that debuts at the New Museum in New York this October, the artist’s first solo museum exhibition in the United States, the work attempts to capture the spirit of the New York City through integrating iconic images of Times Square focalizing on homing pigeons as the foreground, with an excerpt from Allen Ginsberg’s famed poem, the Howl, voice covered by the artist himself.

▲ 程然，《信鸽》，2016, 单频高清录像，彩色／有声，16:9，5’37”，6版+1 AP

Cheng Ran, The Homing Pigeon, 2016, single channel HD video, color/sound, 16:9, 5’37”, edition of 6 + 1 AP

Tobias Rehberger（1966年生于德国埃斯林根）的作品游移于绘画、雕塑、设计、建筑和观念艺术诸多领域，极具活力和知名度。纸本雕塑作品《Fall》（2014）是其在中国首次创作的作品之一。Tobias Rehberger巧妙地将雕塑置于几何水彩图案前。随着观众的移动，作品似乎也脱离了绘画背景，消融于周遭环境里，若隐若现，作品原本的视觉复杂性也几乎被消解。

Tobias Rehberger (*1966 in Esslingen, Germany) regularly straddles the lines between the realms of painting, sculpture, design, architecture and conceptual art, shaping a body of work that is as dynamic as it is celebrated. Fall (2014) is made from paper as part of the artist’s first production in China. Rehberger strategically positioned the sculpture in front of a geometric watercolor pattern. As the viewer moves in front of the work, the object, also spatially removed from the painted backdrop, fades in and out of visibility as it blends into its surroundings, thus nearly negating the work’s initial visual complexity.

▲ Tobias Rehberger，《Fall》，2014，纸上水彩，木质展台，雕塑：193 × 32 × 28 cm，绘画：200 × 200 cm

Tobias Rehberger, Fall, 2014, watercolor on paper, wood plinth, sculpture: 193 × 32 × 28 cm, painting: 200 × 200 cm

《棒棒糖》（2015）系列作品是李钢（1986年生于中国云南大理）首次运用头发和石膏混合进行的艺术实践。他参考了中国传统墙体建筑的方法来制作该系列作品。头发和石膏混合，形成坚硬的复合材料，两种材料的结合不仅为了更好地塑造作品，更重要的是，陌生人的头发作为一种身份的隐喻暗藏在作品中。尖锐的钢筋从作品中穿刺而过，疼痛感破坏了石膏雕塑所呈现出的和谐，与此同时，又形成了一种三角形关系，让整具躯干保持着平衡。它既是破坏，又是可持续的。

Lollipop series (2015) could be regarded as the first series that Li Gang (*1986 in Dali, Yunnan Province, China) deploys with human’s hair and gypsum plasters. He referred to Chinese traditional wall construction methods to produce the work. Hair and gypsum plaster mixed to form a hard composite material, and the two materials combine not only to better shape the work, but more importantly, the strangers’ hair acts as a kind of metaphor for identity that is hidden within the work. A sharpened rebar goes through the work, delivering the feeling of pain, destroying the harmony that the plaster sculpture
presents, while making a triangle composition to avoid the instability as a whole. It is sabotage but at the same time, sustainable.

▲ 李钢，《棒棒糖 No. 3》, 2015，石膏，钢筋，头发，164 × 125 × 65 cm

Li Gang, Lollipon No. 3, 2015, plaster, rebar, hair, 164 × 125 × 65 cm

我们还将展出王兴伟（1969年生于中国沈阳）的新作《西瓜雷》（2016）。艺术家选取了夸张、虚构的“二战”时期的“抗日神剧”的主题，对日本鬼子、汉奸等反面形象进行了生动的刻画与描绘。在这件作品中，“日本鬼子”正抱着“西瓜雷”，脸上却挂着笑容。王兴伟对那些荒诞、庸俗的场景尤为感兴趣，与此同时，在对绘画性的挖掘上，王兴伟也继续了对造型、体积的反复研究与“榨取”，以及对绘画技法上的不断探索与尝试。

Watermelon Landmine (2016) is from the latest series by Wang Xingwei (*1969 in Shenyang, Liaoning Province, China), in which he used exaggeration and a fictional theme of “Ridiculous World-War II Anti-Japanese Resistance Stories” that feature vivid description and pictures of negative images like “Japanese Devils”, Chinese traitors, etc. In this painting, the “Japanese Devil” is holding a “watermelon” with the big smile on his face. Wang Xingwei is interested in such a bizarre and vulgar scene, but at the
same time, he is focusing on the research of the shape and volume as well as the sense of the painting in general.

▲ 王兴伟，《西瓜雷》，2016，200 × 240 cm， 布面油画

Wang Xingwei, Watermelon Landmine, 2016, 200 × 240 cm, oil on canvas

策展角落（Kabinett）

杨牧石（1989年生于中国上饶）2014年毕业于中央美院雕塑系，创作媒介主要是包括木料、泡沫和金属在内的工业原材料。他将材料打磨为雕塑形态，寻常材料得以转化成带有暴力、脆弱性和锐利感之物。

Yang Mushi (*1989 in Shangrao, Jiangxi Province, China), who graduated in 2014 from the Sculpture Department at the Central Academy of Fine Arts in Beijing, works mainly with industrial raw materials such as processed wood, foam and metal. By shaping those materials into sculptural forms, he converts the ordinary material into something violent, fragile and sharp.

作品标题取名为《锐化》，展出的是三件同一系列的雕塑，分别为《锐化－支》，《锐化－块》，《锐化－条》，该作品是他对大量尺寸相似的木料进行切割、打磨制作而成的。经过反复的长时间的劳作，这些基本形态为支、块、条的木料被不同程度地锐化，呈现出冷漠、僵硬的形态。艺术家随后将这每一件危险的、具有攻击属性的，类似武器的物体摆放在一起，形成一道特别的“景观”。“锐化”在此与艺术家在当下社会中的个人感知相呼应。

Under the title Sharpening, Yang Mushi shows three sculptures from the same series of works respectively named as Sharpening – Branch, Sharpening – Cube and Sharpening – Stick. He works on a massive amount of wood pieces in similar size and makes the further cutting and polishing. Through repetitive and long working process, the basic shapes of wood pieces, namely branch, cube and stick, are sharpened to different extents, into their frigidity and stiffness of forms. The artist then places each single dangerous, attacking and weapon-like objects together, to realize a special “landscape”. “Sharpening” corresponds to the artist’s perception of individuals living in the contemporary society.

▲ 杨牧石，《锐化－条》，2016，木料，黑色喷漆，180 × 110 × 55.5 cm

Yang Mushi, Sharpening - Stick, 2016, wood, black spray lacquer, 180 × 110 × 55.5 cm

杨牧石的作品凸显了全球化大背景下，伴随着急剧的城市化进程而产生的问题，以及个人在社会巨变中所面临的压迫和危机。

Yang Mushi’s works reflect the problems emerging along with the extreme urban development of China in the context of globalization, as well as the oppression and crisis confronted by individuals in the rapidly changing society.

请您关注麦勒画廊北京部及卢森部的当前展览：

Please also note the current exhibitions at Galerie Urs Meile in Beijing and Lucerne:

麦勒画廊 北京部：
李钢，Li Gang
2016年11月5日–2017年2月19日

GALERIE URS MEILE BEIJING:
Li Gang
5.11.2016 – 19.2.2017

麦勒画廊 卢森部：
胡庆雁，空壳
2016年11月18日–2017年1月28日

GALERIE URS MEILE LUCERNE:
Hu Qingyan, 空壳Hollow Husk
18.11.2016 – 28.1.2017

我们欢迎您的莅临！

We look forward to your visit to our booth during Art Basel Miami Beach or to one of our galleries in Beijing or Lucerne.

麦勒画廊

地址：北京市朝阳区草场地104号

电话：010－6433 3393

开放时间：周二至周日，上午11:00 – 下午6:30

了解更多麦勒画廊展讯及艺术家信息请访问我们的官方网站：www.galerieursmeile.com

微博：@麦勒画廊

微信号：MeileBJ

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