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展位(Booth):Hall 2.1, S14

贵宾预展 Private Days(只限获邀请人士出席 by invitation only)
2019年6月11日,星期二(Tuesday, June 11)11:00-20:00

2019年6月12日,星期三(Wednesday, June 12)11:00-20:00

开幕日 Vernissage(只限获邀请人士出席 by invitation only)
2019年6月12日,星期三(Wednesday, March 28)16:00-20:00

公众日 Public days
2019年6月13日-16日,星期四至星期日(Thursday to Sunday)11:00-19:00


Marion BaruchMirko Baselgia-曹雨-Michel Comte-胡庆雁-鞠婷-李钢-邵帆-Tobias Rehberger-Rebekka Steiger-Julia Steiner-Not Vital-王兴伟-谢南星-张雪瑞


Marion BaruchMirko Baselgia-Cao Yu-Michel Comte-Hu Qingyan-Ju Ting-Li Gang-Shao Fan-Tobias Rehberger-Rebekka Steiger-Julia Steiner-Not Vital-Wang XingweiXie Nanxing-Zhang Xuerui

麦勒画廊荣幸地宣布我们将于2019年巴塞尔艺术展展出一系列代理及合作的成熟及新锐的当代艺术家的最新作品。我们将展出Marion Baruch、Mirko Baselgia、曹雨、Michel Comte、胡庆雁、鞠婷、李钢、邵帆、Tobias Rehberger、Rebekka Steiger、Julia Steiner、Not Vital、王兴伟、谢南星和张雪瑞的作品。

Galerie Urs Meile will focus for the 2019 edition of Art Basel on a selection of new works by emerging and established contemporary artists. The presentation will include works by Marion Baruch, Mirko Baselgia, Cao Yu, Michel Comte, Hu Qingyan, Ju Ting, Li Gang, Shao Fan, Tobias Rehberger, Rebekka Steiger, Julia Steiner, Not Vital, Wang Xingwei, Xie Nanxing and Zhang Xuerui. 

Julia Steiner (1982年生于瑞士伯尔尼米尔特兰)的作品并没有描绘具象或者可辨认的物体,而是给观者提供一种感官上的冲击。既有的指涉和密码也都指向内在的直觉。艺术家的意图不在评论或者阐述,而是创造一种体验。因此,我们所熟悉的图像导向系统在此失灵,从而被迫不断地重新定义观者的立场。这种脆弱的平衡在她的作品中随处可见。艺术家在图像和观者之间创造了一种紧张的关系,观者会发现在克服绘画内在的不确定性的同时他们他们不自觉地成为了“同谋”。我们此次将于展位上展出最新的纸上作品《untitled II》(2018,纸上水粉,136 x 110 cm)。

Julia Steiner (b. 1982 in Bu?ren zum Hof, Switzerland): Julia Steiner’s works speak directly to the viewers’ sensations and do not provide them with any concrete or recognizable figurative subjects. Established references and codes are only suggested to the inner logic of intuition. The artist does not want to comment or illustrate, but rather create an experience. Thus, one has to navigate these images without the familiar coordinate system, being continually forced to redefine one’s own position. This fragile equilibrium is omnipresent in Julia Steiner’s art. She creates a very intense relationship between the image and the viewers, who find themselves accomplices in overcoming the uncertainty inherent to the drawings. New paper works will be on display at our booth, such as untitled II (2018, gouache on paper, 136 x 110 cm). 

Julia Steiner,《untitled II》,2018,纸上水粉,136 x 110 cm

Julia Steiner,  untitled II, 2018, gouache on paper, 136 x 110 cm

邵帆(昱寒,1964年生于北京)2018年在西方公共艺术机构的首次大型个展“你”于德国科布伦茨路德维希美术馆举办,该展览较为全面地 呈现了邵帆逾30年以来的创作。邵帆的艺术语言和艺术呈现方式都非常独特,他在中国当代艺术领域占据特殊的地位。通过将传统主题予以转化,邵帆将我们熟悉的意象诸如兔子、猴子以及山水景观以极具个人化特征的方式呈现于其水墨和油画作品中,并将这些意象赋予纪念碑式的形态。我们此次将于展位上展出其最新系列绘画《黑肖像》。

Shao Fan (b. 1964 in Beijing, China): in 2018, Shao Fan’s first European retrospective YOU at the Ludwig Museum (Koblenz, Germany) provided a comprehensive overview of over 30 years of his artistic practice. Having developed a unique artistic language over the years, Shao Fan occupies a distinctive position on the Chinese contemporary art scene. The artist converts traditional themes and uses for his ink and oil paintings highly personalized painting methods in order to transfigure familiar subjects such as the hare, the monkey, and the mountainous landscape into monumental formats. One example of his new Black Portrait series will be featured at our booth. 

邵帆(昱寒),《黑肖像之五》,2018,宣纸上水墨,150 x 120 cm

Shao Fan, Black Portrait No. 5, 2018, ink on rice paper, 150 x 120 cm

我们还将展出胡庆雁(1982年生于山东潍坊)的作品《Contemporary Painting V》(2019,布面油画((收集而来的大量他人油画作品在分割裁剪后重新拼接缝合而成),244 x 206 x 11 cm)。艺术家搜集了艺术家朋友和学生的绘画并将其分割裁剪后进行拼接缝合,从而创造出三维立体拼贴。这种使用雕塑创作的方法进行绘画的实践也是对于抽象和具象之间的张力的玩味:尽管该系列很抽象,但是又包含着从具象绘画中裁剪下来的难以辨认的细节。在这一系列绘画中,胡庆雁延续了其对雕塑和绘画界限的模糊化。

Hu Qingyan (b. 1982 in Weifang, China) is showing Contemporary Painting V (2019, oil on canvas (parts of oil different paintings collected from art students are spliced and stiched after cutting), 244 x 206 x 11 cm) at this year’s Art Basel. The piece is part of a new series of paintings where the artist stitches together scavenged scraps and cutouts from collected oil paintings created by fellow artists and students, given birth to three-dimensional collages. This sculptural approach to painting is also a play on the tension between abstract and figurative: although resolutely abstract, the Contemporary Paintings series consists of cutouts taken from unidentifiable parts of figurative paintings. In this new series, Hu Qingyan continues to blur the boundaries between painting and sculpture. 

鞠婷(1983年生于山东)的作品兼具绘画和雕塑的特征,并模糊了这两个传统媒介之间的界限。鞠婷作品的调性也至关重要。复古怀旧色彩和具有当代特征的机械生产被明晰地融为一体。鞠婷喜欢运用那些象征着过去的颜色。这些组合散发出的情绪,可能是微妙的,但 又有明显的差异 。观者无法忽视其作品颇具吸引力的质感— —类似于奶油夹心和硅胶的相 遇。这种富有活力的色调在其新作《无题032219》(2019,木板丙烯,68 x 67 x 13 cm)中则非常典型。

Ju Ting’s (b. 1983 in Shandong, China) works are characterized by the fusion of two traditional art media, painting and sculpture, and the blurring of the boundary between the two. Color tones in Ju Ting’s oeuvre are key to understand her work. The artist has always been attracted to pigments that denote the past. These color combinations exude moods which can be subtle and dramatically different from one piece to another. One can hardly ignore the sensuous texture of her works—one of butter-cream-meets-silica gel. This charge of dynamic tones can exemplary be seen in her work Untitled 032219 (2019, acrylic on board, 68 x 67 x 13 cm). 

鞠婷,《无题032219》,2019,木板丙烯,68 x 67 x 13 cm

Ju Ting, Untitled 032219, 2019, acrylic on board, 68 x 67 x 13 cm

我们还将于展位上展出李钢(1986年生于云南大理)的新作《水鸟》(2018,布面油画,160 x 320 cm),这也是其《构成》系列的作品之一。草图的不完整性恰好裸露出了画底和画布的物质结构。草图;就是用自己最熟悉的方式把最基本的观念和冲动记录下 来,充满了可继续深化和推进的可能性,它即是作品的最早冲动,也是最靠近艺术灵感的状态。艺术家利用草图的不完整性和画底的制作层次,将油画的物质结构充分的展现出来。《水鸟》便是使用这一逻辑描绘了湿地树林里很多鸟在鸣叫的场景。

Li Gang (b. 1986 in Dali, Yunnan Province, China): we will present Li Gang’s Water Bird (2018, oil on linen, 160 x 320 cm), which belongs to his new Composition series. Due to the specific nature of these sketch-like paintings, the white base layer, the construction grid as well as the linen of the canvas are laid bare. Sketches and studies are a way for artists to quickly document their most fundamental ideas and artistic impulses in the medium they feel the most comfortable with. As they are filled with possibilities that can be further deepened and pursued, sketches capture the initial impulse preceding a work of art, as well as the state that comes closest to raw artistic inspiration. By using the incompleteness inherent to sketches and leaving the painting’s base layer visible to the eye, the artist reveals the material structure of oil paintings. Water Bird adopts this logic to depict a scene of a swampy forest filled with many singing birds.

李钢,《水鸟》,2018,亚麻布上油画,160 x 320 cm

Li Gang, Water Bird, 2018, oil on linen, 160 x 320 cm


Wang Xingwei (b. 1969 in Shenyang, China) constructs through his painting visual scenes that are ambiguous, absurd, scandalous and laughable. Unexpected yet charming plots unfold before the eye and of the paintings illustrate different facets of his artistic practice. Toying with disconnected elements, dismantling the acknowledged logic of thinking, and transforming historical and political events into cartoonesque fantasies have always been winning strategies for Wang Xingwei. While the principle of plastic art has always been at the core of the artist’s practice, his new body of works turns its focus to the detailed shaping of images and figures, which culminated in the two parallel exhibitions presented in our two Beijing gallery spaces this spring. 

Not Vital (1948年生于瑞士森特)的作品囊括诸多媒介,包括大理石、黄金、不锈钢、石膏和木头,其创作源于丰富的个人阅历和文化敏锐性,人心深处的冲突和政治考量叠加在一起。作品一方面源于其童年时代在与世隔绝的“恩戈丁峡谷”山区的成长经历,另一 方面,他二十几岁开始便开始了某种意义上的“游牧”生活。他不知疲倦地热衷于四处旅行,这给他带来了源源不息的创作灵感:作品 的材料、主题以及合作对象。目前,Vital因为不同的艺术项目创作而不断地游走于故乡森特(瑞士)、印度尼西亚、巴塔哥尼亚和北京之间。我们此次将展出其经典《舌头》系列的最新大理石作品《舌头》(2018,黑色花岗岩,130 x 36 x 30 cm)。 

Not Vital (b. 1948 in Sent, Switzerland): Not Vital’s complex oeuvre spans across a wide variety of media and materials—including marble, gold, stainless steel, plaster and wood—and is largely based on biographical experiences and cultural awareness, often overlapping deeply personal elements to political considerations. His work is informed by, on one hand, a childhood spent in the mountainous and isolated Engadin Valley, and, on the other hand, the nomadic existence Vital has adopted since his late teens—leading him to the peripheries of the world. This inexhaustible appetite for travel has contributed much to his work in all senses, from the materials he chose to the topics he covered, and the people he collaborated with. Currently Vital’s life revolves—depending on his artistic projects—around Sent (Switzerland), Indonesia, Patagonia, and Beijing. We will present the work Tongue (2018, black granite, 130 x 36 x 30 cm), a new sculpture of the  Tongue series made out of marble. 

Not Vital,《舌头》,2018,黑色花岗岩,130 x  36 x 30 cm

Not Vital, Tongue, 2018, black granite,130 x  36 x 30 cm

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  Galerie Urs Meile Beijing 

Tobias Rehberger: Blind and a little less


 麦勒画廊卢森  Galerie Urs Meile Lucerne 

Zhang Xuerui: The Everyday as Ontology

2019.6.6 – 8.17

Galerie Urs Meile 798

麦勒画廊 北京

Galerie Urs Meile Beijing


Add: D10, 798 East Street, 798 Art District, No. 2 Jiu Xianqiao Road, Chaoyang District, 100015 Beijing, China

电话/Tel:010-5762 6051

开放时间:周二至周日,上午11:00 – 下午6:30

Opening Hours: Tuesday to Sunday, 11am – 6.30pm


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