麦勒画廊@ART021上海廿一当代艺术博览会 | 展位E02

麦勒画廊荣幸的宣布我们将参加2019年上海廿一当代艺术博览会。此次我们将集中展出一系列代理及合作的新兴及成熟的当代艺术家的最新作品。其中包括曹雨，胡庆雁，鞠婷，李钢，诺特·维塔尔，邱世华，高嫣，邵帆，托比亚斯·卡斯帕，托比亚斯·雷贝格，谢南星，杨牧石和张雪瑞等艺术家的作品。

Galerie Urs Meile is pleased to announce its participation in ART021 Shanghai Contemporary Art Fair this year. Our presentation will focus on a selection of new works by emerging and established contemporary artists. The presentation will include works by Cao Yu, Hu Qingyan, Ju Ting, Li Gang, Not Vital, Qiu Shihua, Rebekka Steiger, Shao Fan, Tobias Kaspar, Tobias Rehberger, Xie Nanxing, Yang Mushi and Zhang Xuerui.

鞠婷，《无题 073019》, 2019，木板丙烯，175 x 130 x 12 cm
Ju Ting, Untitled 073019, 2019 , acrylic on board, 175 x 130 x 12 cm

鞠婷（1983年生于中国山东）的艺术实践很难被简单归类为抽象绘画，虽然她将再现性的内容明显地排除在自己的工作序列以外。在她持续创作的两个系列“无题“和“珍珠”系列作品中，艺术家把一层又一层的丙烯颜料涂抹在一块木板上，当颜料基于二维空间积累到一定厚度时，她则用手或使用工具来作用于堆叠的颜料层上。最后，经过切割，覆盖，剥离或撕割的画面呈现出可塑性，似乎形式从图像的内部有机生发。鞠婷将于此次展会中展示其最新创作的两个系列的作品。

Ju Ting’s (*1983 in Shandong, China) practice can hardly be simplified as abstract painting, although she has clearly excluded representational content from her work. In both of her on-going series, Untitled and Pearl, the artist applies numerous layers of acrylic paint on top of each other onto a wooden panel, until obtaining a certain thickness. She then manipulates and models the stacked layers of color by hand or using tools. In the end the cut, folded, peeled or torn layers of color present a certain plasticity, as if form is organically generated from within the image. Ju Ting will be showing recent works from both series at our booth.

邵帆，《兔位》，2018，宣纸上水墨，225 x 175 cm

Shao Fan, Rabbit Array, 2018, ink on rice paper, 225 x 175 cm

邵帆（1964年生于中国北京）独特的艺术语言为他赢得了国际声誉。他以将传统主题转化成高度个人化的风格，并运用在他的水墨和油画创作中而闻名，也使得他在中国当代艺术界独树一帜。邵帆的首个个人欧洲回顾展“你”，于2018年在德国科布伦茨路德维希美术馆中展出，展览全面回顾了他30多年的艺术创作。随后苏州美术馆举办了其同名个展。2020年，邵帆的作品也即将在荷兰和意大利的美术馆中展出。在展位中，我们将展出艺术家近期创作的一幅水墨画《兔位》（2018年，宣纸上的墨水，225 x 175 cm）。

Shao Fan’s (*1964 in Beijing, China) unique artistic language has earned him international recognition. He is best known for converting Chinese traditional themes in his ink and oil paintings into a highly personal style that earned him a distinctive position in the Chinese contemporary art scene. Shao Fan’s first European retrospective, YOU, was shown at the Ludwig Museum (Koblenz, Germany) in 2018, providing a comprehensive overview of over 30 years of his artistic practice. The exhibition then traveled to the Suzhou Museum (Jiangsu, China). In 2020, Shao Fan’s work will be presented in two major museum shows in Holland and Italy. A recent ink painting entitled Rabbit Array (2018, ink on rice paper, 225 x 175 cm) will be featured at our booth.

张雪瑞（1979年生于中国山西）抽象绘画的公式，似可于一眼之间阅尽，乍看之下，即是使用有序网格，并于每个单元内填充逐渐变化的色彩。在这些明显的视觉元素（颜色和网格）之外，埋存着艺术家对空间概念的内在理解。时间的维度在张雪瑞的画作中也起着至关重要的作用，色彩的微妙渐变必须在非常集中的时间内完成。我们将在今年的博览会上展示张雪瑞的最新作品《225 201905》（2019，布面丙烯，150 x 150 cm）。

The methodology behind Zhang Xuerui’s (*1979 in Shanxi, China) abstract paintings appears quickly at first glance, namely the use of an orderly grid, of which each unit is filled with gradually shifting colors. Beyond these apparent simple elements – colors and grids – lies the artist’s inner understanding of the notion of space. Time also plays a crucial role in the construction of Xuerui’s paintings, as the subtle gradients she generates must be completed at once in very intense moments of concentration. We will feature Zhang Xuerui’s latest work 225 201905 (2019, acrylic on canvas, 150 x 150 cm) for this year’s Art021.

曹雨，是的，我无处不在 II，2019，丹东玉，铸铜镀24K金，2件, 27 x 45 x 26 cm, 55 x 68 x 44 cm
Cao Yu,Yeah, I am Everywhere II, 2019, green marble, cast copper with 24k gold-plating, 2 pcs; 27 x 45 x 26 cm, 55 x 68 x 44 cm

在博览会期间，我们将在北京798画廊举办瑞士艺术家托比亚斯·卡斯帕（1984年生于瑞士巴塞尔）在中国的首次个展“丰饶角” 。此次展览我们将展出艺术家拍摄的一系列高级刺绣面料。这些面料来自一家以生产高级时装布料而闻名的瑞士纺织公司。他们在1960-1990年代向亚洲市场特别定制并出口了不同纹样的高级面料，在当时受到了特别的青睐。这些照片中精美的绣花图案，例如身穿芭蕾舞服或著名品牌YSL蒙德里安格子裙的女性，伦敦或巴黎的街景，以及英伦马球赛等纹样，代表着彼时令亚洲消费者向往的西方生活方式。艺术家用摄影这种有距离感的图像攫取手法获得色彩明快、形制简洁的图案，将它们以艺术的名义“二次出口”到亚洲国家。我们将在展位上带来卡斯帕的《The Bike Ride》（2019，1/2，艺术微喷，装裱在亚克力板上，白色木框，200 x 160 cm (照片尺寸)；205 x 165 x 5 cm （外框尺寸），2 版 + 1 AP）。

In conjunction with the fair, we will launch the solo exhibition Horn of Plenty by Tobias Kaspar (*1984 in Basel, Switzerland) at our 798 gallery in Beijing. For his first solo exhibition in China, the artist photographed a series of embroideries made from the 1960s to the 1990s by a Swiss textile company known for producing haute couture fabrics. These fabrics were specially made for the Asian market and were very popular at the time. The photographs show beautiful embroidered patterns such as women wearing ballet costumes or the famous YSL Mondrian dresses, street scenes of London or Paris, and the British polo tournament, all symbols of the Western lifestyle that Asian customers long for. The use of photography, a medium that intrinsically imposes a form of distance, highlights the brightness of the colors and the simplicity of the patterns. The captured images are then “re-exported” to Asia in the name of art. We will present Kaspar’s The Bike Ride (2019, 1/2, ultra giclee, mounting on acrylic board, white wooden frame, 200 x 160 cm (photo); 205 x 165 x 5 cm (framed), edition of 2 + 1 AP) among other new photographs at our Art021 booth.

谢南星，罗马尼亚，2019，布面油画，110 x 80 cm
Xie Nanxing, Romania, 2019, oil on canvas, 110 x 80 cm

诺特·维塔尔（1948年生于瑞士森特）的作品体系庞大，涉及多种媒介和材料，包括大理石，黄金，不锈钢，石膏和木材。他的作品主要基于其个人生活经验和文化认知。一方面，他的童年在瑞士恩加丁山区偏僻的山谷中度过，另一方面，维塔尔自十几岁起就开始了四处云游的漂流生活，这使他走向了世界的边缘。无论是从他选择的材料，还是他所涵盖到的主题，或是与他合作过的人们，这种无穷无尽的“在路上”的欲望，都为他的艺术做出了很大贡献。此次我们将展示《Adam One Afternoon》（2011，2/2，不锈钢，352 x 295 x 140 cm，2版），来自他的不锈钢雕塑系列，其标题是对Italo Calvino同名书的致敬。

Not Vital’s (*1948 in Sent, Switzerland) 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. 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. We will present the work Adam One Afternoon (2011, 2/2, Stainless steel, 352 x 295 x 140 cm, edition of 2), a sculpture of a series made of stainless steel, whose title is a homage to Italo calvino’s eponymous book.

高嫣（1993年生于瑞士苏黎世）致力于绘画创作。她的大型彩色绘画，通常由一些旧书刊和老照片中汲取灵感。她以其生动的风格将主题浓缩成极具矛盾的情绪，赋予在极富表现力的绘画上。她艺术手法的特色在于反复运用色彩层次的过程中，能轻松自如地面对未知和意外。而后，她以微妙有趣的方式将她丰富的视觉知识付诸实践。高嫣的绘画在一层又一层地叠加着色彩的同时，变得抽象起来，并最终实现了极富矛盾性和张力的作品。

Rebekka Steiger (*1993, lives and works in Beijng) engages herself intensively in painting. For her large-scale and colorful paintings, she takes inspiration from old books and photographs. She condenses her subjects into paintings of ambivalent mood and great expressiveness in her dynamic style. The repeated application of layers of color in a process embracing serendipity characterizes her artistic approach, always readily confronting the unknown and the unexpected. Her abundant visual knowledge is then put into practice in a subtle and playful manner. While superimposing layer upon layer of color, Steiger’s paintings become abstract and culminate in works of great ambivalence and enormous intensity. Her works appeal to us for their intensive colorfulness deriving from the young artist’s strong interest in

emotionality and atmospheric painting.

邱世华，无题，2017 (Qiu Sh52125)，布面油画，83 x 147 cm
Qiu Shihua, untitled, 2017 (Qiu Sh52125), oil on canvas, 83 x 147 cm

托比亚斯·雷贝格（1966年生于德国埃斯林根）在美因河畔的法兰克福生活和工作。他的作品曾在世界各地的博物馆和画廊展览，被国际公认为概念艺术领域的重要人物。他的雕塑作品介于建筑，设计，时尚，广告和社会学的交叉口上，为现代主义致力于创造功能性和美观并存的项目带来了当代感。《Infections》是从2002年开始一直持续到今天的一系列由魔术贴塑造的带状灯作品。可以单独或分组展示。每件《Infection》首先都是由其他人制作的，例如雷伯格的学生或助手。雷伯格之后会对作品进行干预，调整，移动，但规则是不允许添加任何材料，即他必须使用提供给他的东西。今年春季，雷贝格在上海的外滩美术馆举行了其首次国内机构展览，与《Infections》系列一起，展出了若干其他系列的最新作品。我们此次也将在展位上展示一组《Infections》。

Tobias Rehberger (*1966, Esslingen, Germany) lives and works in Frankfurt am Main. With numerous museum and gallery exhibitions worldwide, he is known internationally as an important figure in the field of conceptual art. His sculptures are at the crossroads between architecture, design, fashion, advertising and sociology, conferring a contemporary dimension to the modernist project of creating both functional and beautiful objects. Infections is an ongoing series of Velcro tape lamps that started in 2002 and continues to this day. Rehberger exhibits them both individually and in groups. Each Infection is first composed by other people, such as Rehberger’s students or assistants; Rehberger then intervenes in the works, adjusting, tweaking, moving, but the rule is that he is not allowed to add any material: he has to use what is given to him. A series of Infections Lamps among other new works from various series were on view this spring in Rehberger’s first institutional show in China at the Rockbund Art Museum in Shanghai. We will present a selection of Infections lamps at our Art021 booth.

请您关注麦勒画廊北京部及卢森部当前及即将开幕的展览:

麦勒画廊 北京部：
托比亚斯·卡斯帕，丰饶角
2019年11月2日 – 2020年1月5日

麦勒画廊 卢森部：

塔尼娅·格尔，Equations in a Variable
2019年11月14日 – 2020年2月2日

欢迎您莅临我们的展位以及北京和卢森两地的画廊。

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

GALERIE URS MEILE BEIJING:
Tobias Kaspar, Horn of Plenty
November 2, 2019 – January 5, 2020

GALERIE URS MEILE LUCERNE:
Tanya Goel, Equations in a Variable
November 14, 2019 – February 2, 2020

We look forward to your visit at our Booth during Beijing Contemporary or to one of our exhibitions in Beijing or Lucerne.