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“Shifting”——瑞士Ardez的夏季艺术之旅(一)

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“Shifting”——瑞士Ardez的夏季艺术之旅(一)  麦勒画廊 Shifting Ardez 艺术 瑞士 麦勒画廊 北京 卢森 瑞士恩格丁峡谷 村庄 奶酪 崇真艺客

“Shifting”——瑞士Ardez的夏季艺术之旅(一)  麦勒画廊 Shifting Ardez 艺术 瑞士 麦勒画廊 北京 卢森 瑞士恩格丁峡谷 村庄 奶酪 崇真艺客

“Shifting”是由麦勒画廊 北京-卢森发起的在瑞士恩格丁峡谷Ardez举办的艺术之旅,将贯穿2020年整个夏季。在村庄里废弃的奶酪房、有历史意义的谷仓以及私人地窖等地方,观众们在欣赏到艺术家的在地创作的同时也能回顾村庄的历史。画廊主的住宅变身为展览空间,呈现了诸多艺术项目。


Shifting is a pop-up art tour initiated by Galerie Urs Meile Beijing-Lucerne in Ardez, Engadin, Switzerland, which will be open throughout the summer of 2020. In otherwise inaccessible rooms—such as the disused village cheese dairy, a historic cow barn, and a private coal cellar—visitors would encounter site-specific works by artists and be able to explore the historic village at the same time. The gallery owners’ private home served as a pop-up exhibition space, where a cross-section of the gallery’s program are on display.





胡庆雁
Hu Qingyan


“Shifting”——瑞士Ardez的夏季艺术之旅(一)  麦勒画廊 Shifting Ardez 艺术 瑞士 麦勒画廊 北京 卢森 瑞士恩格丁峡谷 村庄 奶酪 崇真艺客胡庆雁,《蠢货 No. 2》,2016,碳钢,空气,7件, 尺寸从79 cm到188 cm不等
Hu Qingyan, Idiots No. 2, 2016, carbon steel, air, 7 pcs, height from 79 cm to 188 cm


胡庆雁(1982年生于山东潍坊)对雕塑的创作趋于观念化,他的雕塑作品已经远不同于传统意义上我们所认知的雕塑,它是雕塑语言在空间中的反应。并且,雕塑与空间,入与出等互补的因素,彼此交互、滋养、激励着对方。碳钢作品《蠢货 No. 2》(2016,碳钢,空气,7件, 尺寸从79 cm到188 cm不等)将“空气”视为作品的重要组成部分。雕塑内外因为敞开的窄小终端而连通,从而展开了一场与空间的游戏。


正如题目《蠢货》所示:它们仅仅被看作空气的承载者,是去除了特定功能的中空器物,是残留物和空壳。它们没有生动的意韵或庄严的气势,而只是一种活着的、延展的有机存在——因为这些内部流通着空气的中空之物并非艺术家的创造物,而是组装而来的“壳”:它表面留下的焊缝依然清晰可见。这让观者开始思考,至少开始质疑,雕塑不限于外部和表象,更多的是外壳内部的那些不可视但却存在着的“塑形”。


Hu Qingyan (b. 1982 in Weifang, China) follows a conceptual approach in his understanding of sculpture. The work of his is far from what we traditionally conceive as sculpture, but it is a reflection on the language of sculpture when considered as space at large, and on how sculpture and space, in and out—entities that are often deemed complementary—interact with each other, nurturing and inspiring each other. A group of carbon steel sculptures Idiots No. 2 (2016, carbon steel, air, 7 pcs, height from 79 cm to 188 cm) specifically address “air” as an essential component of the work. Through the narrow-mouthed yet open ends, interior and exterior spaces of the sculpture are connected with each other. A game with space is produced by the welding together of industrially manufactured carbon steel segments which were found and employed directly by the artist.


The Idiots suggests literally its title: remnants, hollow husks, hollow vessels deprived of any specific function other than being air containers about to be processed or informed once again. They have no aura or majesty other than that of being living, expanding organisms; this is because of the internal circulation of air, not what the artist’s hand has created, a mere shell whose signs of assemblage are still visible. This prompts the viewer to think, or at least doubt, that the real sculpture is not the exterior, but what is invisible and being “shaped” inside the shells.


高嫣

Rebekka Steiger


“Shifting”——瑞士Ardez的夏季艺术之旅(一)  麦勒画廊 Shifting Ardez 艺术 瑞士 麦勒画廊 北京 卢森 瑞士恩格丁峡谷 村庄 奶酪 崇真艺客Rebekka Steiger,《béngdok》,2020,布面水墨蛋彩油画,240 x 200 cm

Rebekka Steiger, béngdok, 2020,ink, oil and tempera on canvas, 240 x 200 cm


高嫣(Rebekka Steiger,1993年生于瑞士苏黎世,现工作和生活于卢塞恩和北京)在麦勒画廊北京参加了一个加长版的艺术家驻地项目。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。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。

艺术家如是阐述她最近的创作:“我的新作的创作主要是分为两个阶段。最开始,我经常很快地用水和墨在地面上创作。我用墨打一个简单的草稿,比如作品《béngdok》(2020,布面水墨蛋彩油画,240 x 200 cm)和《山花》(2020,布面水墨蛋彩油画,240 x 200 cm),用墨汁沿着一根大的金属尺在画布上展现出条状图案,然后在某些地方加入水。当你把画布立起来的时候,水和墨则会彼此相融。随后我会在画布依然湿润的状态下进行一些调整。当画布干燥后,则开启了一道更慢也更为缜密的流程,我会仔细端详画布的每一寸,并对每一个吸引人的细微之处进行再加工,或者反复描画,或者填补一些空白之处。最难的在于你专注于细节的同时又不能忽略整体。”


Over the last two years Rebekka Steiger (b. 1993 in Zurich, works in Lucerne, Switzerland, and Beijing, China) spend an extended stay as artist in residence at Galerie Urs Meile in Beijing. While she continued working in her distinctive style, her extensive stay in a foreign country allowed her more freedom of mind and openness to surprises and chance encounters. Through a layer-by-layer color rendering, Rebekka Steiger transforms her perception of emotions and atmospheres into mysterious and delicate art pieces, achieving unexpected visual results. The tension between abstraction and representation, the expressive rendering of bright colors as well as the use of non-narrative figurative motifs are key aspects of her work that make the painting not only intriguing, but also unsettling.


The artist explains her recent paintings: “My newest paintings have been developed mostly in two phases. To begin with I work quickly, often on the floor using mainly ink and water. I set a rough composition with ink first, in case of béngdok (2020, ink, oil and tempera on canvas, 240 x 200 cm) or 山花 (shanhua)(2020, ink, oil and tempera on canvas, 240 x 200 cm) spreading it along a large metal ruler in rhythmic stripes on the canvas to then add water in certain spots. By lifting the canvas the more fluid parts connect to each other and let the pure ink colors merge. I adjust the outcome as long as the painting is still wet until I sense the overall rhythm of the paint provides a good starting point. After the canvas dried, a more slow and considerate process starts. Undertaking a close inspection of what has happened on the canvas, I work my way across it inch by inch. Trying to discover the most beautiful, if ever so small detail and emphasizing it, either by over-painting distractive parts or filling in the blanks to bring out even the finest traces of the dispersed paint. The challenge is not to loose track of the overall composition when being this focused on details.”


米尔科·巴泽吉亚

Mirko Baselgia

“Shifting”——瑞士Ardez的夏季艺术之旅(一)  麦勒画廊 Shifting Ardez 艺术 瑞士 麦勒画廊 北京 卢森 瑞士恩格丁峡谷 村庄 奶酪 崇真艺客

米尔科·巴泽吉亚,《Greinaboot》,2004,青苔,金属,网垫,77 x 330 x 121 cm
Mirko Baselgia , Greinaboot, 2004, moss, metal, geomat, 77 x 330 x 121 cm


米尔科·巴泽吉亚(1982年生,现工作和生活于瑞士Lain)善于观察那些塑造世间万物的动态,并用其极具吸引力的个性化的语言进行提炼,呈现出人类与自然界之间至关重要的相互依存。他的很多作品都源于自然,并使用意想不到的媒介赋予其全新的审美价值。哲学反思、匠人精神以及科学知识在其作品中交汇,使其在充满诗意的同时也富有启发性。可见的、不可见的,真实的、想象的,以及物质转换过程是他的艺术实践中反复出现的主题。


Mirko Baselgia (b. 1982, lives and works in Lain, Switzerland) observes the dynamics and structures that shape our world in order to redefine them in a personal and intriguing way, indicating the essential interdependence connecting human beings and their activities with the rest of the natural world. Many of Baselgias works are directly inspired by a natural structure but which has been reworked in an unexpected medium, giving it new aesthetic value. In all his creations the sensorial experience, and a subtle investigation of materials play a central role and have a tangible impact on one’s perception of the surrounding space and the world in general. To do this he likes using a variety of mediums (like sculpture, installation, video, painting or drawing), and exploring their potential thank to the collaboration with craftspeople and other professionals that allows him to take advantage of their specific knowledge for the materialization of his ideas, even the most demanding and eccentric ones. Philosophical and existential reflections are combined with craftsmanship and scientific knowledge to create poetic and evocative works. The connection between visible and invisible, real and imaginary, and material transformation processes are recurring motifs in his artistic practice.


在阿尔贝斯山一处用于发电的人工湖边,有一艘布满青苔的船(《Greinaboot》,2004,青苔,金属,网垫,77 x 330 x 121 cm)。这件作品是对政治生态胜利的赞歌,也强调了大自然和时间的塑造力量,以及艺术家职业生涯的起点和创作方式的演变。为了追求极简,他的作品中只有一个物件,一种颜色,一种材料,最终呈现出科学、政治与超现实诗意的融合。

In an alpine landscape, in place of an artificial lake intended for the production of electricity, lies a boat (Greinaboot, 2004, moss, metal, geomat, 77 x 330 x 121 cm) covered with moss. This work is a hymn of praise to a victory of political ecology. It also underlines the transformative power of natural phenomena and the passage of time, as well as symbolizing the starting point of the artist’s career and the evolution of an appropriate way of working. In his quest for simplicity, for an extreme reduction, he has streamlined his work to one object, one colour, one material, resulting in a central point where scientific and political issues meet surreal poetry.


这艘为广袤山河构思的船,现在被置于私密而昏暗的地窖。米尔科作品中反复出现的对于内在与外在、可见与不可见之物的反思再次呈现。在这一地下空间,与作品的相遇需要考古探险的勇气,这艘船也成为对遥远的过去的一种回忆。

Initially conceived to be surrounded by a vast mountain panorama, Greinaboot is now recontextualized in the intimacy and darkness of the Chasa Plazzetta’s cellar. Thus the recurring reflection in Mirko Baselgia’s work on the relationship between exterior and interior, visible and invisible, emerges once again. In this underground space, the encounter with the work takes on the adventurous character of an archaeological discovery and the boat is transformed into a find in which we can recognize the memory of a distant past.


我们将于之后陆续推出本次展览的更多作品,敬请期待!
More information of our artists and works will be coming soon.



Galerie Urs Meile 798


“Shifting”——瑞士Ardez的夏季艺术之旅(一)  麦勒画廊 Shifting Ardez 艺术 瑞士 麦勒画廊 北京 卢森 瑞士恩格丁峡谷 村庄 奶酪 崇真艺客



麦勒画廊 北京

Galerie Urs Meile Beijing


地址:北京市朝阳区酒仙桥路2号798艺术区798东街D10,邮编100015

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


了解更多麦勒画廊展讯及艺术家信息请关注

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官网 Website:www.galerieursmeile.com

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“Shifting”——瑞士Ardez的夏季艺术之旅(一)  麦勒画廊 Shifting Ardez 艺术 瑞士 麦勒画廊 北京 卢森 瑞士恩格丁峡谷 村庄 奶酪 崇真艺客


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