麦勒画廊@ART021上海廿一当代艺术博览会 | 展位E04

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2020年11月12日 星期四

2020年11月13日 星期五



2020年11月14日 星期六

2020年11月15日 星期日


曹雨 – 胡庆雁 – 鞠婷 – 李钢 – 孟煌 – 高嫣(Rebekka Steiger) – 王兴伟 – 杨牧石 – 张雪瑞


Cao Yu – Hu Qingyan – Ju Ting – Li Gang – Meng Huang – Rebekka Steiger – Wang Xingwei – Yang Mushi – Zhang Xuerui

麦勒画廊荣幸地宣布我们将参加2020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,包括曹雨、胡庆雁、鞠婷、李钢、孟煌、高嫣(Rebekka Steiger)、王兴伟、杨牧石和张雪瑞的作品。
Galerie Urs Meile is pleased to announce its participation in this year’s ART021 Shanghai Contemporary Art Fair. Our presentation will focus on a selection of new works by emerging and established artists and will include works by Cao Yu, Hu Qingyan, Ju Ting, Li Gang, Meng Huang, Rebekka Steiger, Wang Xingwei, Yang Mushi and Zhang Xuerui.

曹雨(1988年生于辽宁)凭借其独特的跨学科实践和尖锐而大胆的艺术语言成为中国当代艺术领域青年艺术家的重要代表。我们 此次将展出其雕塑作品《90°C V》(2019,大理石,丝袜,55 × 48 × 36 cm),作品呈现了一尊与阴柔丝滑的现代女性用品丝袜紧紧捆绑在一起的古典大理石雕塑大卫的身体躯干。两种毫不相关的物质交织在一起形成了一次势均力敌的较量。曹雨近期入选“2020年度Gen. T亚洲新锐先锋榜”。
With Cao Yu’s (b. 1988 in Liaoning, China) distinctive interdisciplinary practice, sharp and bold artistic language, she has become one of the leading young artists in the field of Chinese contemporary art. 90°C V (2019, marble, silk stocking, 55 × 48 × 36 cm) presents a marble from classical times modeled into the masterpiece of David, tightly bound in a soft feminine silk stocking. Two completely unrelated materials are closely intertwined in a well-matched battle. Cao Yu was recently included in “Gen. T List 2020."

胡庆雁(1982年生于山东)的雕塑语言不同于传统认知,他对于雕塑的思考围绕表象与内在、偶然与必然以及破碎与重组等看似对立实则又有所关联的概念展开。新作《空碗 III》(2019,大理石,23 × 76 × 68 cm)延续了艺术家对于空气在空间与雕塑中的参与的艺术实践,空碗作为剩余物呈现了空气对于物质和空间的塑造力。此外,胡庆雁的最新机构个展“必要的冗余——胡庆雁个展”将于12月23日在广东美术馆开幕。
Hu Qingyan’s (b. 1982 in Shandong) sculptural language is a departure from traditional cognition. His thinking about sculpture revolves around the concepts of appearance and essence, randomness and inevitability, fragmentation and reorganization, which seem to be opposite but related. His new sculpture Empty BowlIII (2019, marble, 23 × 76 × 68 cm) continues his artistic exploration of air’s participation in space and sculpture. The bowl is more like a remnant object demonstrating the power of air to shape material and space. His new institutional solo exhibition Necessary Rebundancy – Hu Qingyan Solo Exhibition will debut at the Guangdong Museum of Art on December 23, 2020.

麦勒画廊@ART021上海廿一当代艺术博览会 | 展位E04 麦勒画廊 艺术 博览会 上海 展位 廿一 藏家 星期 公众 艺术家 崇真艺客

胡庆雁,《空碗 III》,2019,大理石,23 × 76 × 68 cm

Hu Qingyan, Empty Bowl III, 2019, marble, 23 × 76 × 68 cm

鞠婷(1983年生于山东)把一层又一层的丙烯颜料涂抹在木板上,当颜料基于二维空间积累到一定厚度时,选择以不同的方式处理层层叠加的色彩。“珍珠”系列与“无题”系列的创作可以看作某种不断平衡控制力与偶然性的过程。鞠婷的创作方法让外力作用于每个“图层”,被切割、撕裂的画面呈现出可塑性,似乎形式从图像的内部有机生发。比如此次展出的《无题061820》(2020,木板丙 烯,73 × 61 × 11 cm)。
Ju Ting (b. 1983 in Shandong) applies many layers of acrylic paint on top of each other over a wooden panel until obtaining a certain thickness. She then uses various methods to manipulate and model the stacked layers of color. The creation of the Pearl and Untitled series can be seen as a process of constantly maintaining balance between control and serendipity. Ju Ting’s creative approach applies external forces on each “image layer.” The cut, folded and torn picture presents plasticity, as if form is organically generated from within the image. (Untitled 061820, 2020, acrylic on board, 73 × 61 × 11 cm)

麦勒画廊@ART021上海廿一当代艺术博览会 | 展位E04 麦勒画廊 艺术 博览会 上海 展位 廿一 藏家 星期 公众 艺术家 崇真艺客

鞠婷,《无题061820》,2020,木板丙 烯,73 × 61 × 11 cm

Ju Ting, Untitled 061820, 2020, acrylic on board, 73 × 61 × 11 cm

李钢(1986年生于云南大理)于2017年开始了新的绘画探索《草图绘画》系列,并对绘画的“物质性”进行多维度的探索。在画面的构建中,李钢不仅把草图、甚至连同草图的边界,画面的底色,统统解析般的摊开搬到了大尺寸的画布上,同时把绘制草图的即时状态和原初冲动搬到了画布上。该系列也曾在李钢今年夏季于麦勒画廊北京举办的个展“裸色”中展出。我们将于本次博览会展出该系列的作品《雨水》(2019,亚麻布上油画,200 × 200  cm)。
The Sketch Paintings series, begun in 2017, marks a new direction in Li Gang (b. 1986 in Dali, China)’s exploration of painting, and a multi-dimensional exploration of the “materiality” of painting. In constructing the painting, Li Gang not only moves the sketch, its edges, and the base color onto his large canvases in an analytical fashion, he also moves the instantaneous state and original impulse of the sketch along with them. This series was presented in his solo exhibition Nude Colour at Galerie Urs Meile Beijing this summer. We will present Rainwater (2019, oil on linen, 200 × 200 cm) from this series.

麦勒画廊@ART021上海廿一当代艺术博览会 | 展位E04 麦勒画廊 艺术 博览会 上海 展位 廿一 藏家 星期 公众 艺术家 崇真艺客

李钢,《雨水》,2019,亚麻布上油画,200 × 200  cm
Li Gang, Rainwater, 2019, oil on linen, 200 × 200 cm

我们还将展出孟煌(1966年生于河南)在上海驻留期间创作的最新绘画作品《雨之湖-1》(2019,布面油画,155 × 180 cm)以及同名速写作品。“水”是孟煌的绘画中重复出现的主题。在孟煌早期的“黑色风景”中,不乏单独描绘水的画作,它们往往极赋体量感。整体画面空旷冷峻,沉郁荒凉。而《雨之湖》则带有江南特有的绵密粘稠的质感,这里的水域是极富生活气息的池塘春雨,小家碧玉。值得一提的是,这里的速写并不是油画的小稿,而是对于艺术家而言,完全独立于油画的另一种艺术表达的媒介。
We will also exhibit new painting Lake of Rain No. 1 (2019, oil on canvas, 155 × 180 cm) by Meng Huang (b. 1966 in Henan) during his residency in Shanghai, as well as sketch painting of the same name. “Water” is a recurring theme in Meng Huang’s paintings. There are many paintings depicting water among his early black landscapes, paintings which are often extremely volumetric. The overall picture feels empty, cold, and desolate. Lake of Rain has a dense and viscous texture unique to south China. The waters here are ponds full of the joys of life and spring rain. It is worth mentioning that the sketch here is not a draft of an oil painting, but another medium of artistic expression completely independent of oil painting.

麦勒画廊@ART021上海廿一当代艺术博览会 | 展位E04 麦勒画廊 艺术 博览会 上海 展位 廿一 藏家 星期 公众 艺术家 崇真艺客

孟煌,《雨之湖-1》,2019,布面油画,155 × 180 cm
Meng Huang, Lake of Rain No. 1, 2019, oil on canvas, 155 × 180 cm

高嫣(Rebekka Steiger,1993年生于瑞士苏黎世)是当代艺术圈里最让人期待的年轻画家之一。通过层层叠叠的色彩渲染,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,往往达到出其不意的效果(《skysailing》, 2019, 布面水墨蛋彩油画,40 × 30 cm)。高嫣个展“boxing the compass”今年夏季在瑞士Grenchen美术馆举行。
Rebekka Steiger (b. 1993 in Zurich, Switzerland) is one of the most exciting young painters in contemporary art. Through a layer-by-layer color rendering, Steiger transforms her perception of emotions and atmospheres into mysterious and delicate art pieces while achieving unexpected visual results. At our booth we will show skysailing (2019, tempera and oil on canvas, 40 × 30 cm). Her latest institutional exhibition boxing the compass was held at Kunstmuseum Grenchen in Switzerland this summer.

王兴伟(1969年生于沈阳)延续了其经典和精细的绘画技巧对荒诞场景进行描绘,作品《静物画(猪八戒)》(2020,布面油 画,70 × 70 cm)刻画了中国著名的神话小说《西游记》里懒惰、贪吃、好色却善良而直率的猪八戒。与本次博览会同期,上海K11 Art Foundation将举办包括王兴伟在内的三人联展“绝地通天”,呈现其极具代表性的绘画作品以及不断延展和变化的艺术实践与探索,作品跨越2011年“老太太”系列一直到最新创作的作品。
Wang Xingwei (b. 1969 in Shenyang, China) continues his classic and delicate painting technique in depicting the scenes of absurdity. His new painting Still Life (Zhu Bajie) (2020, oil on canvas, 70 × 70 cm) depicts the lazy, greedy, lustful but kind and straightforward Zhu Bajie in the famous Chinese mythical novel “Journey to the West.” During the period of Art021, K11 Art Foundation will debut the three-person joint exhibition Forget the Horizon, presenting WangXingwei's typical paintings and ongoing and constantly developing artistic practices spanning from the “Old Lady” series from 2011 till now.

杨牧石(1989年生于江西)通过对收集来的废旧木料进行锯刻、打磨、错位,并最终用黑色喷漆加以覆盖,从而将其精化成具有几近严格的军事美学特征的黑色物质型态。此次展出的《叠置-条》(2020,防护栏,油漆,135 × 112 × 595 cm)异化了防护栏的形态及其功能,生产了一个向上发展的危机结构,搭建了一个来自现实中的残躯败体。
Yang Mushi(b. 1989 in Jiangxi, China) diligently works on his sculptural materials in vigorous acts of cutting, grinding and sharpening. As a final step, the surface is polished and covered with black lacquer, thus reducing the objects to dark shapes of strict aesthetics and a martial kind of beauty. Overlaying - Stick (2020, protective barrier, lacquer, 135 × 112 × 595 cm) alienates the form and function of the protective fence, producing a dangerous, upward-moving structure, a broken body built from reality.

张雪瑞(1979年生于山西)最近的创作中改变了平缓的调式,画面出现了与邻格对比度相对强烈的色块,甚至是色块群,类似于乐段中突起的高音,增强了画面的动势,然而,属于她的那种基本的方法论并未改变。张雪瑞的个展“三个航标的河流”今年8月底于麦勒 画廊北京开幕。除了极具代表性的格子绘画(《225 201906》,2019,布面丙烯,150 × 150 cm),我们还将展出其最新创作的纸上水彩《落苔》系列作品以及装置作品《红白格布》(2019,宜家红白格布,棉线等,170 × 167 cm(外框尺寸),150 × 150 cm(作品尺寸)),共同呈现艺术家有关抽象的解读。
Zhang Xuerui (b. 1979 in Shanxi, China) has broken from the excessively slow progression of before in her recent works, a shift that appears in the picture as relatively strong contrasts in color from one field to the next, or even within a cluster of color fields, in something like a high note suddenly bursting out of a musical movement, highlighting the sense of motion in the picture. But her basic methodology has not changed. Zhang Xuerui’s solo exhibition River with Three Buoys was held at Galerie Urs Meile Beijing this autumn. Aside from her unique grid painting (225 201906 (2019, acrylic on canvas, 150 × 150 cm)), we will also present her recent watercolour series Scattered Moss and installation work Red and White Checkered Cloth (2019, Ikea red and white checkered cloth, cotton thread, 170 × 167 cm (frame), 150 × 150 cm (work)) at our booth.

麦勒画廊@ART021上海廿一当代艺术博览会 | 展位E04 麦勒画廊 艺术 博览会 上海 展位 廿一 藏家 星期 公众 艺术家 崇真艺客

张雪瑞,《225 201906》,2019,布面丙烯,150 × 150 cm
Zhang Xuerui, 225 201906, 2019, acrylic on canvas, 150 × 150 cm

麦勒画廊@ART021上海廿一当代艺术博览会 | 展位E04 麦勒画廊 艺术 博览会 上海 展位 廿一 藏家 星期 公众 艺术家 崇真艺客


麦勒画廊 北京部:

麦勒画廊 卢森部:

Michel Comte,Erosion I


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


Xie Nanxing, A Roll of the Dice

November 7, 2020 – January 31, 2021


Michel Comte, Erosion I
November 19, 2020 – January 29, 2021

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

Galerie Urs Meile 798

麦勒画廊@ART021上海廿一当代艺术博览会 | 展位E04 麦勒画廊 艺术 博览会 上海 展位 廿一 藏家 星期 公众 艺术家 崇真艺客

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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麦勒画廊@ART021上海廿一当代艺术博览会 | 展位E04 麦勒画廊 艺术 博览会 上海 展位 廿一 藏家 星期 公众 艺术家 崇真艺客

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