麦勒画廊@艺术深圳 | B08展位

麦勒画廊荣幸地宣布我们将参加2021艺术深圳。麦勒画廊一直致力于在国际领域展示和传播当代艺术，在瑞士卢森和中国北京开展工作。我们将于此次博览会展出以下来自中国和西方的成熟及新锐艺术家的一系列最新作品:
Galerie Urs Meile is honored to announce we will be participating in the 2021 Art Shenzhen art fair. Galerie Urs Meile has always been dedicated to the exhibition and promotion of contemporary art on an international scale, and operates in Lucerne, Switzerland and Beijing, China. At the art fair, we will be presenting new works by the following rising and established artists from China and the West:

曹雨（1988年生于辽宁）的创作横跨摄影、短片、多媒体装置、表演、雕塑、架上等多元媒介，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中的重要代表。她的最新个展“路过人间”于今年夏季在麦勒画廊北京展出，作品单刀直入并试图一针见血地深入探讨并剖析人性这一终极命题，围绕活着、相遇与别离等主题进行了极具个人色彩及痛快犀利的艺术诠释。我们将于本次博览会展出其最新创作的作品《龙头》(2020，c-print，220 × 147 cm)和《我就是想你过得没我好》(2021，镜面幻彩灯箱，直径100 cm，厚度60 cm)。
Cao Yu’s (b. 1988, Liaoning) creations span a diverse range of mediums including photography, short film, multimedia installation, performance, sculpture and canvas. With her unique multidisciplinary practice and bold, cutting-edge artistic language, she has become an important young artist in the field of Chinese contemporary art. Her latest solo exhibition “Passing Through the Human World” opened this summer at Galerie Urs Meile Beijing. The works in this exhibition attempt to cut right to the heart of the ultimate theme of human nature, creating a highly distinctive and incisive artistic interpretation revolving around such subjects as living, encounters and separation. At Art Shenzhen, we will present her latest works Dragon Head (2020, c-print, 220 × 147 cm) and I Just Don’t Want You to Live Better Than I Do (2021, multicolor mirror light box, ∅ 100 cm, thickness: 60 cm).

陈作（1990年生于湖南）于2015年、2021年先后毕业于中央美术学院油画系专业，分别获得学士、硕士学位。绘画是陈作的主要艺术实践，一个形状、一块颜色、一个物体，甚至一段记忆都可能成为他绘画的灵感。艺术家选择这些能让其共情的“物”作为开始，以个人的体验在一个更加宏观及遥远的背景中找到一种隐喻、反讽，或者抒情的呼应关系。陈作的绘画既体现出精准的技法与绘画严苛的戒律，又富含饱满的情绪，并蕴含着丰富性与偶然性，与现实生活的经验和记忆紧密相关。
Chen Zuo (b. 1990, Hunan) received his BFA and MFA in oil painting from the Central Academy of Fine Arts in 2015 and 2021. Painting is at the center of Chen Zuo’s artistic practice. A shape, a color, an object, even a memory can serve as an inspiration for his paintings. The artist selects these emotionally resonant “objects” as the beginning of a search through individual experience for metaphorical, satirical or cathartic relationships against a broader or more distant background. Chen Zuo’s painting embodies precise technique and exacting discipline, yet is also brimming with emotion, encompassing richness and serendipity, and tightly linked to real life experience and memory.

作为观念雕塑艺术家，胡庆雁（1982年生于山东）将有关雕塑的思考向前推进为表象与内在、偶然与必然以及破碎与重组等这些看似对立实则又有所关联的概念的深入思考，并以极具视觉冲击力的多元化媒介予以呈现。
Conceptual artist Hu Qingyan (b. 1982, Shandong) pushes his thinking on sculpture into deep conceptual territory where seemingly opposed ideas such as surface and interior, chance and inevitability, fragmentation and recomposition intersect, presented in visually powerful form across a diverse range of mediums.

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。我们此次将展出其极具代表性的 《无题》和《珍珠》系列。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，鞠婷选择以不同的方式处理层层叠加的色彩。当外力作用于每个“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。鞠婷最新个展将与本次博览会同期在麦勒画廊卢森部开幕。
Ju Ting’s (b. 1983, Shandong) works possess traits of both painting and sculpture, and blur the lines between these two traditional mediums. We will be presenting works from the artist’s representative Untitled and Pearl series. Ju Ting applies layer after layer of acrylic over a wood panel, and when they accumulate to reach a certain thickness, chooses different ways of rendering the layers of colors. As external forces act on each “image layer,” the cut and torn picture displays plasticity, as if the form emerges organically from within the image. Ju Ting’s latest solo exhibition “When the Wind Comes” will open at Galerie Urs Meile Lucerne simultaneously with the art fair.

鞠婷，《无题 063021》， 2021，木板丙烯，122 × 102 × 17 cm

Ju Ting, Untitled 063021, 2021, acrylic on board, 122 × 102 × 17 cm

李钢（1986年生于云南大理）先以很粗的麻绳编织画布，再在这些质地异常粗糙、颗粒异常粗大的画布上堆积、涂抹颜料，组织画面，在对画布自身结构和颜料咬合的繁复推敲和实践中，油画特殊的质感得以凸显。
Li Gang (b. 1986, Dali, Yunnan) begins with thick hemp ropes woven into a canvas, and then applies paint onto this extraordinarily rough surface to create a painting. Through a repeated refinement and practice directed at the structure of the canvas and its engagement with paint, the unique texture of oil paint is brought to the fore.

李钢，《邮票》, 2018（质感绘画），手工布面油画，125 x 125 cm
Li Gang, Stamp, 2018 (Texture Painting), oil on hand-made canvas, 125 × 125 cm

邱世华（1940年生于四川）的消色画如同一道道内心风景，有无相生，在可见与不可见，物质景象与身体感知之间距离逐渐缩短的过程中，湖泊、松林、山峰、峦坡跃然布上，无限的可能性出现在视觉局限被超越之处。
Qiu Shihua’s (b. 1940, Sichuan) paintings are like a series of inner landscapes of the mind, where substance and emptiness give rise to one another. As the distance between visible and invisible, material vision and bodily perception begins to recede, lakes, pine forests, mountain peaks and winding ridges leap upon the canvas, and infinite possibilities emerge just beyond the limits of vision.

邵帆（昱寒，1964年生于北京）是极少数可以任意游走在雕塑、油画、水墨以及园林、建筑、设计之间，而又以鲜明独特的观点、贯串始终的中国当代艺术家。在邵帆心中，明式家具包含了中国哲学的精髓。从90年代开始，邵帆便对开始对明式家具进行拆解、重构 并逐渐发展出自己独特的设计语言。
Shao Fan (courtesy name Yu Han, b. 1964, Beijing) is the exceedingly rare Chinese contemporary artist who can move freely between sculpture, oil painting, ink, landscape gardens, architecture and design with a fresh and unique viewpoint. The artist sees Ming style furniture as embodying the essence of Chinese philosophy. In the 1990s, Shao Fan began dismantling and reconstructing Ming furniture to eventually develop his own unique design language.

邵帆（昱寒），《明式梯-2006，之六》，2006，铁梨木，212 × 80 × 9 cm

Shao Fan (Yu Han), Ming Ladder - 2006 No. 6, 2006, tieli wood, 212 × 80 × 9 cm

高嫣（Rebekka Steiger，1993年生于瑞士）是瑞士当代艺术圈里最让人期待的年轻画家之一。她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，通过层层叠叠的色彩渲染达到出其不意的效果。
By applying layer after layer of colors, Rebekka Steiger (b. 1993, Switzerland) transforms her perceptions of emotion and atmosphere in subtle and fascinating ways into pictures with a thick air of mystery, to unpredictable effect.

谢其（1974年生于重庆）长期以来以身体和肖像作为绘画的重要母题。通过运用广阔的想象力与丰富的感知，艺术家不断赋予这些变化的形象以情绪的温度、欲望的张力与幽暗的色彩。谢其的最新个展“夏天过去了好几年”于8月底在麦勒画廊北京开幕。
The body and portraits have long been important motifs in Xie Qi’s (b. 1974, Chongqing) painting. Drawing on a sweeping imagination and rich perceptions, the artist bestows on these shifting figures the warmth of emotion, the tension of desire, and tones of gloom. Xie Qi’s latest solo exhibition, “The Summer Heat Has Been Gone For Years,” opened at Urs Meile Beijing in late August.

谢南星（1970年生于重庆）总是在挑战着艺术教育中的那些传统的、看似已确立的成规。2008年，他创作了 《第一顿鞭子》，对弗洛伊德的“口误”理论进行了图片式换位，从那之后，他对于语言的两种形态——绘画和书写之间的关系的处理更为直率。三联画《旅行手册》(2020，布面油画，133.5 × 88.5 cm；130 × 90 cm；130 × 100 cm）便是如此，作品描绘了艺术家工作室摇椅的三个不同面。刻意弯曲的线条以及索引式的文字类似书法或涂鸦；二者都介于绘画和书法之间。与本次博览会同期，谢南星最新个展“九层塔：面具与阴影”将于9月18日在深圳市坪山美术馆开幕。
Xie Nanxing (b. 1970, Chongqing) is constantly challenging the traditional, seemingly fixed conventions of art education. In 2008, he created The First Round With a Whip, engaging in a graphic repositioning of Freud’s theory of parapraxis, or the “Freudian slip.” Since then, his approach to the relationship between two forms of language—painting and writing—has become more direct. Such is the case with the triptych Travel Brochure (2020, oil on canvas, 133.5 × 88.5 cm;130 × 90 cm;130 × 100 cm). The artwork depicts three sides of a rocking chair in the artist’s studio. The intentionally curved lines and the index-like writings appear like calligraphy or graffiti. Both lie somewhere between painting and calligraphy. His solo exhibition “MASK and SHADOW” under the series entitled “Nine-Tiered Pagoda” will be launched at the Pingshan Art Museum in Shenzhen on September 18.

谢南星，《旅行手册》，2020，布面油画，133.5 × 88.5 cm；130 × 90 cm；130 × 100 cm
Xie Nanxing, Travel Brochure, 2020, oil on canvas, 133.5 × 88.5 cm; 130 × 90 cm; 130 × 100 cm

杨牧石（1989年生于江西）的创作行为带有自反性的思考，通过对收集来的材料进行锯刻、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。在艰难的动作重复过程中，艺术家在反复质疑大工业生产背景下个体慢速经验的有效性。
Yang Mushi’s (b. 1989, Jiangxi) creative activities are marked by introspective thinking. Collected materials are sawed, polished, dislocated and covered in black paint to refine them into a regimented state of black matter with an almost militaresque beauty. Throughout the arduous, repetitive process, the artist is repeatedly casting doubt on the validity of the slow, individual experience against the backdrop of industrial production.

张雪瑞（1979年生于山西）的绘画中有两个基本元素——格子和色彩。众多格子与色彩彼此“粘合”的单元，最终阵列出混沌空无的整体雾化的色晕。艺术家最近的创作则改变了平缓的调式，画面出现了与邻格对比度相对强烈的色块，增强了画面的动势。

There are two fundamental elements to Zhang Xuerui’s (b. 1979, Shanxi) painting—grids and colors. Different combinations of grids and colors come together in great numbers to form chaotic voids of atmospheric hues. The artist’s recent creations have dispensed with the slow progressions of past work, with strong contrasts emerging between neighboring grids, heightening the dynamic of the picture.

张雪瑞，《225 202002》, 2020，布面丙烯，150 x 150 cm
Zhang Xuerui, 225 202002, 2020 , acrylic on canvas, 150 × 150 cm

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

麦勒画廊 北京部
谢其，夏天过去了好几年
2021年8月28日–10月24日

麦勒画廊 卢森部
鞠婷，When the Wind Comes

2021年9月9日–10月29日

我们期待您莅临我们的展位B08以及位于北京和卢森两地的画廊。
We look forward to your visit at our Booth during Art Shenzhen or to one of our exhibitions in Beijing or Lucerne.