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).
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.
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.
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
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.
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.
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.
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.
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.
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.
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.
Please note the current and upcoming exhibitions at Galerie Urs Meile in Beijing and Lucerne:
鞠婷，When the Wind Comes
We look forward to your visit at our Booth during Art Shenzhen or to one of our exhibitions in Beijing or Lucerne.