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【艺博会】麦勒画廊参加2022 artgenève日内瓦艺术博览会 & Rebekka Steiger荣获博览会奖项

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【艺博会】麦勒画廊参加2022 artgenève日内瓦艺术博览会 & Rebekka Steiger荣获博览会奖项麦勒画廊博览会奖项艺博会 artgenève日内瓦艺术博览会公众 Public Days 展会地点崇真艺客

公众开放 Public Days

2022.3.3 - 3.6

展会地点 Venue

日内瓦会展中心

Palexpo Genève

Booth B32 / Solo Booth A32

麦勒画廊将于2022瑞士日内瓦当代艺术博览会中展出一系列新兴及成熟艺术家的新作。我们将展出艺术家马里昂·巴鲁克、米尔科·巴泽吉亚、Janik Bürgin、曹雨、胡庆雁、鞠婷、Urs Lüthi、邱世华、邵帆（昱寒）、尤利娅·斯坦纳、诺特·维塔尔、谢其和张雪瑞的作品。此外，我们还将在个展展位中呈现高嫣（Rebekka Steiger）的绘画作品。

Galerie Urs Meile will focus for the 2022 edition of Artgenève on a selection of new works by emerging and established contemporary artists. The presentation will include works by Marion Baruch, Mirko Baselgia, Janik Bürgin, Cao Yu, Hu Qingyan, Ju Ting, Urs Lüthi, Qiu Shihua, Shao Fan, Julia Steiner, Not Vital, Xie Qi and Zhang Xuerui. Additionally, we will present a solo booth by the painter Rebekka Steiger.

马里昂·巴鲁克（1929年生于罗马尼亚）的“Linguaggiodelle forme”系列（2021）包括由纺织品剩余物组成的框架式作品，这些剩余物讲述着人类的历史和当下。这些作品运用了抽象艺术词汇、几何形式和标记符号。它们是艺术家多年实验的成果，并证实了巴鲁克的论点，即在抽象艺术中，相同的形式词汇不断地重新组合。与此同时，艺术家给这种重组带来了令人惊喜的转折：织物中的空白如此巨大、广阔，以至于它们不自觉地漂移到前景中，而剩下的材料碎片则退回到背景中。在马里昂·巴鲁克的织物作品中，反复出现的形式生成了一种艺术语言，这种语言以更具包容性和开放式的新方式被阅读、书写和陈述，在这种语言中，织物成为书写工具，虚空变得清晰易读，剩余物变得举足轻重。

Marion Baruch’s (*1929 in Timişoara, Romania) “Linguaggio delle forme” series, 2021, consists of framed offcuts that likewise speak of humanity’s past and present. These works deploy the archetypal vocabulary of abstract art, its geometric forms and gestural marks. As such, they sum up years of artistic experimentation, bearing out Baruch’s contention that in abstract art, the same formal vocabulary is endlessly recombined. At the same time, Baruch gives her recombinations a novel twist: the negative or empty shapes in the fabric are so large and expansive that they move into the foreground, leaving the bits of leftover material to recede into the background. This suggests a less top-down, less hierarchical approach to making art, where emptiness, absence and non-interference prevail over intention, form- giving or presence. In the same way, Baruch refrains from cutting, altering or disfiguring the remnants she selects, and instead acknowledges and respects them just as they are. In Marion Baruch’s fabric works, recurring or archetypal forms generate an artistic language that is read, written and spoken in new, more inclusive and open-ended ways, a language where fabric becomes a writing instrument, voids become legible, and leftovers have their say.

米尔科·巴泽吉亚（1982年生于瑞士）的作品主要使用在地自然材料和可回收材料。雕塑作品《Medicine Bundle》（2021，旧面粉袋、回收纸板、回收利乐饮料纸盒、回收塑料瓶，66 x 33 x 66 cm）是“Carrier and Back”系列的首件作品。它指涉了史前手提袋、药包，这是一种早期人类携带物品的容器。该作品再现了美洲原住民的药包的形状，这种容器用于盛装被认为可以保护或赋予其主人精神力量的物品。通常由皮革制成，并用肌腱或皮绳缝合，以便佩戴或悬挂。该雕塑作品呈现为网状结构，绳索由旧面粉袋的纸条制成。网状内是塑料瓶、利乐盒和纸板。全部使用回收材料反映了艺术家呼吁人们对于资源进行尊重性的利用，同时也对消费者选择对环境的影响进行反思。作品也邀请观者用新的叙事来填充这一“袋子”，建立一个不同的世界。

Mirko Baselgia’s (*1982 in Lantsch/Lenz, Switzerland) work focus primarily on using local, natural, and recycled materials. The sculpture Medicine Bundle (2021, paper from old flour sacks, recycled cardboard, recycled Tetra Pak beverage cartons, recycled PET bottles, 66 × 33 × 66 cm) is the first work of the series “Carrier and Back”. It draws reference to the story of the prehistoric carrier bag, medicine bundle or gourd, a vessel in which early humans carried more than could be held in hand and thus were able to gather more than needed. By shifting the way how we look at humanity’s foundation from a narrative of domination to one of gathering, holding and sharing, this can bring another view on society and a new vision of togetherness. Medicine Bundle reproduces the shape of a Native American medicine bundle, a container for items believed to protect or give spiritual powers to its owner. These bundles were usually made from leather and stitched with sinew or rawhide lace so that they could be worn or hung. The sculpture represents a net-like structure of ropes made of paper strips from old flour sacks; inside, flakes of PET, Tetra Pak, and cardboard have been suspended with the threads that were used to close the flour sacks. The use of only recycled materials makes it possible to reflect on the importance of a respectful use of resources and the influence of our consumer choices on the environment. Medicine Bundle tells the story of recovering and upcycling our waste and invites the viewer to fill the bag with a new narrative that encourage to build a different world.

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。她的作品挑战了社会规范，用既是本色的、又带有表演性质的行为向当下中国社会的价值与身份问题发问，对当下的相关性别问题作出了新的阐释。“女权主义”从来就不是曹雨所喜欢的，恰恰相反，她希望以更加强有力及幽默智慧的转化方式去探讨最能戳中人心的人性母题。新作《胸中之物》(2020，c-print，公牛心脏，纹身虎头，艺术家本人，120 x 135 cm)呈现的是艺术家本人不易辨别性别的中性身体，手捧一颗纹着老虎头的巨大公牛心脏。有人把强悍纹在身上，有人却将野心铭刻于心里，她期望心有猛虎，便可无畏前路。

Cao Yu’s (*1988 in Liaoning, China) work spans a diverse range of media that includes video, installation, performance, photography, sculpture and canvas art. With her distinctive interdisciplinary practice, sharp and bold artistic language, she has become one of the leading young artists in the field of Chinese contemporary art. Her work challenges propriety and other social conventions, questions the value and identity of current Chinese society using an approach that is not only inherent but also performative, also shedding new light on relevant and timely women’s issues. However, “Feminism” has never been the artist’s interest. To the contrary, she prefers more powerful, wise and humorous transformation to explore the most piercing motifs of human nature. Among her most recent works, The Thing In the Chest (2020, c-print, bull’s heart, tiger head tattoo, the artist, 120 × 135 cm) portrays the same androgynous figure—the artist herself—holds up a giant bull’s heart tattooed with the head of a tiger. She yearns for a fierce tiger in her own heart, so that she can press forward without fear.

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。鞠婷毕业于版画系，她将版画专业学习到的技法转化为自己独特的艺术语言。鞠婷的实践难以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。然而，层叠的色彩以及由手工或工具辅助施加在颜料上的力量视觉化了一种无法言说的现实，即系统的、时刻包含不确定性的形式探索所表现的物质现实。我们将于展位上展出其最近的《凛冬将至》系列。艺术家利用丙烯颜料随温度会软硬变化的特别属性，在温暖的室内层层叠加覆盖后放置在严寒的室外，敲击碎裂，揭示出内层丰富的色彩。与其《珍珠》、《无题》系列不同，新的作品的空间和时间转换更加清晰，也使得作品冷峻而绚丽。

Ju Ting’s (*1983 in Shandong, China) work is characterized by the fusion of two traditional art media—painting and sculpture, and the blurring of the boundary between the two. From the printmaking background, Ju Ting applies tools and technics trained in her education, and transfers them into her own unique language. Her practice can hardly be classified as abstract painting, though she has clearly excluded representational content from her work process. Yet the layers of color and the various forces applied to them both by hand and by tool have visualized an indescribable, even obscure reality, a material reality presented through systematic explorations marked by constant uncertainty. At our booth this year, we will present one work from her most recent series “Winter is Coming”. Similarly employing the unique thermal properties of acrylic, Ju Ting applies multiple layers of acrylic in a warm room, and then places the outcome in the cold outdoors. In the end she smashes the surface to reveal rich arrays of color beneath. Comparing to her “Pearl” and “Untitled” series, Winter is Coming brings clarity to the work’s transformation of space and time, while making the picture brutal and resplendent.

邱世华（1940年生于四川资中）的绘画超越理性范畴，更多的是感官上的内心的风景，有无相生，在可见与不可见之间，在足够耐心的凝视之下，图像若隐若现。邱世华的作品弥漫着“虚空”的韵味，在感知、耐心和沉思中，风景显现。

Inscribed within the ambivalence of shape and non-shape, image and non-image, Qiu Shihua’s (*1940 in Zizhong, China) paintings are sensations beyond rational understanding. They reveal themselves solely in the imminent contemplation of a vast perceptual field which persistently eludes conceptual comprehension. At first glance, notwithstanding the figurative elements they contain, his paintings radiate a “void”. Qiu’s landscapes confide their meaning through perception and patience, through contemplation only.

个展展位 / Solo Booth

高嫣（Rebekka Steiger，1993年生于瑞士苏黎世）是瑞士当代艺术圈里最让人期待的年轻画家之一。她的绘画体现了一种心态，决心随波逐流，抑或不受概念主义和过度思考的束缚。她的实践是一种自然的行为，一种结合身体和灵魂、物质和概念、具象和抽象的自发需要。在她的绘画中，熟悉的场域开始陌生化。受到日本水墨画的启发，她尝试了水墨、蛋彩和油画的相互作用，根据材料的特质产生独特的效果。形式和颜色的融合生成了迷人的风景，进入流动的现实中。她的视觉语言让人质疑已被感知之物是否可以发展成未知之物。

The pioneering Swiss artist Rebekka Steiger (*1993 in Zurich, Switzerland) embodies painting as a state of mind, determined to go with the flow and without being subjugated by conceptualism and overthinking. Her practice is a natural act, a spontaneous need that combines body and soul, matter and concept, figuration and evocation, a field where the familiar grows alien. Inspired by Japanese ink paintings, she experiments with the interplay of ink, tempera, and oil paint that yield unique effects based on the materials’ various textures. The blending of forms and colors evokes fascinating landscapes, guiding into fluid realities. Her visual language brings into question whether the perceived is sufficient or can develop into a yet unknown.

我们也很荣幸地宣布艺术家
高嫣（Rebekka Steiger）
荣获“Prix Solo artgenève – F.P. Journe”奖项

We are pleased to announce
Rebekka Steiger
was awarded "Prix Solo artgenève – F.P. Journe"