Shanghai Exhibition Center
Galerie Urs Meile is honored to announce its participation in the 2022 Shanghai ART021 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 mature 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。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。她近期也受邀参加了在德国沃尔夫斯堡博物馆举办的女性艺术家群展“Empowerment/赋权”。我们将于本次博览会展出曹雨的新作《画饼 No.1》（2022，布面油画，160 x 160 cm），艺术家画了一张新出炉冒着油花的逼真的饼。知名艺术家的“作品”总是值钱的，当有人心甘情愿花真金白银去买下这所谓的“假饼”，“假饼”也成了“真饼”。
Cao Yu’s (b. 1988, Liaoning) creations span photography, short film, multimedia installation, performance, sculpture and on-canvas art. Her work challenges propriety and other social conventions, and questions the value and identity of current Chinese society using a way that is not only inherent but also performative. She was also recently invited to participate in the group exhibition “Empowerment” of female artists at the Kunstmuseum Wolfsburg in Germany. We will present her latest painting Drawing a Pancake No. 1 (2022, oil on canvas, 160 × 160 cm). The artist used the method of painting to paint a cake with oily flowers, which is so realistically presented in front of your eyes. The “works” of famous artists are always valuable, when someone is willing to spend real money to buy this so-called “fake cake”, “fake cake” thus becomes the “Real” one.
曹雨，《画饼 No. 1》，2022，布面油画，160 x 160 cm
Cao Yu, Drawing a Pancake No.1, 2022, oil on canvas, 160 x 160 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.
陈作，《靴子 No.1》, 2020，布面油画，61.5 x 50 cm (画芯尺寸), 64 x 52.5 cm (外框尺寸)
Chen Zuo, Boots No.1, 2020, oil on canvas, 61.5 x 50 cm (painting), 64 x 52.5 cm (framed)
As a conceptual sculpture artist, Hu Qingyan (b. 1982, Shandong) has continued to explore form, medium, and representation over the years. We will present a series of new marble works. He chose marble—a neutral, cold material—as the medium to transform and reproduce the original proportions of the surrounding objects. These marble pieces are not just an expression of individual sentiments, but observation and introspection of a public nature. At the same time, Hu Qingyan’s latest solo exhibition “2023” will be opening soon on November 18 at Galerie Urs Meile Beijing.
胡庆雁，《废物 II - A》，2022，大理石，38 x 38 x 27 cm
Hu Qingyan, Waste II - A, 2022, marble, 38 x 38 x 27 cm
Ju Ting’s (b. 1983, Shandong) works possess traits of both painting and sculpture, and blur the lines between these two traditional mediums. At the fair, we will be presenting her latest “Amber” and “Winter is Coming” series. The “Amber” series marks an evolution and progression in creative methods from previous series. Colorful geometric images appear in the picture for the first time, appearing from a distance to be spatial illusions caused by the refraction of light within gemstones. Up close, the complex, saturated details produce an enchanting visual effect, dispelling previous visual impressions of figuration.
鞠婷，《琥珀 092822》，2022，木板丙烯，112 x 109 x 5 cm
Ju Ting, Amber 092822, 2022, acrylic on board, 112 x 109 x 5 cm
我们还将展示李钢（1986年生于云南大理）极具代表性的手工布面油画《20170122》（2017-2022，手工布面油画，143 x 143 cm）。他的绘画游走于具象与抽象之间，潜隐着艺术家对绘画主体的深层反思。李钢通过在这些质地粗糙、颗粒粗大的画布上堆积、涂抹颜料，组织画面，处理画布的自身结构和颜料的咬合以及画底和画布的关系。
We will also present Li Gang’s (b. 1986, Dali, Yunnan) representative oil painting 20170122 (2017–2022, oil on hand-made canvas, 143 × 143 cm). His paintings travel between the figurative and the abstract, concealing the artist’s deep reflection on the subject of the painting. By accumulating paints on these rough-textured canvases, Li Gang organizes the structure of the picture, dealing with the canvas’s own texture and the combination of the paints in a very unique way.
李钢，《20170122》，2017-2022，手工布面油画，143 x 143 cm
Li Gang, 20170122, 2017-2022, oil on hand-made canvas, 143 x 143 cm
Miao Miao’s (b. 1986, Henan) works revolve around the interior and exterior of everyday life, dominated by color and form, and blend with literature to articulate chaos. Miao Miao realizes the exploration of time and moment through painting. Meanwhile, she presents a lot of daily life of self-confrontation outside herself. Her paintings can be seen as a reordering of time. Her interest lies in maintaining and perfecting the relationship of time, but in the final expression, time is often staggered or distorted, while real-life scenes are erased.
苗妙，《水果店之吻》，2022，油、蜡、色素在画布上，50 x 70 cm
Miao Miao, It started with a kiss, 2022, oil, wax, pigment on canvas, 50 x 70 cm
Qiu Shihua’s (b. 1940, Sichuan) faint color 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
邱世华，《无题》，2017，布面油画，83 x 147 cm
Qiu Shihua, Untitled, 2017, oil on canvas, 83 x 147 cm
我们还将展出诺特·维塔尔（1948年生于瑞士）的油画作品《Child》（2010，布面油画，80 x 60 cm（画芯尺寸），95 x 75 x 8 cm（外框尺寸））。诺特·维塔尔在亚洲的首个绘画展“十幅画”于今年秋季在麦勒画廊北京举办。这些采用中国“写意”手法创作的人物肖像画是艺术家过去十年在北京工作室完成的。艺术家宣称每具身体都环绕着一个“光环”，甚至承认他对颜色的选择和空间的使用使得他的人物在某种程度上“鬼魅”，但驳斥了它们属于“精神”的概念 。
We will also present the oil painting Child (2010, oil on canvas, 80 × 60 cm (painting), 95 × 75 × 8 cm (frame) ) by Not Vital (b. 1948 in Switzerland). Not Vital’s first painting exhibition in Asia 10 Paintings was held this fall at Galerie Urs Meile Beijing. These portraits were completed in the artist’s Beijing studio over the past ten years. Although Vital has declared each body to have an ‘aura’ and even acknowledged that his choice of colour and use of space makes his figures somehow ‘ghostly’, he accepts but refutes the notion that they are ‘spiritual’.
诺特·维塔尔，《Child》，2010，布面油画，80 x 60 cm（画芯尺寸），95 x 75 x 8 cm（外框尺寸）
Not Vital, Child, 2010, oil on canvas, 80 × 60 cm (painting), 95 × 75 × 8 cm (frame)
Xie Nanxing (b. 1970, Chongqing) is very interested in psychology, and he often questions what lies behind the surface in a psychological way to achieve his artistic practice path. He reflects on the traditional portrait painting genre, and his portrayal of characters is different from the usual way of depicting the appearance of a character, but through a story, composition, or color to shape the characteristics of the character.
谢南星，《某人肖像》，2019，布面油画，120 x 80 cm
Xie Nanxing, Someone's Portrait, 2019, oil on canvas, 120 x 80 cm
杨牧石（1989年生于江西）近年来开始使用不锈钢进行新的艺术实践，他的作品聚焦于处理材料、形式、时间与现实的关系。我们此次将展出其最新装置作品《焊连-条》（2021-2022，不锈钢回收件，97 x 33 x 6 cm）。在他对社会景观的切割与叠置中，个体与集体、消费与生产、自由与限制、全球化发展中的危机以及多元文化间的碰撞被重新审视。
Yang Mushi’s (b. 1989, Jiangxi) has begun to use stainless steel in recent years. His works focus on dealing with the relationship between material, form, time, and reality. We will exhibit his latest installation work Welding–Stripe (2021–2022, recycled stainless steel, 97 × 33 × 6 cm). In his cutting and overlapping of social landscapes, the individual and the collective, consumption and production, freedom and restriction, the crisis in the development of globalization, and the collision between multiculturalism are re-examined.
杨牧石，《焊连-条》，2021-2022，不锈钢回收件，97 x 33 x 6 cm
Yang Mushi, Welding–Stripe, 2021–2022, recycled stainless steel, 97 x 33 x 6 cm
In the paintings of Zhang Xuerui (b. 1979, Shanxi), each square of color is linked to its neighbors by barely perceptible shifts in gradient, creating a sense of a field of undifferentiated vapor. “Heart” is one of the visual elements that the artist has often used. In the latest series Some Day Some Month Some Year·Handwritten Letters, she cut out small but many heart-shaped figures from the fabric and then arranged them into new patterns in a way similar to handwritten letters.
张雪瑞，《某年某月某日·手书 M1》, 2022，手工纸上水彩、黑色墨水、布、大头针，58 x 38 cm
Zhang Xuerui, Some Day Some Month Some Year · Handwritten Letters M1, 2022, watercolor, black ink on handmade paper, cloth, pin, 58 x 38 cm
Follow our upcoming exhibition at Galerie Urs Meile Beijing:
Galerie Urs Meile Beijing
Hu Qingyan, 2023
We look forward to seeing you at our Booth E02-2 and at our gallery in Beijing.