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【艺博会】麦勒画廊@上海廿一当代艺术博览会 | E02-2展位

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贵宾预览 VIP Preview
2022.11.10-11

公众开放PublicDays
2022.11.12-13

展会地点 Venue
上海展览中心
Shanghai Exhibition Center


Booth E02-2



麦勒画廊荣幸地宣布我们将参加2022年上海廿一当代艺术博览会。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 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.

【艺博会】麦勒画廊@上海廿一当代艺术博览会 | E02-2展位 崇真艺客
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


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,并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.

【艺博会】麦勒画廊@上海廿一当代艺术博览会 | E02-2展位 崇真艺客
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)


作为观念雕塑艺术家,多年来,胡庆雁(1982年生于山东)对形态、媒介以及再现进行着持续不断的探索。本次博览会展出的是他用大理石创作的一系列新作。他选择了大理石——中性、冰冷的材料——作为媒介对周遭之物进行原比例的转化与再现。这些极简而质朴的石雕物件不仅是某种个人化的情绪表达,更是具有公共性的观察和内省。与此同时,胡庆雁最新个展“2023”也将于11月18日在麦勒画廊北京拉开帷幕。

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.

【艺博会】麦勒画廊@上海廿一当代艺术博览会 | E02-2展位 崇真艺客
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

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。我们此次将展出鞠婷最新创作的 《琥珀》及《凛冬将至》系列。和前几个系列相比,“琥珀”系列在创作方式上得到了演化和递进。“琥珀”系列的画面上首次出现了彩色几何形象,远处看起来像是宝石内光线折射的空间幻觉。走近时,复杂而饱和的细节形成迷人的视觉效果,将之前具象的视觉印象打散消弭。
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.

【艺博会】麦勒画廊@上海廿一当代艺术博览会 | E02-2展位 崇真艺客
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.

【艺博会】麦勒画廊@上海廿一当代艺术博览会 | E02-2展位 崇真艺客
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


苗妙
(1986年生于河南)的作品围绕日常生活的内部与外部展开,痴迷、迂回于颜色与形状,掺杂文学性并试图清晰地描述混乱。苗妙通过绘画实现当下的探险,在自己的外部呈现大量自我对峙的日常生活。她的绘画可以被看作是对时间的扭曲和重新排序。她的兴趣在于维持和完善时间的关系,但在最后的表达中,时间往往是交错或扭曲的,而真实的生活场景却被抹去了。
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.

【艺博会】麦勒画廊@上海廿一当代艺术博览会 | E02-2展位 崇真艺客
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


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) 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

【艺博会】麦勒画廊@上海廿一当代艺术博览会 | E02-2展位 崇真艺客
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’.

【艺博会】麦勒画廊@上海廿一当代艺术博览会 | E02-2展位 崇真艺客
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)


谢南星
(1970年生于重庆)对心理学颇有兴趣,往往以心理学质疑的方式去质询表面背后的东西,从而达成他的艺术实践路径。他对传统肖像画流派进行反思,他人物的刻画不同于惯常的描绘人物容貌的方式,而是通过一则故事、构图或者色彩来塑造人物性格。在每一件肖像作品中,谢南星的绘画路径都有所不同。
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.

【艺博会】麦勒画廊@上海廿一当代艺术博览会 | E02-2展位 崇真艺客
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.

【艺博会】麦勒画廊@上海廿一当代艺术博览会 | E02-2展位 崇真艺客
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


张雪瑞
(1979年生于山西)的绘画中每一格的色块与邻格之间以不易察觉的渐变关系组接在一起,阵列出混沌空无的整体雾化的色晕。繁复的劳作是张雪瑞创作的主要方式。细腻的感情也贯彻在张雪瑞用日常用的织物完成的作品中。“心形”是艺术家多年来在作品里经常会用到的视觉元素之一。在最新的《某年某月某日·手书》系列中,小而多的心状图形被她从织物上剪取下来,再以类似书写或阵列的方式,编排或编织成新的图式。
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.

【艺博会】麦勒画廊@上海廿一当代艺术博览会 | E02-2展位 崇真艺客
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




请您关注麦勒画廊北京部即将开幕的展览:
Follow our upcoming exhibition at Galerie Urs Meile Beijing:

麦勒画廊 北京部
Galerie Urs Meile Beijing
胡庆雁,2023
Hu Qingyan, 2023
2022.11.18–2023.2.26

我们期待您莅临我们的展位E02-2和北京画廊。
We look forward to seeing you at our Booth E02-2 and at our gallery in Beijing.


【艺博会】麦勒画廊@上海廿一当代艺术博览会 | E02-2展位 崇真艺客

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