麦勒画廊@巴塞尔艺术展香港展会 1D15 & Kabinett（策展角落）

Kabinett 
胡庆雁 Hu Qingyan
寂静的世界
The World of Silence

贵宾预展 | Private Days
3.21 (Tues.) 12:00 - 20:00
3.22 (Wed.) 12:00 - 17:00
3.23 (Thur.) 12:00 - 14:00
3.24 (Fri.)   12:00 - 14:00
3.25 (Sat.) 11:00 - 12:00

开幕式 | Vernissage
3.22 (Wed.) 17:00 - 21:00

仅限邀请 by invitation only

公众日 | Public Days
3.23 (Thur.) 14:00 - 20:00
3.24 (Fri.)    14:00 - 20:00
3.25 (Sat.)   12:00 - 18:00

艺廊荟萃

Galleries

麦勒画廊荣幸地宣布我们将参加2023年巴塞尔艺术展香港展会。我们将于展位中展出我们代理的成熟及新锐的中国、瑞士、意大 利艺术家，包括马里昂·巴鲁克（Marion Baruch）、米尔科·巴泽吉亚（Mirko Baselgia）、曹雨、陈作、鞠婷、李钢、乌尔斯·吕蒂（Urs Lüthi）、苗妙、邱世华、邵帆（昱寒）、高嫣（Rebekka Steiger）、诺特·维塔尔（Not Vital）、王兴伟、谢南星、杨牧石和张雪瑞的新作。此外，我们还将于“策展角落”（Kabinett）展区展出胡庆雁使用大理石创作的一系列新作。
Galerie Urs Meile is pleased to announce our participation in this year’s Art Basel Hong Kong and will take the opportunity to present a selection of new works by established and emerging Swiss, Chinese and Italian artists such as Marion Baruch, Mirko Baselgia, Cao Yu, Chen Zuo, Ju Ting, Li Gang, Urs Lüthi, Miao Miao, Qiu Shihua, Shao Fan, Rebekka Steiger, Not Vital, Wang Xingwei, Xie Nanxing, Yang Mushi and Zhang Xuerui. At the same time, Hu Qinyang’s most recent marble works will also be exhibited in the Kabinett section.

曹雨（1988年生）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。2022年9月，她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”，该展览汇聚了不同的女性主义方案，并将其视为用艺术手段分析不同的社会的先进的方法。曹雨在最新的绘画中巧妙而直白地探讨了具有社会批判性的诸多议题。
Cao Yu’s (b. 1988) work spans a diverse range of media that includes video, installation, performance, photography, sculpture and painting. 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. In September 2022 Cao Yu participated in the international group exhibition “Empowerment” at the Kunstmuseum Wolfsburg (GER), which gathers diverse feminist approaches whilst understanding them as progressive methods to analyse the societies of the world with the means of art. In her latest paintings she skilfully addresses socio-critical themes with a shocking directness.

一个形状、一块颜色、一个物体，甚至一段记忆都可能成为陈作（1990年生）绘画的灵感。陈作的画作不仅技法精准、构图平衡，而 且情感丰盈，尤其在他2021年开始创作的以雪景为题材的系列作品中清晰可见。陈作来自中国湘西，然而在美院附中求学期间便开始在北京生活。北方严冬的萧瑟与寒冷对他来说具有独特的意义。在他心中，冬天并非阴郁孤寂，而是充满浪漫的。他所描绘的雪景丰富、厚重、温暖、多彩，他将自然和半透明的颜色层层堆叠，在造型和构图上也经过反复推敲。陈作的第一次个人展览“林中造屋”将于4月8日在麦勒画廊北京开幕。
A color, an object, a memory or even a feeling can become the inspiration for a new painting of Chen Zuo (b. 1990). His paintings are not only characterized by precise technique and balanced composition, but also full of emotion, well visible in his “Snowscapes”, a series he pursues since 2021. Being from the south of China and encountering cold temperatures late in life, winter has a special meaning for him and embodies a exceptional, sensual experience. Chen Zuo does not see winter as gloomy and lonely, but full of romance. The snow depicted is by no means a single white, but rich, thick, warm and full of colors, which the artist skillfully expresses through the overpainting technique of classical painting. He knows how to layer natural and translucent colors to increase the thickness of the work and create a relationship between form and color and the different layers. Chen Zuo’s first solo exhibition The Unbeatable Winter will be launched at Galerie Urs Meile in Beijing on April 8.

陈作，《野狗》，2018-2023
布面油画
180 × 180 cm
Chen Zuo, wild dogs, 2018-2023
oil on canvas
180 × 180 cm

邵帆（昱寒，1964年生）在当代艺术中有着独特的地位，他将中国的艺术和文化传统与西方艺术的当代语汇相结合，以古典水墨为手法，但不囿于传统题材。他从中国传统文化比如兔子和猴子中汲取灵感，并将他所描绘的主体刻画为纪念碑式的形象，直面观者，在岁月的流逝中抵达永恒。2020年初，他在荷兰北布拉班特博物馆举办了大型个展，并参加了2021年于沙特阿拉伯揭幕的首届迪里 耶当代艺术双年展。
Shao Fan (b. 1964) holds a unique position in contemporary art because he combines the artistic and cultural traditions of China with the contemporary vernacular of Western art. He uses classical ink drawing as his painting technique without tying himself down to the traditional motifs. He transfers his motifs onto monumental formats, drawing subjects from Chinese culture such as the hare or the monkey. They aim to confront the viewer with the process of decay and result in timelessness. Beginning 2020, he had a major solo exhibition at Het Noordbrabants Museum, Netherlands, and got selected for the first Diriyah Contemporary Art Biennale in Saudi Arabia in 2021.

邵帆，《以兔之名 20-15 金》，2020
宣纸上水墨
292 × 272 cm（带框）（4件，每件尺寸146 × 136 cm（带框））
Shao Fan, In the Name of Rabbit (Gold) 20-15, 2020
ink on rice paper
292 x 272 cm (framed) (4 pieces, each 146 x 136 (framed))

瑞士艺术家高嫣（Rebekka Steiger，1993年生）的水墨画通过随机/控制以及直觉/安全的相互作用呈现了意想不到的视觉效果。高嫣是一位将绘画视为一种心境的艺术家，她不受任何观念、流派的束缚，也没有过多的反复思考，而是顺其自然。在北京参加艺术家驻留项目期间，她受到了日本水墨画和中文的模棱两可性的启发。从那之后，她尝试了水墨、蛋彩画和油画颜料，各种材料的不同质地创造出独特的视觉效果。在形状和色彩的交融中，打开了一个令人着迷的世界。她的视觉语言背后是对未知的好奇与天马行空的探索。2022年10月开始，高嫣在越南进行驻地艺术创作。
The delicate ink paintings of Swiss artist Rebekka Steiger (b. 1993) achieves unexpected visual results through the interplay of chance/control and intuition/safety. Steiger is an artist who embodies painting as a state of mind, determined to go with the flow without being constrained by conceptualism and overthinking. During her artist residency in Beijing, she was inspired by Japanese ink painting and the linguistic ambiguities of Chinese. Since then, she has experimented with ink, tempera and oil paint, creating unique effects due to the different textures of the materials. The fusion of shapes and colors results in a fascinating world. Her visual language suggests a progression into the unknown and sets no limits to one’s imagination. Since October 2022 Steiger is staying in Vietnam as an artist in residence.

Rebekka Steiger，《赏石》，2022
布面丙烯、水墨、油画
200 × 150 cm
Rebekka Steiger, 《赏石》, 2022
oil, acrylic and ink on canvas
200 × 150 cm

王兴伟（1969年生）对那些晦涩、不相干、荒诞、庸俗、滑稽的场景尤为感兴趣。他编排的场景经常出人意料、不着边际，但又有着迷人的超现实感。尤为重要的是要从更广泛的语境中解读王兴伟创作中的多元主题，以及他在多种绘画风格之间的灵活转换。他的早期作品包含一些与西方艺术史经典的对话，和对中国本土艺术环境的忧虑和批评。在创作中期他开始形成一种独特的风格，并继续探索绘画中的基础问题，包括有意识的转换和图像的重复。2002年至2008年期间，他于上海定居，也是在这段时间，他创作了一批具有开创性意义的代表作。展览“王兴伟在上海2002–2008”正是聚焦于这段时期的作品，该展览于2022年夏季在上海当代艺术博物馆展出，展出了他和艺术家朋友们同时期的作品。
Wang Xingwei (b. 1969) often depicts scenes that are ambiguous, irrelevant, absurd, vulgar, scandalous, and laughable. His plots are often unexpected, far-fetched, and yet charmingly surreal. It is important to interpret the diverse themes of Wang Xingwei’s works, and his agile pivoting between a wide variety of painting styles, from within a wider context. His early work includes dialogues with classics of Western art history and skepticism and criticism of the local Chinese art scene. After entering the middle of his artistic career, he has gradually developed a unique style and continues the exploration of the fundamentals of painting, including conscious transmission and the repetition of images. After being based in Shanghai from 2002 to 2008, where Wang Xingwei created some of his most groundbreaking paintings; the Power Station of Art in Shanghai opened the first institutional survey focusing on this period showcasing Wang’s paintings alongside other artist peers of his time in Summer 2022.

王兴伟，《热恋》，2022
布面油画
240 × 200 cm
Wang Xingwei, Passionate Love, 2022
oil on canvas
240 × 200 cm

策展角落

Kabinett

胡庆雁：寂静的世界
Hu Qingyan: The World of Silence

作为观念雕塑艺术家，胡庆雁（1982年生）多年来对雕塑的理解一直在发展、深入。他对于再现和空间的想法是基于对雕塑媒介的扩展定义，他用自己的自主概念挑战观众。胡庆雁的作品和形态或直率，或诙谐，形成了独特而出人意料的艺术语言，启发观者对日常之物的反思。在急速发展的中国，戏剧性的现实在日常生活中真实上演。胡庆雁此次特意选择了冰冷、中性的大理石作为媒介对 周遭之物进行原比例的转化和再现，从而将我们引入对于雕塑内部的关注，以及关于社会、哲学和政治的多维探索，思考艺术品与艺术家、艺术与生活和生命之间的或实或幻的复杂关系。
Hu Qingyan’s (b. 1982) understanding of sculpture, whilst using a conceptual approach, is ever developing. His ideas on representation and space are based on an expanded definition of the medium of sculpture and he challenges his viewers with his autonomous concepts. Hu Qingyan’s works and forms, sometimes frank, sometimes humorous, have come together into a distinctly individual artistic language that encounters the unexpected, while inspiring the viewer to reflect on everyday convention. In rapidly developing China, dramatic and magical realities are everywhere. Hu Qingyan chooses his usual marble—a mostly neutral and cold material—as a medium to transform and reproduce the original proportions of surrounding objects, leading our attention to the sculpture’s interior and essence, as well as the multidimensional exploration of society, philosophy, and politics, finally ushering the thinking about the complex relationship between artwork and artist, art and life.

胡庆雁，《塔》，2022
大理石
181 × 50 × 47 cm
Hu Qingyan, Tower, 2022
marble
181 × 50 × 47 cm


请您关注麦勒画廊北京部、卢森部当前及即将开幕的展览：
Please note the current exhibitions at Galerie Urs Meile in Beijing and Lucerne:

我们期待您的莅临！
We are looking forward to your visit.