【瑞士展讯】“胡庆雁：不要出声” | 将于2月2日麦勒画廊瑞士苏黎世开幕

麦勒画廊荣幸地宣布我们将在画廊苏黎世空间举办艺术家胡庆雁（1982年生于山东）的最新个展“不要出声”。在本次展览中，胡庆雁选择了冰冷、中性而又静穆的大理石为展览所有作品的唯一创作材料，在此基础上展开了艺术家对社会现实和个体情感等方面的个人化表达。艺术家的创作物除却对雕塑内部问题的讨论，更是将我们引入对社会、哲学和政治的多维探索，思考艺术与现实以及生命之间的或实或幻的复杂关系。

本次展览将集中呈现胡庆雁的最新创作，也是艺术家对造型、媒介以及复制、转换所进行的持续而深入的探索。这些时而坦率，时而富含隐喻的作品展现了艺术家对周遭现实的所见所感，同时也延续了其对 “空”这一主题乐此不疲的持续探索。

胡庆雁，《寂静的世界 XXI》，2023，大理石，43 × 71 × 46 cm
Hu Qingyan, The World of Silence XXI, 2023, marble, 43 × 71 × 46 cm

大理石雕刻的瓦楞板箱如礼物般堆叠、或如废品般被碾压平展，置放于木质托盘或直接丢弃于地面上，树立起一尊尊令人不安的、空无、泛滥的消费主义纪念碑。《寂静的世界》系列则为中性、冰冷的材料注入了柔软、私密化的情感，同时也凝聚并转化了艺术家对周糟社会的感知。它既是对公共现实的观察和反思，也是对雕塑语言本身所进行的哲思。《废品》系列使用大理石呈现了一系列使用过后被碾平的快递箱的不同形态。那些使用的痕迹似乎表明它们的命运终将沦为废品。内在被掏空，只留下一个躯壳，被悬挂于墙面，静静地打量着这个世界。胡庆雁作品中的一个重要主题就是“空”——这也是近年来他的作品中反复出现的主题。

在过去十余年的艺术创作中，胡庆雁一步步从写生的“像”走向了真实的“象”——“象”是外貌之“像”的内在，更是创作者的心中之“象”，是对现实的个人化认知的真实。艺术家如匠人般孜孜不倦地对世界进行模仿并不动声色的加以转换，巧妙再现了生活中的寻常之物并给予它们被重新观看和审视的契机。

一大片蓝色《地上的蓝色》（2022，汉白玉，水性漆，每件68 × 68 cm，装置尺寸可变）蔓延于整个展厅，几乎没给观众留下任何舒适的行走空间，如鲠在喉，既不能吞咽，也无法吐出。这一作为工厂屋顶的彩钢板普遍存在于中国，尤其在飞机上往下俯瞰时便会一目了然。在特殊时期，这一围挡板的蓝色也曾是全国大街小巷甚至社区里人们最常见的颜色。艺术家将这一巨大的装置平摊于地面，视觉和物理上的拥堵感以及规定甚至阻碍了观者行走路径的强迫感瞬间弥散开来。

胡庆雁，《地上的蓝色》，2022，汉白玉、水性漆， 装置尺寸可变，每件 68 × 68 cm，局部
Hu Qingyan, Blue on the ground, 2022, white marble, water paint, installation size variable, each 68 × 68 cm, detail

作为观念雕塑家，胡庆雁选择石头这一美术史的经典材料进行了他的现实介入，在这些静默的视觉背后，蕴藏着无声的呐喊，和庄严、静穆的指引，鼓励着观者对我们所处的时代和所置身的社会进行深层的审视和表达。

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Galerie Urs Meile Zurich is honored to announce the first solo exhibition of the Chinese artist Hu Qingyan (b. 1982, Shandong Province), titled Keep Silent, at our gallery space in Zurich. In this exhibition, Hu Qingyan has chosen marble, perceived commonly as cold, neutral and solemn, as the sole material for all of the artworks on display. Beyond their discussion of questions internal to sculpture, these creations lead us into multidimensional explorations of society, philosophy, and politics through which to ponder the complex substantive relationships between art, reality, and life.

The exhibition is a concentrated presentation of the artist’s latest creations, showcasing the artist’s sustained engagement in his increasingly in-depth explorations of form, medium, reproduction, and transformation. These works, sometime frank, sometime suggestive, embody the reality Hu perceives around him, while continuously exploring the themes of “emptiness”.

胡庆雁，《废品 V - C》，2023，大理石，63 × 82 × 4 cm
Hu Qingyan, Waste V - C, 2023, marble, 63 × 82 × 4 cm

胡庆雁，《寂静的世界 XXI》，2023，大理石，43 × 71 × 46 cm，局部
Hu Qingyan, The World of Silence XXI, 2023, marble, 43 × 71 × 46 cm, detail

In over a decade of artistic creations, Hu Qingyan has gradually shifted from a “semblance” drawn from life to a true “semblance”—this semblance being the internalization of the external appearance, the “semblance” within the mind of the creator, the truth of individualized cognition. Like a craftsman, the artist tirelessly imitates and effortlessly transforms the world, nimbly recreating ordinary things so that they may be examined and observed anew.

A large expanse of blue— Blue on the ground,  (2022, white marble, water paint, each piece 68 × 68 cm, installation size variable)—stretches across the ground in the exhibition space downstairs, leaving hardly space for a comfortable stroll around the subject, like a hard fishbone stuck in the throat that can neither be swallowed nor spit out. The colour of the barrier fencing has become such a common sight during the unique period in Chinese history. The artist has laid out this massive installation obstructing the path to form a visual and physical sense of blockage, the feeling of being forced down a set path.

胡庆雁，《地上的蓝色》，2022，汉白玉、水性漆， 装置尺寸可变，每件 68 × 68 cm，局部
Hu Qingyan, Blue on the ground, 2022, white marble, water paint, installation size variable, each 68 × 68 cm, detail

As a conceptual sculptor, Hu Qingyan has chosen marble, a classic art historical material, for his interventions upon the reality. Behind this visual humour lurks a silent shout, a solemn, tranquil beckoning for us to engage in deep examination and expression of our unique era and the state of society around us.

Hu Qingyan was born in 1982 in Weifang, Shandong Province, China and studied sculpture at the Guangzhou Academy of Fine Arts in Guangzhou and the Central Academy of Fine Arts in Beijing. He lives and works in Beijing. His recent solo exhibitions include: 2023, Galerie Urs Meile, Beijing, China (2022); Necessary Redundancy: Hu Qingyan solo exhibition, Guangdong Museum of Art, Guangzhou, China (2020); Absent & Superfluous, Galerie Urs Meile, Beijing, China (2018); Hollow Husk, Galerie Urs Meile, Lucerne, Switzerland (2016); Eternal Glory, Galerie Urs Meile, Beijing, China (2015). A selection of his most recent group shows include: THE EXHIBITION OF ANNUAL OF CONTEMPORARY ART OF CHINA SHANGHAI 2022, Shanghai Doland Museum of Modern Art, Shanghai, China (2023); SWIRL · The 8th stars plan young Artists Research Exhibition, Wuhan Art Museum (Qintai), Wuhan, China (2023); The 7th Guangzhou Triennial, Symphony of All the Changes, Guangzhou Academy of Fine Arts, Guangzhou, China (2022); M+ Sigg Collection: From Revolution to Globalisation, M+ Museum, Hong Kong, China (2021); The Memory Palace, OCT Art & Design Gallery, Shenzhen, China (2021); Golden Flow, Beijing Contemporary Art Expo 2020, CHAO Art Center, Beijing, China (2020); Jing’an International Sculpture Project, Jing’an sculpture Park, Shanghai, China (2020); Roots of Clouds Adrift, OCAT Nanjing Public Art Project 2019, OCAT Nanjing Qixia Exhibition Site, Nanjing, China (2019); Progress Every Day, Annual Nomination Exhibition 2019, ZhuZhong Art Museum, Beijing, China (2019); Encounter Asia – Multi-vision of Youth, Museum of Sichuan Fine Arts Institute, Tank Loft, Chongqing Contemporary Art Center, Chongqing, China (2018); Forty Years of Sculpture · Part 1 (2008-2017), Museum of Contemporary Art & Planning Exhibition, Shenzhen, China (2017); The 3rd Today’s Documents – BRIC-á-brac: The Jumble of Growth, Today Art Museum, Beijing, China (2016); Shut up and paint, National Gallery of Victoria, Melbourne, Australia (2016); The Exhibition of Annual of Contemporary Art of China, Beijing Minsheng Art Museum, Beijing, China (2016); M+ Sigg Collection: Four Decades of Chinese Contemporary Art, ArtisTree, Hong Kong, China (2016); Familiar Otherness: Art Across Northeast Asia, Hong Kong Arts Center, Hong Kong, China (2015); 28 Chinese, Rubell Family Collection/ Contemporary Arts Foundation, Miami, USA (2013); Building Bridges – Zeitgenössische Kunst aus China, Wolfsberg, Ermatingen, Switzerland (2013). His works can be found in the collection of many museums and institutions including National Gallery of Victoria in Melbourne, M+ Sigg Collection, Guangdong Museum of Art, Rubell Family Collection, Today Art Museum, K11 Art Foundation, Song Art Museum, He Art Museum (HEM) and White Rabbit Gallery.

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