Online Viewing Room
March 13 - 25, 2020
Galerie Urs Meile, Beijing - Lucerne

Marion Baruch
b. 1929, Romania
Marion Baruch’s long life (*1929 in Timișoara, Romania, lives and works in Gallarate, Italy) reflects the conflicts of the 20th century: fascism, capitalism, communism, feminism, pacifism, migration, social classes, nations, religions, language communities, political ideologies. Through her art, Baruch addresses social themes and observes inner worlds and outer spaces, examines the mechanisms of integration and / or exclusion. Consequently, the artist’s work revolves around the theme of emptiness; she works with omissions, through views and transparency. She speaks of the “void”, meaning not a spiritual nothingness but rather a free space, in the literal sense, to be understood as an invitation to the viewer.
Marion Baruch's most recent works are formally so strong that their minimal aesthetic almost conceals the thematic complexity. Using the remnants of the textile industry as a kind of readymade, the artist addresses the world of labor and questions our resource consumption. Under the title innenausseninnen the Kunstmuseum Lucerne currently presents Marion Baruch’s first retrospective (until June 21, 2020). The exhibition will travel to MAGASIN des horizons, Grenoble (FR), les Abattoirs, Musée - Frac OccitanieToulouse (FR), Muzeul de Artă, Timişoara (RO) and Museo MA*GA, Gallarate (IT).
(photo credit of the artist portrait: Noah Stolz)
Marion Baruch
Boutique Safari (2), 2019
cotton wool and acrylic
variable dimensions; approx. 300 x 550 cm
Marion Baruch
Riflessi del mondo esterno, 2019
gummed terry
244 x 147 cm
Marion Baruch
Daimoku, 2018
cotton
185 x 170 cm
Marion Baruch
D'aplomb, 2019
cashmere cloth
140 x 159 cm
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Exhibition View, Marion Baruch. Retrospektive – innenausseninnen, Kunstmuseum Luzern, Switzerland, 29.2. – 21.6.2020, photo credit: Marc Latzel
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Exhibition View, Marion Baruch. Retrospektive – innenausseninnen, Kunstmuseum Luzern, Switzerland, 29.2. – 21.6.2020, photo credit: Marc Latzel
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Exhibition View, Marion Baruch. Retrospektive – innenausseninnen, Kunstmuseum Luzern, Switzerland, 29.2. – 21.6.2020, photo credit: Marc Latzel
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Exhibition View, Marion Baruch. Retrospektive – innenausseninnen, Kunstmuseum Luzern, Switzerland, 29.2. – 21.6.2020, photo credit: Marc Latzel
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Exhibition View, Marion Baruch. Retrospektive – innenausseninnen, Kunstmuseum Luzern, Switzerland, 29.2. – 21.6.2020, photo credit: Marc Latzel
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Exhibition View, Marion Baruch. Retrospektive – innenausseninnen, Kunstmuseum Luzern, Switzerland, 29.2. – 21.6.2020, photo credit: Marc Latzel
Mirko Baselgia
b. 1982, Switzerland
Mirko Baselgia observes the dynamics and structures that shape our world in order to redefine them in a personal and intriguing way, indicating the essential interdependence connecting human beings and their activities with the rest of the natural world. Many of his works are directly inspired by a natural structure but which has been reworked in an unexpected medium, giving it new aesthetic value for example …. In all his creations the sensorial experience, and a subtle investigation of materials play a central role and have a tangible impact on one‘s perception of the surrounding space and the world in general. To do this he likes using a variety of mediums (like sculpture, installation, video, painting or drawing,) and exploring their potential thank to the collaboration with craftspeople and other professionals that allows him to take advantage of their specific knowledge and know-how for the materialization of his ideas, even the most demanding and eccentric ones. Philosophical and existential reflections are combined with craftsmanship and scientific knowledge to create poetic and evocative works. The connection between visible and invisible, real and imaginary, and material transformation processes are recurring motifs in his artistic practice.
Mirko Baselgia
Midada da Structura, 2019
pine-wood (pinus cembra)
178 x 110 x 11 cm
Mirko Baselgia
Autolyse - Coprinus Comatus, 2018
drawing, pencil, ink out of the Coprinus Comatus, handmade paper from Papiermühle Basel
77 x 55 cm
Mirko Baselgia
Autolyse - Coprinus Comatus, 2018
drawing, pencil, ink out of the Coprinus Comatus, handmade paper from Papiermühle Basel
77 x 55 cm
Mirko Baselgia
Autolyse - Coprinus Comatus, 2018
drawing, pencil, ink out of the Coprinus Comatus, handmade paper from Papiermühle Basel
77 x 55 cm
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Exhibition View, Habitat, Galerie Urs Meile, Lucerne, Switzerland, 23.11.2018 – 2.2.2019
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Exhibition View, Pardis (Curzoin), La Fondation de l'Abbatiale de Bellelay, Bellelay, Switzerland, 2.6. – 9.9.2018
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Exhibition View, Pardis (Curzoin), La Fondation de l'Abbatiale de Bellelay, Bellelay, Switzerland, 2.6. – 9.9.2018
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Exhibition View, Pardis (Curzoin), La Fondation de l'Abbatiale de Bellelay, Bellelay, Switzerland, 2.6. – 9.9.2018
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Exhibition View, Pardis (Curzoin), La Fondation de l'Abbatiale de Bellelay, Bellelay, Switzerland, 2.6. – 9.9.2018
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Exhibition View, Pardis (Curzoin), La Fondation de l'Abbatiale de Bellelay, Bellelay, Switzerland, 2.6. – 9.9.2018
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Exhibition View, Habitat, Galerie Urs Meile, Lucerne, Switzerland, 23.11.2018 – 2.2.2019
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Exhibition View, Habitat, Galerie Urs Meile, Lucerne, Switzerland, 23.11.2018 – 2.2.2019
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Exhibition View, Habitat, Galerie Urs Meile, Lucerne, Switzerland, 23.11.2018 – 2.2.2019
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Exhibition View, Habitat, Galerie Urs Meile, Lucerne, Switzerland, 23.11.2018 – 2.2.2019
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Exhibition View, Pardis (Curzoin), La Fondation de l'Abbatiale de Bellelay, Bellelay, Switzerland, 2.6. – 9.9.2018
Cao Yu
b. 1988, China
Cao Yu graduated from the Central Academy of Fine Arts (CAFA) in Beijing, where she earned a Master’s degree from the Sculpture Department in 2016. Her artistic practice includes sculpture, installation, video as well as painting in a broad sense. The artistic language she developed is very straightforward, almost brutal and at the same time strongly connected to her gender identity and expression. Her everyday experiences and feelings are often the direct source of the creation of her artworks. Cao Yu’s recent works are reflecting on her role and experiences as a wife, a mother and a female artist.
Cao Yu
Femme Fatale I, 2019
c-print, frame
135.5 x 83 cm
edition of 3 + 1 AP
Cao Yu
Femme Fatale II, 2019
c-print, frame
135.5 x 83 cm
edition of 3 + 1 AP
Cao Yu
Femme Fatale III, 2019
c-print, frame
135.5 x 83 cm
edition of 3 + 1 AP
Cao Yu
The Female Artist, 2017
c-print
150 x 238 cm
edition of 3 + 1 AP
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Exhibition View, Femme Fatale, Galerie Urs Meile, Lucerne, Switzerland, 17.4. – 25.5.2019
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Exhibition View, Femme Fatale, Galerie Urs Meile, Lucerne, Switzerland, 17.4. – 25.5.2019
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Exhibition View, Femme Fatale, Galerie Urs Meile, Lucerne, Switzerland, 17.4. – 25.5.2019
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Exhibition View, Femme Fatale, Galerie Urs Meile, Lucerne, Switzerland, 17.4. – 25.5.2019
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Exhibition View, Femme Fatale, Galerie Urs Meile, Lucerne, Switzerland, 17.4. – 25.5.2019
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Exhibition View, Femme Fatale, Galerie Urs Meile, Lucerne, Switzerland, 17.4. – 25.5.2019
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Exhibition View, Femme Fatale, Galerie Urs Meile, Lucerne, Switzerland, 17.4. – 25.5.2019
Michel Comte
b. 1954, Switzerland
Michel Comte is a Swiss artist, photographer and environmental advocate. Originally trained as an art restorer, Comte is self-taught and has significantly influenced contemporary photography. In addition to his commercial work, he has collaborated on documentary assignments in war zones in Afghanistan, Bosnia, Cambodia, Iraq and Sudan. His recent work is his evocative and powerful Light series, which explores the impact of environmental changes via sculpture, installation and photography. Comte began investigating climate change and its effects as a university student. About ten years ago the artist decided to wind down most of his activities as a commercial photographer in order to focus artistically on this theme. Comte’s artworks seek to create awareness – with clear statements, highly visible actions, and impressive aesthetics – to the devastating effects of climate change. In 2017, he completed two important solo exhibitions entitled Light and Black Light at Museo MAXXI in Rome and secondly White Light at La Triennale in Milan. Michel Comte recounts: “When my grandfather [the Swiss pioneer aviator] Alfred Comte crossed the Alps in 1914 for the first time, he came back with the most stunning images of shining glaciers. Gigantic white masses covered the mountain ranges. Almost a century later, I climbed many peaks and realized the fast decline of our glaciers and global ice caps.”
Michel Comte
Erosion, 2018
porcelain, rock salt, rock flour and mineral pigments
33 x 33 x 10 cm
Michel Comte
Erosion, 2018
porcelain, rock salt, rock flour and mineral pigments
33 x 33 x 10 cm
Michel Comte
Erosion, 2018
porcelain, rock salt, rock flour and mineral pigments
33 x 33 x 10 cm
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Exhibition View, Light I, Museo MAXXI, Rome, Italy, 2017
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Exhibition View, Light III, Galerie Urs Meile, Beijing, China, 18.5. – 10.8.2018
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Exhibition View, Light III, Galerie Urs Meile, Beijing, China, 18.5. – 10.8.2018
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Exhibition View, Light I, Museo MAXXI, Rome, Italy, 2017
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Exhibition View, Light I, Museo MAXXI, Rome, Italy, 2017
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Exhibition View, Light III, Galerie Urs Meile, Beijing, China, 18.5. – 10.8.2018
Tanya Goel
b. 1985, India
Tanya Goel's art is characterized by antagonisms: in her work, control and intuition, rigor and freedom, research and spirituality, structure and chaos encounter each other. This oscillation between extremes has an inherent magic of its own and is particularly distinct in her paintings. In her artistic practice, Tanya Goel weaves the experience of different cultural reference systems into her own creative universe. The theme of the city, and in particular its urban structure, plays an important role in her paintings and sculptures. Color is a theme that is of central importance in the artist’s work. “Color is light, material, and surface,” says Goel in conversation. “It is both fact and fiction.” She researches these multiple aspects from a theoretical as well as a practical standpoint. This culminates in, for example, a study of Goethe’s color theories. Goel is also interested in the history and significance of paint pigments in India. Coming from a textile-manufacturing family, she is particularly sensitive to this theme. She often uses fragments of fabric in her paintings, because they absorb light in a different way than pigment does. On a very practical level, this kind of research results in scientific lab work, in which she takes the urban gems she has found and grinds them into powder to make her own pigments. In turn, these are later mixed with cement, lending the colors a certain kind of plasticity, while at the same time creating a material sense of proximity to their urban origins. All of this makes Tanya Goel’s paintings akin to physical urban landscapes in which viewers can immerse themselves.
(photo credit of the artist portrait: Dominik Wunderli)
Tanya Goel
Mechanisms 6, 2019
mica, crushed glass, paper silk and acrylic pigment on canvas
213 x 274 cm
Tanya Goel
Quadrant 1, 2019
silk, crushed glass and acrylic pigments on canvas
71 x 66 cm
Tanya Goel
Quadrant 2, 2019
silk, crushed glass and acrylic pigments on canvas
71 x 66 cm
Tanya Goel
Quadrant 3, 2019
silk, crushed glass and acrylic pigments on canvas
71 x 66 cm
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Exhibition View, Equations in a Variable, Galerie Urs Meile, Lucerne, Switzerland, 14.11.2019 – 1.2.2020
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Exhibition View, Equations in a Variable, Galerie Urs Meile, Lucerne, Switzerland, 14.11.2019 – 1.2.2020
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Exhibition View, Equations in a Variable, Galerie Urs Meile, Lucerne, Switzerland, 14.11.2019 – 1.2.2020
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Exhibition View, Equations in a Variable, Galerie Urs Meile, Lucerne, Switzerland, 14.11.2019 – 1.2.2020
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Exhibition View, Equations in a Variable, Galerie Urs Meile, Lucerne, Switzerland, 14.11.2019 – 1.2.2020
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Exhibition View, Equations in a Variable, Galerie Urs Meile, Lucerne, Switzerland, 14.11.2019 – 1.2.2020
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Exhibition View, Equations in a Variable, Galerie Urs Meile, Lucerne, Switzerland, 14.11.2019 – 1.2.2020
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Exhibition View, Equations in a Variable, Galerie Urs Meile, Lucerne, Switzerland, 14.11.2019 – 1.2.2020
Hu Qingyan
b. 1982, China
Hu Qingyan follows a conceptual approach in his understanding of sculpture. He has a strong interest in intermediality, and combines the medium of sculpture with others, such as photography, performance, video, or painting. Hu Qingyan’s sculpture-series Go in One Ear and out the Other is based on the random connection of different types and sizes of carbon steel elbows. The abstract sculpture is a representation of the channel system in all directions in our daily life, including the abstract system of our social lives. The artist is interested in the labyrinthine space inside the sculpture which makes the sculpture not only an external shape but also as a container and expanded space.
Hu Qingyan
Go in One Ear and out The Other No. 4, 2017
carbon steel, air
206 x 342 x 200 cm
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Exhibition View, Absent & Superfluous, Galerie Urs Meile, Bejing, China, 3.11. – 30.12.2018
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Exhibition View, Absent & Superfluous, Galerie Urs Meile, Bejing, China, 3.11. – 30.12.2018
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Exhibition View, Absent & Superfluous, Galerie Urs Meile, Bejing, China, 3.11. – 30.12.2018
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Exhibition View, Absent & Superfluous, Galerie Urs Meile, Bejing, China, 3.11. – 30.12.2018
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Exhibition View, Absent & Superfluous, Galerie Urs Meile, Bejing, China, 3.11. – 30.12.2018
Ju Ting
b. 1983, China
Ju Ting's practice can hardly be simplified as abstract painting, although she has clearly excluded representational content from her work. In both of her on-going series, Untitled and Pearl, the artist applies numerous layers of acrylic paint on top of each other onto a wooden panel, until obtaining a certain thickness. She then manipulates and models the stacked layers of color by hand or using tools. In the end the cut, folded, peeled or torn layers of color present a certain plasticity, as if form is organically generated from within the image. The works on view are recent pieces from both above-mentioned series.
Ju Ting
Untitled 072619, 2019
acrylic on board
236 x 193 x 14 cm
Ju Ting
Untitled 121919, 2019
acrylic on board
62 x 54 x 13 cm
Ju Ting
Untitled 100819, 2019
acrylic on board
105 x 65 x 9 cm
Ju Ting
Untitled 091019, 2019
acrylic on board
64 x 67 x 9 cm
Ju Ting
Pearl 121819, 2019
acrylic on board
183 x 153 x 9 cm
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Exhibition View, Scales, Galerie Urs Meile, Beijing, China, 31.08. - 20.10.19
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Exhibition View, Scales, Galerie Urs Meile, Beijing, China, 31.08. - 20.10.19
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Exhibition View, Scales, Galerie Urs Meile, Beijing, China, 31.08. - 20.10.19
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Exhibition View, Scales, Galerie Urs Meile, Beijing, China, 31.08. - 20.10.19
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Exhibition View, Scales, Galerie Urs Meile, Beijing, China, 31.08. - 20.10.19
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Exhibition View, Scales, Galerie Urs Meile, Beijing, China, 31.08. - 20.10.19
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Exhibition View, Scales, Galerie Urs Meile, Beijing, China, 31.08. - 20.10.19
Tobias Kaspar
b. 1984, Switzerland
Tobias Kaspar's practice is not a sceptical, detached position, but rather one that draws on unlimited resources inside the structures and stories of art. Kaspar is fascinated with mechanisms that shape the processes of value creation and taste formation. He is interested in how and when symbolic added value and desire are created. His works demonstrate an interest in cultural transfer processes of styles and fashions within a sphere or beyond it, tracing global trajectories. The mechanisms of fashion, its dazzling power of seduction, of creating a desire to be someone else, and the possibilities it offers to embody or simulate identities are one of the key frames of reference for his practice. It often operates similar to fashion whose logic ranges between the market and an elusive irrationality. In recent years, Tobias Kaspar has become known not only for researching the trade routes of the aesthetic economy but also for establishing his own merchandise—a magazine, a line of jeans, and now, the plush toy. Here, he also deploys architectural typologies that seem to riff off the aesthetics of institutional critique in their revelation of labor conditions in the art industry.
(photo credit of the artist portrait: Nik Ash)
Tobias Kaspar
Butterflies (purple, orange), 2019
ultra giclee, mounting on acrylic board, white wooden frame
200 x 92 cm (photo); 205 x 97 x 5 cm (framed)
Tobias Kaspar
Wardrobe (blue), 2019
ultra giclee, sandwich mount on a wooden white base
100 x 80 cm (photo); 100 x 80 x 5 cm (wooden base)
edition of 3 + 2 AP
Tobias Kaspar
Personal Shopper, 2019
ultra giclee, sandwich mount on a wooden white base
100 x 80 cm (photo); 100 x 80 x 5 cm (wooden base)
edition of 3 + 2 AP
Tobias Kaspar
Woman on her luggage, 2019
ultra giclee, sandwich mount on a wooden white base
100 x 80 cm (photo); 100 x 80 x 5 cm (wooden base)
edition of 3 + 2 AP
Tobias Kaspar
GC, 2019
birdcage, cotton cover, acrylic paint, ink
(H) 55 x Ø 30 cm (birdcage), overall: (H) 159 x Ø 32 cm
Tobias Kaspar
Woman with Necklace, 2019
birdcage, cotton cover, acrylic paint, ink
(H) 55 x Ø 30 cm (birdcage), overall: (H) 111 x Ø 32 cm
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Exhibition View, Independence, Kunsthalle Bern, Bern, Switzerland, 22.9. – 2.12.2018 (photo credit of the exhibition shots: Gunnar Meier)
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Exhibition View, Horn of Plenty, Galerie Urs Meile, Beijing, China, 2.11.2019 – 5.1.2020
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Exhibition View, Horn of Plenty, Galerie Urs Meile, Beijing, China, 2.11.2019 – 5.1.2020
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Exhibition View, Horn of Plenty, Galerie Urs Meile, Beijing, China, 2.11.2019 – 5.1.2020
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Exhibition View, Independence, Kunsthalle Bern, Bern, Switzerland, 22.9. – 2.12.2018 (photo credit of the exhibition shots: Gunnar Meier)
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Exhibition View, Independence, Kunsthalle Bern, Bern, Switzerland, 22.9. – 2.12.2018 (photo credit of the exhibition shots: Gunnar Meier)
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Exhibition View, Independence, Kunsthalle Bern, Bern, Switzerland, 22.9. – 2.12.2018 (photo credit of the exhibition shots: Gunnar Meier)
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Exhibition View, Independence, Kunsthalle Bern, Bern, Switzerland, 22.9. – 2.12.2018 (photo credit of the exhibition shots: Gunnar Meier)
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Exhibition View, Horn of Plenty, Galerie Urs Meile, Beijing, China, 2.11.2019 – 5.1.2020
Li Gang
b. 1986, China
Li Gang’s artistic practice originated in painting, and the painting language that he has developed is unique. It travels between the figurative and the abstract, and it hides the ontological point that the artist started from: a deep reflection on the existence of painting itself. Materiality is the first attribute of painting since human beings have painted till now. Since 2008, the artist has been constructing his own painting system - which are now comprised of “Rinsing” series, “Texture” series and “Sketch” series directly pointing to the materiality of painting. The works we present here are from his most recent “Sketch” series.
Installation is the other language of Li Gang’s increasingly mature artistic expression. His installations are expressions of personal meaning against a background of real society. It is the artist presenting a subjective visual experience by actively observing and thinking as an individual in contemporary society.
Li Gang
Rainwater, 2019
oil on linen
200 x 200 cm
Li Gang
Lollipop No. 3, 2015
plaster, rebar, hair
164 x 125 x 65 cm
Li Gang
Lollipop No. 4, 2015
plaster, rebar, hair
168 x 152 x 74 cm
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Exhibition View, A Tranquil Order, Galerie Urs Meile, Lucerne, Switzerland, 14.1. – 9.4.2011
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Exhibition View, Li Gang, Galerie Urs Meile, Lucerne, Switzerland, 28.4. – 5.8.2017
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Exhibition View, Inside China: L’Intérieur du Géant, Palais de Tokyo, Paris, France, 2014
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Exhibition View, Salt Road, Galerie Urs Meile, Lucerne, Switzerland, 21.8. – 1.11.2014
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Exhibition View, A Tranquil Order, Galerie Urs Meile, Lucerne, Switzerland, 14.1. – 9.4.2011
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Exhibition View, Li Gang, Galerie Urs Meile, Lucerne, Switzerland, 28.4. – 5.8.2017
Qiu Shihua
b. 1940, China
With the white landscapes Qiu Shihua questions the concept of visibility in painting. The artist has his motifs appear and disappear, as they lie captured in and under thin, white layers of paint and translucent glazes. The way Qiu repeatedly revisits the “white landscape” as a picture type and his tireless occupation with the nuances of its changeability are signs of Taoist thinking and a Taoist approach to work. This outlook is characterized by the process of repetition, whereby presence and absence, the full and the void, depiction and withdrawal are brought into constant interplay with each other. The depiction of a landscape forms one pole in this process, while the simultaneous effacement of the same forms the other. Seeing becomes an interplay of perception. In this, associations can be drawn with the shan shui (or ‘mountain-water’) tradition of Chinese painting, which required similar modes of seeing in a shifting process between the opposite poles of emptiness and fullness of the depicted subject.
Galerie Urs Meile will hold solo exhibitions of Qiu's work in both locations throught the current year.
Qiu Shihua
Untitled, 2016 (Qiu Sh54688)
oil on canvas
128 x 234 cm
Qiu Shihua
Untitled, 1997 (Qiu Sh54713)
oil on canvas
70 x 90 cm
Qiu Shihua
Untitled, 1994 (Qiu Sh54718)
oil on canvas
40 x 50 cm
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Exhibition View, Weisses Feld, Hamburger Bahnhof - Museum für Gegenwart, Berlin, Germany, 26.4. - 5.8.2012
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Exhibition View, Weisses Feld, Hamburger Bahnhof - Museum für Gegenwart, Berlin, Germany, 26.4. - 5.8.2012
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Exhibition View, Weisses Feld, Hamburger Bahnhof - Museum für Gegenwart, Berlin, Germany, 26.4. - 5.8.2012
Tobias Rehberger
b. 1966, Germany
Tobias Rehberger is known internationally as an important figure in the field of conceptual art. His works lie at the crossroads between architecture, design, fashion, advertising and sociology, conferring a contemporary dimension to the modernist project of creating both functional and beautiful objects.
Tobias Rehberger’s Harmony 7 and Lucky Strike Blue Organic 9 arise from a series of watercolours that delicately render sumptuous dishes in vivid hues, as though inviting the viewer to partake in their consumption. Yet each of these meals is interrupted by a cigarette. Seemingly an autobiographical reference (Rehberger is himself a smoker and collects ashtrays), the cigarette both alludes to the artist’s presence in the work and a social, informal eating environment. The titles refer to the respective cigarette brand, from "Lucky Strike" to "Harmony".
Tobias Rehberger
Harmony 7, 2019
watercolor on Hahnemühle Bamboo mixed media
190 x 125 cm
202 x 137 x 5 cm framed
Tobias Rehberger
Lucky Strike Blue Organic 9, 2019
watercolor on Hahnemühle Bamboo mixed media
190 x 125 cm
202 x 137 x 5 cm framed
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Exhibition View, If you don't use you eyes to see, you will use them to cry, Rockbund Art Museum, Shanghai, China, 23.3. – 26.5.2019
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Exhibition View, Blind and a little less, Galerie Urs Meile, Beijing, China, 25.5. – 11.8.2019
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Exhibition View, Blind and a little less, Galerie Urs Meile, Beijing, China, 25.5. – 11.8.2019
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Exhibition View, Blind and a little less, Galerie Urs Meile, Beijing, China, 25.5. – 11.8.2019
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Exhibition View, Blind and a little less, Galerie Urs Meile, Beijing, China, 25.5. – 11.8.2019
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Exhibition View, If you don't use you eyes to see, you will use them to cry, Rockbund Art Museum, Shanghai, China, 23.3. – 26.5.2019
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Exhibition View, If you don't use you eyes to see, you will use them to cry, Rockbund Art Museum, Shanghai, China, 23.3. – 26.5.2019
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Exhibition View, If you don't use you eyes to see, you will use them to cry, Rockbund Art Museum, Shanghai, China, 23.3. – 26.5.2019
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Exhibition View, Blind and a little less, Galerie Urs Meile, Beijing, China, 25.5. – 11.8.2019
Shao Fan
b. 1964, China
Shao Fan occupies a special position in contemporary Chinese painting. This is due to two key aspects that are closely linked. On one hand, he uses the classical ink drawing as his painting technique, but without tying himself down to the traditional motifs. Classically, he draws his subjects from Chinese culture like the hare. At the same time, he often zooms in on his subjects and places the beholder in, so to speak, an oversize confrontation with them. The result is an idiosyncratic tension between closeness and distance that is direct and puzzling at the same time. His work is currently subject to a major retrospective at the HET Nordbrabants Museum in Holland running through 14 June.
Shao Fan
Into the Chaos, 2019
ink on rice paper
240 x 160 cm
Shao Fan
Afternoon Nap, 2019
old elm wood
142.5 x 83 x 95 cm
Shao Fan
Rabbit Portrait - Yiwei 3, 2015
ink on rice paper
259 x 137 cm (painting), 338 x 147.5 cm (scroll)
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Exhibition View, Big Rabbit +, Galerie Urs Meile, Beijing, China, 14.05 - 31.07.2016
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Exhibition View, Shao Fan: Between Truth and Illusion, HET Nordbrabants Museum, HT ‘s-Hertogenbosch, Netherlands, 15.2. - 14.6.2020 (photo credit of the exhibition shots: Het Noordbrabants Museum and bymarjo)
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Exhibition View, Karneval der Tiere, Kunstmuseum Luzern, Lucerne, Switzerland, 24.2.2018 - 6.1.2019
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Exhibition View, Karneval der Tiere, Kunstmuseum Luzern, Lucerne, Switzerland, 24.2.2018 - 6.1.2019
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Exhibition View, YOU, Suzhou Museum, China, 10.11.2018 - 13.1.2019
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Exhibition View, Big Rabbit +, Galerie Urs Meile, Beijing, China, 14.05 - 31.07.2016
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Exhibition View, Shao Fan: Between Truth and Illusion, HET Nordbrabants Museum, HT ‘s-Hertogenbosch, Netherlands, 15.2. - 14.6.2020 (photo credit of the exhibition shots: Het Noordbrabants Museum and bymarjo)
Anatoly Shuravlev
b.1963, Russia
Anatoly Shuravlev’s artistic approach remains conceptual over the years and throughout all work cycles. Paint, plexiglass (be it spheres, cubes, or unshapely objects), space, walls and sometimes metal—they all serve him as a medium to the medial object of photography. In this context it is characteristic of the artist to work in series. At the center remains the irritation of our perception.
Anatoly Shuravlev
Look At No. 1, 2006 / 2007
c-print, acrylic glass
85 x 180 cm
edition of 5
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Exhibition View, Future Revisited, Alex Mylona Museum - Macedonian Museum of Contemporary Art, Athens, Greece, 5.4. – 23.4.2017
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Exhibition View, Future Revisited, Alex Mylona Museum - Macedonian Museum of Contemporary Art, Athens, Greece, 5.4. – 23.4.2017
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Exhibition View, Future Revisited, Alex Mylona Museum - Macedonian Museum of Contemporary Art, Athens, Greece, 5.4. – 23.4.2017
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Exhibition View, Future Revisited, Alex Mylona Museum - Macedonian Museum of Contemporary Art, Athens, Greece, 5.4. – 23.4.2017
Rebekka Steiger
b. 1993, Switzerland
Rebekka Steiger had her first solo exhibition 猫头鹰–virages nocturnes at Galerie Urs Meile Beijing in 2018. The young artist presented recent paintings and works on paper created during her residency at Galerie Urs Meile Beijing. While she continued working in her distinctive style, her extensive stay in a foreign country allowed her more freedom of mind and openness to surprises and chance encounters. Through a layer-by-layer color rendering, Rebekka Steiger transforms her perception of emotions and atmospheres into mysterious and delicate art pieces, achieving unexpected visual results. The tension between abstraction and representation, the expressive rendering of bright colors as well as the use of non-narrative figurative motifs are key aspects of her work that make the painting not only intriguing, but also unsettling. The Kunsthaus Grenchen in Switzerland will present the solo exhibition boxing the compass (March 22 - May 24, 2020).
Rebekka Steiger
keep your bearings, 2019
tempera, oil and gouache on canvas
240 x 200 cm
Rebekka Steiger
merging matter, 2019
oil and tempera on canvas
200 x 240 cm
Rebekka Steiger
untitled, 2019
tempera and gouache on paper
56.5 x 75.5 cm
Rebekka Steiger
untitled, 2019
tempera and oil on paper
54 x 78.5 cm
Rebekka Steiger
untitled, 2019
oil, tempera, gouache and oil crayon on paper
56 x 75 cm
Rebekka Steiger
untitled, 2019
gouache, oil, tempera and chalk on canvas
150 x 120 cm
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Exhibition View, Sykomore - Kabinettausstellung, Kunstmuseum Luzern, Lucerne, Switzerland, 9.12.2017 - 7.1.2018
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Exhibition View, If you see her, say hello, Kunst(Zeug)Haus, Rapperswil, Switzerland, 10.2. – 21.4.2019
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Exhibition View, If you see her, say hello, Kunst(Zeug)Haus, Rapperswil, Switzerland, 10.2. – 21.4.2019
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Exhibition View, wild is the wind, Galerie Urs Meile, Lucerne, Switzerland, 14.2. – 30.3.2019
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Exhibition View, wild is the wind, Galerie Urs Meile, Lucerne, Switzerland, 14.2. – 30.3.2019
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Exhibition View, Sykomore - Kabinettausstellung, Kunstmuseum Luzern, Lucerne, Switzerland, 9.12.2017 - 7.1.2018
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Exhibition View, Sykomore - Kabinettausstellung, Kunstmuseum Luzern, Lucerne, Switzerland, 9.12.2017 - 7.1.2018
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Exhibition View, Sykomore - Kabinettausstellung, Kunstmuseum Luzern, Lucerne, Switzerland, 9.12.2017 - 7.1.2018
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Exhibition View, Sykomore - Kabinettausstellung, Kunstmuseum Luzern, Lucerne, Switzerland, 9.12.2017 - 7.1.2018
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Exhibition View, If you see her, say hello, Kunst(Zeug)Haus, Rapperswil, Switzerland, 10.2. – 21.4.2019
Julia Steiner
b. 1982, Switzerland
Julia Steiner’s works speak directly to the viewers’ sensations and do not provide them with any concrete or recognizable figurative subjects. Established references and codes are only suggested to the inner logic of intuition. The artist does not want to comment or illustrate, but rather create an experience. Thus, one has to navigate these images without the familiar coordinate system, being continually forced to redefine one’s own position. This fragile equilibrium is omnipresent in Julia Steiner’s art. She creates a very intense relationship between the image and the viewers, who find themselves accomplices in overcoming the uncertainty inherent to the drawings. The artworks can be explored through the body’s perception of space. Due to their sheer size alone Steiner’s works on paper directly address physical feelings, making us aware of them and linking them to sight and movement. In addition, her installations examine the theme of sensing space, adding the dimension of time to a relationship of space to our bodies and lives. The mpk Museum Pfalzgalerie Kaiserslautern (Germany) currently presents Julia Steiners’ solo exhibition Am Saum des Raumes (until July 19, 2020).
(photo credit of the artist portrait: Lorenz Raich)
Julia Steiner
nervous system I, 2019
gouache on paper
208 x 150 cm
Julia Steiner
nervous system II, 2019
gouache on paper
208 x 150 cm
Julia Steiner
constitution III, 2017
gouache on paper
172 x 130 cm
Julia Steiner
constitution IV, 2017
gouache on paper
172 x 130 cm
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Exhibition View, Borrowed Light, Helvetia Art Foyer, Basel, Switzerland, 6.6. – 26.9.2019 (photo credit of the exhibition shots: Viktor Kolibàl)
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Exhibition View, Am Saum des Raumes, Museum Pfalzgalerie Kaiserslautern, Germany, 8.2. - 19.7.2020
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Exhibition View, Am Saum des Raumes, Museum Pfalzgalerie Kaiserslautern, Germany, 8.2. - 19.7.2020
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Exhibition View, Am Saum des Raumes, Museum Pfalzgalerie Kaiserslautern, Germany, 8.2. - 19.7.2020
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Exhibition View, Am Saum des Raumes, Museum Pfalzgalerie Kaiserslautern, Germany, 8.2. - 19.7.2020
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Exhibition View, Am Saum des Raumes, Museum Pfalzgalerie Kaiserslautern, Germany, 8.2. - 19.7.2020
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Exhibition View, Am Saum des Raumes, Museum Pfalzgalerie Kaiserslautern, Germany, 8.2. - 19.7.2020
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Exhibition View, Am Saum des Raumes, Museum Pfalzgalerie Kaiserslautern, Germany, 8.2. - 19.7.2020
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Exhibition View, Am Saum des Raumes, Museum Pfalzgalerie Kaiserslautern, Germany, 8.2. - 19.7.2020
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Exhibition View, Borrowed Light, Helvetia Art Foyer, Basel, Switzerland, 6.6. – 26.9.2019 (photo credit of the exhibition shots: Viktor Kolibàl)
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Exhibition View, Borrowed Light, Helvetia Art Foyer, Basel, Switzerland, 6.6. – 26.9.2019 (photo credit of the exhibition shots: Viktor Kolibàl)
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Exhibition View, Borrowed Light, Helvetia Art Foyer, Basel, Switzerland, 6.6. – 26.9.2019 (photo credit of the exhibition shots: Viktor Kolibàl)
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Exhibition View, Am Saum des Raumes, Museum Pfalzgalerie Kaiserslautern, Germany, 8.2. - 19.7.2020
Not Vital
b. 1948, Switzerland
Not Vital is from the small mountain village of Sent, located in the Engadin valley (Switzerland). He studied art in Paris and Rome before moving to New York in 1976. Vital’s complex oeuvre in various media and widely varying materials—including marble, gold, stainless steel, plaster and wood—is largely based upon biographical experiences and cultural sensitivity, often presenting a collision of the deeply personal and of political realities. He is an unconventional sculptor in many ways, not least because he also produces extraordinary prints, drawings, and (since 2009) portrait paintings. Since 2000, his practice has expanded to include buildings such as houses, schools, towers, bridges and tunnels, which blur the boundaries between art and architectures (“SCARCH”). These constructions are permanent structures, many of which can be seen in his sculpture park in Sent - as well as in Belgium, Brazil, Indonesia, Niger and Patagonia. When considering the context of Vital’s work there is, on the one hand, his childhood, spent in the mountainous and isolated Engadin Valley. And, on the other hand, the nomadic existence Vital has adopted since his late teens—leading him to the peripheries of the world. This inexhaustible appetite for travel has contributed much to his work in all senses: material, thematic and collaborative. Currently Vital’s life revolves, according to his artistic projects, around Beijing (China), Rio de Janeiro (Brasil) and Sent (Engadin, Switzerland).
Not Vital
Bone, 2019
aluminum
315 x 130 x 80 cm
edition of 3
Not Vital
Mountain, 2019
silicone, foam, glue and pencil on paper
43.2 x 35.6 cm
50 x 40 cm framed
Not Vital
Mountain, 2017
toblerone and aluminum tape on paper
43.2 x 35.6 cm
50 x 40 cm framed
Not Vital
Piz Ajüz, 2017
mixed media on paper
43.2 x 35.6 cm
50 x 40 cm framed
Not Vital
Model for a Bus Station in Ouagadougou, West Africa, 2009
painted stainless steel
100 x 220 x 165 cm
edition of 5
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Exhibition View, NOT WHY, Galerie Urs Meile, Beijing, China, 6.11.2009 – 16.1.2010
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Exhibition View, Che fasch?, Galerie Urs Meile, Lucerne, Switzerland, 12.9. – 2.11.2019
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Exhibition View, Not Vital, Yorkshire Sculpture Park, Wakefield, United Kingdom, 21.5.2016 – 2.1.2017
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Exhibition View, Not Vital, Yorkshire Sculpture Park, Wakefield, United Kingdom, 21.5.2016 – 2.1.2017
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Exhibition View, NOT WHY, Galerie Urs Meile, Beijing, China, 6.11.2009 – 16.1.2010
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Exhibition View, Che fasch?, Galerie Urs Meile, Lucerne, Switzerland, 12.9. – 2.11.2019
Wang Xingwei
b. 1969, China
Wang Xingwei has constructed an exquisitely unique and picturesque language of seemingly disconnected elements - conceptual entries from his own “visual dictionary.” These elements are juxtaposed in order to purposely dismantle the acknowledged logic of thinking and to create, by means of their disruptive power, new and unpredictable interpretative possibilities. Untitled (green penguin) constitutes a fine example of this. At first sight, one might miss that the monochrome hunter green shaped pattern actually depicts a pack of penguins circling around a human body, only revealing its feet. An aficionado of Wang's realizes that the penguins as well as the idiosyncratic color are reappearing elements for this specific creative phase of the artist, while the overall composition is entirely based on one of his own works from 2003 called untitled (penguin).
Wang Xingwei
untitled (green penguin), 2005
oil on canvas
168 x 175.5 cm
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Exhibition View, Wang Xingwei, UCCA - Ullens Center for Contemporary Art, Beijing, China, 19.5. - 18.8.2013
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Exhibition View, The Code of Physiognomy, Galerie Urs Meile (798), Beijing, China, 21.3. - 12.5.2019
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Exhibition View, The Code of Physiognomy, Galerie Urs Meile (798), Beijing, China, 21.3. - 12.5.2019
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Exhibition View, Shenyang Night, Galerie Urs Meile (Caochangdi), Beijing, China, 21.3. - 31.3.2019
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Exhibition View, Wang Xingwei, UCCA - Ullens Center for Contemporary Art, Beijing, China, 19.5. - 18.8.2013
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Exhibition View, Wang Xingwei, UCCA - Ullens Center for Contemporary Art, Beijing, China, 19.5. - 18.8.2013
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Exhibition View, The Code of Physiognomy, Galerie Urs Meile (798), Beijing, China, 21.3. - 12.5.2019
Xie Nanxing
b. 1970, China
Xie Nanxing is a revolutionary and experimental painter, who always challenges tradition and the seemingly established rules of art education. He is interested in psychology and also approaches his practice with a psychologist’s line of questioning, inquiring into what is behind the surface. For this year's Art Basel Hong Kong we will present a work in his “canvas print” technique that he has been exploring during recent years. On top of a primed canvas—in this case ochre-browm, black and white—he put another canvas, upon which he painted a figurative painting. But the finished and exhibited work is the canvas beneath, which only shows the traces of paint that penetrated through onto the base coat. Both the primed lower canvas and the figurative upper canvas had no relation with each other before.
Galerie Urs Meile Beijing will hold a solo exhibtion with the artist's latest series of works in November this year.
Xie Nanxing
Postcard No. 9, 2015
oil on canvas
220 x 220 cm
Xie Nanxing
Travel Brochure, 2020
three paintings, oil on canvas
133.5 x 88.5 cm; 130 x 90 cm; 130 x 100 cm
SALES INQUIRY
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Exhibition View, The Second Whip with a Brush, Galerie Urs Meile, Lucerne, Switzerland, 12.04. - 06.07.2013
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Exhibition View, Spices, Ullens Center for Contemporary Art (UCCA), 17.03. - 25.05.2018
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Exhibition View, Spices, Ullens Center for Contemporary Art (UCCA), 17.03. - 25.05.2018
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Exhibition View, Untitled: 3 X, Galerie Urs Meile, Beijing, China, 07.11.2015 - 14.02.2016
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Exhibition View, The Second Whip with a Brush, Galerie Urs Meile, Lucerne, Switzerland, 12.04. - 06.07.2013
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Exhibition View, Spices, Ullens Center for Contemporary Art (UCCA), 17.03. - 25.05.2018
Yang Mushi
b. 1989, China
Yang Mushi submits himself to a rigorous daily routine. He diligently works on his sculptural materials in vigorous acts of sharpening, sawing and grinding, finally covering them with black lacquer, thus reducing them to dark shapes of violent aesthetics and a martial kind of beauty. Yang’s consistent artistic approach, starting by choosing industrial raw materials and only black colour reaches as far as the naming of his works, mainly only giving a technical description of what he did to the materials. In conjunction with Yang's "dark productions", his recent Illumimating series appropriates neon lights as the subject of his labor. Light is visible, yet intangible. It emits thermal energy while conveying a burning pain, almost as the same manner as his "Dark" series. In the world of dark and light, these two series complement and inform one another, not only in term of shapes, but also their ideological footing.
Yang Mushi
Overlaying - Branch, 2019
protective barrier, plywood, lacquer
164 x 41 x 19 cm
Yang Mushi
Sharpening - Cube, 2017
wood, black spray lacquer
140 x 140 x 17 cm
Yang Mushi
Illuminating 2, 2018
white neon tube, iron sheet, stone-like coating
52 x 244.7 x 18 cm
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Exhibition View, Illegitimate Production, Galerie Urs Meile, Beijing, China, 03.09. – 16.10.2016
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Exhibition View, 16 Scenes in Shanghai, Maoma Warehouse, Shanghai, China, 29.9. - 30.11.2019
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Exhibition View, 16 Scenes in Shanghai, Maoma Warehouse, Shanghai, China, 29.9. - 30.11.2019
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Exhibition View, Vanishing into Thin Air, Galerie Urs Meile, Beijing, China, 12.01. – 03.03.2019
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Exhibition View, Compulsory Execution, Galerie Urs Meile, Lucerne, Switzerland, 22.02. – 14.04.2018
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Exhibition View, Illegitimate Production, Galerie Urs Meile, Beijing, China, 03.09. – 16.10.2016
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Exhibition View, Illegitimate Production, Galerie Urs Meile, Beijing, China, 03.09. – 16.10.2016
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Exhibition View, 16 Scenes in Shanghai, Maoma Warehouse, Shanghai, China, 29.9. - 30.11.2019
Zhang Xuerui
b. 1979, China
The methodology behind Zhang Xuerui’s abstract paintings appears quickly at first glance, namely the use of an orderly grid, of which each unit is filled with gradually shifting colors. Beyond these apparent simple elements – colors and grids – lies the artist’s inner understanding of the notion of space. Time also plays a crucial role in the construction of Zhang Xuerui’s paintings, as the subtle gradients she generates must be completed at once in very intense moments of concentration. Although the formulas of Zhang Xuerui’s paintings are clear, her works can hardly be aligned to Western abstract painting, color field painting, or monochrome painting, all of which are confined only to the composition of colors, to let colors manifest themselves. The color, to Zhang Xuerui, is a key to the manifestation of “space” on canvas. Her pursuit for the color is on a metaphorical level, for the purpose of revealing “space” vividly on canvas. The artist held her first solo exhibition The Everyday as Ontology at Galerie Urs Meile, Lucerne in June 2019. She will hold her second solo exhibition in the gallery’s Beijing branch in the end of summer, 2020.
Zhang Xuerui
600 201809, 2018
acrylic on canvas
200 x 300 cm
Zhang Xuerui
400 201805 - 2, 2018
acrylic on canvas
240 x 240 cm
Zhang Xuerui
100 201903 - 2, 2019
acrylic on canvas
100 x 100 cm
Zhang Xuerui
100 201903 - 3, 2019
acrylic on canvas
100 x 100 cm
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Exhibition View, The Everyday as Ontology, Galerie Urs Meile, Lucerne, Switzerland, 06.06. - 17.08.2019
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Exhibition View, The Everyday as Ontology, Galerie Urs Meile, Lucerne, Switzerland, 06.06. - 17.08.2019
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Exhibition View, The Everyday as Ontology, Galerie Urs Meile, Lucerne, Switzerland, 06.06. - 17.08.2019
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Exhibition View, The Everyday as Ontology, Galerie Urs Meile, Lucerne, Switzerland, 06.06. - 17.08.2019