北京

Rebekka Steiger
《猫头鹰-virages nocturnes》

2018年8月28日-2018年10月21日


 

Rebekka Steiger

blind blend,2018
布面蛋彩油画
190 × 240 cm

 

 

 

 

麦勒画廊北京部荣幸地宣布我们将举办瑞士新锐艺术家Rebekka Steiger(1993年生于瑞士苏黎世)在中国的首次个展猫头鹰– virages nocturnes,我们此次将展出其今年参加麦勒画廊北京“艺术家驻地项目”期间创作的最新绘画和纸上作品。展览标题里的 “猫头鹰”字面含义是长着猫头的鹰。艺术家在查找她在北京古玩市场淘来的雕塑摆件的历史寓意时获悉了这一词汇。这一雕塑恰好 和她时常绘画的意象也有所关联。而标题中的法语“virages nocturnes”则指代午夜漫步或日夜颠倒。这一组合标题也契合了艺术 家所要刻画的意象及要传递的讯息。

通过层层叠叠的色彩渲染,Rebekka Steiger将其对情感和氛围的感知以微妙而有趣的方式转化成具有浓厚神秘感的画面,从而 达到出其不意的效果。

2018年在北京进行在地创作期间,Rebekka Steiger延续了其一贯的创作风格,但异国他乡这一客观物理空间的变化也使其心理 和创作状态更为开放、自由,惯常的导向系统在此失效,从而也展开了更多的可能性。曾经熟悉的绘画材料因为异地的差异性导致其画面出现了意想不到的“ 失 误 ” 和惊喜 。她甚至刻意将这种出其不意推向更远——摒弃以往参照老照片和旧书籍并从中获取灵感的创作方式,而转向“行动在先,画笔先行”的自发式创作,异乡人的乡愁、不安、困惑和新奇因而通通消解于绘画之中。

她任由其作为女性艺术家更为鲜明、敏锐的直觉和情绪肆意蔓延、发酵,并最终流淌于画面之上。与此同时,出人意料的绘画主题也更为自然地迸发于画面之中——独角马(another tired man lays down his hand2018,布面蛋彩油画,190 × 240 cm)、长着猫耳的女子(running for the flesh (of dinosaurs and men)2018,布面蛋彩蜡笔水粉油画,200 × 240 cm)、犹如幻境中的神秘 植物(virages nocturnes (under the volcano)2018,布面蛋彩蜡笔水粉油画,240 × 200 cm)......

而这些意象其实都源于作为异乡人的艺术家在北京的生活经历——古玩市场淘来的青铜猫头鹰摆件、道路两旁随处可见的黑皮参天大树(blind bend2018,布面蛋彩油画,190 × 240 cm; back to the roots2018,布面蛋彩油画,50 × 70 cm),诸如此类。 在反复的绘画中,这些画面中反复出现的具象的“形态词汇”也在持续地发生变异,并迷失于抽象之中(queen, 2018,布面蛋彩油画, 50 × 70 cm)。一些依稀能辨认出来的形状被为画面赋予了某种节奏,另一些似是而非的则消融于颇具乌托邦意味的背景之中,将 观者引向不可捉摸、宁静的同时又潜藏着某种危险的神秘之域(night shift2018,布面蛋彩油画,54 × 65 cm;lady bird2018, 布面蛋彩蜡笔油画,170 × 240 cm)。具象与抽象的冲突和博弈、鲜亮色彩的层叠渲染、毫无叙事逻辑可循的画面,这一切不仅让 绘画创作本身天马行空,也让观者感觉妙趣横生的同时又有所不安。

Rebekka Steiger

Rebekka Steiger1993年出生于瑞士苏黎世。她以绘画为其主要艺术媒介,作品颇具大师风范。近期个展包括:Sykomore, Kabinettausstellung,卢森美术馆,瑞士卢森(2017);Helen Faigle,瑞士苏黎世(2015)。群展包括:Extended Ground,麦 勒画廊,瑞士卢森(2017);Rebekka Steiger and Sven EgertLuzerner Kantonalbank,瑞士卢森(2017); Jahresausstellung Zentralschweizer Kunstschaffen,卢森美术馆,瑞士卢森(2016)。

卢森

鞠婷
《Ju Ting》

2018年9月13日-2018年10月27日
开幕式: 2018年9月13日,下午5点30分-7点30分


鞠婷

无题 071516, 2018
木板丙烯
130 x 119 x 10 cm

 


 

鞠婷
Ju Ting


2018 (english)

Galerie Urs Meile is pleased to announce the opening of the first solo exhibition in the west of the emerging Chinese artist Ju Ting (*1983). Her works are characterized by coalescing two conventional art media: painting and sculpture, and obscuring the boundary between the two. Being made of paint and occupying a two-dimensional picture plane, Ju Ting’s works seem to align themselves with the category of painting. However, they have a clear feel for the sculptural in both form and texture deconstructing the realms of painting.

Graduating in printmaking from the Central Academy of Fine Arts in Beijing in 2013, Ju Ting assumed the role of an independent artist with an orientation towards painting. However, far from committed to conventional expression, she began to experiment with manipulating images and familiar motifs using printmaking tools and techniques to carve not copper plates or woodblocks, but thick layers of paint slathered onto the flat surface of a wooden board. Working on the Pearl series with the skill and precision of an engraver, Ju Ting cuts through the paint, and shovels up fine strings from the surface to partially reveal what lies beneath. One example is Pearl 042418 (2018, acrylic on board, 97 x 97 x 7 cm). Permeating the depth of multiple layers of acrylic paint, a tactile visual synesthesia is created. Sharing the feature of starkly patterned reliefs, the +- series differs such that the artist doesn’t remove strings entirely from the surface, but re-lays them upwards on the uncut portion of the paint surface.

As her language evolved, Ju Ting became more comfortable with her abstract visual idiom. Given the malleable plasticity of acrylic paint, she is able to manage layers of paint in a more intuitive and sensory way. Thus, the Untitled series finds its form. Various single tones of acrylic paint are applied on a board lying flat on the floor. The paint is applied with a printmaking squeegee as a brush or palette knife and then left to dry without fully hardening. The combination is then ready to be peeled off and transformed into a new composition. In appearance, the Untitled series holds the richness of acrylic pigment – on occasion, top layers are as glossy as a well-varnished masterpiece. A fine example is Untitled 071618 (2018, acrylic on board, 195 x 240 x 9 cm), an arresting medley of cold tones. Bright cool green, lavender and pink lie beneath a film of deep cadmium blue that has a seductive sheen sharing the qualities of dark chocolate. Untitled 062218 (2018, acrylic on board, 190 x 156 x 9 cm), a medley of intense cobalt blue contrasting cadmium yellow, together with milder shades of green and violet. Untitled 062318 (2018, acrylic on board, 190 x 167 x 9 cm) foregrounds a sombre Chinese bronze against the recurrent green and violet in different hues. Entering a different key, Untitled 062118 (2018, acrylic on board, 110 x 109 x 7 cm) blends a layer of acid green against dark lavender and cerulean, which like the tiny slit of amber on the right edge of the surface, are colours that the artist is fond of using.

Tones in Ju Ting’s oeuvre are used in a way that combines nostalgia with the clarity of contemporary machine production. Ju Ting has always been partial towards pigments that denote the past. These combinations exude moods which can be subtle, and also dramatically different. Given the sensuous charge of dynamic tones in the works, one can hardly ignore the texture- one of butter cream-meets-silica gel. Acrylic is dense, and when used in this manner, accumulates a substantial weight. As the layers are built, they seem almost too heavy to bear their own weight. At the same time, after applying the different layers, Ju Ting occassionally deconstructs the surface by removing or manipulating parts of it. Her technique adopts a working process that embraces incidental accidents and seemingly runs up against the idea of perfectionism. She subsumes them masterfully into the surface texture as a functioning element of her aesthetics. It allows her to raise the picture plane inches in thickness, whilst retaining a sense of lightness, of light passing through the surfaces, even as each piece accumulates a mass and weight far beyond what they suggest. 

(The above text includes excerpts from Karen Smith’s essay Ju Ting: Onion Skins written for this exhibition.)

Ju Ting was born in Shandong in 1983. She graduated from the Printmaking Department with a BA in 2007, and with a master in 2013. She lives and works in Beijing. Her solo shows include: Peeling an Onion, OCT Contemporary Art Terminal, Xi’an, China (2017); Color Has the Answer, YISHU 8, Beijing, China (2013). Recent group exhibitions include: Extended Ground, Galerie Urs Meile, Lucerne, Switzerland (2017); The First Exhibition of Young Artists at the National Art Museum of China, National Art Museum of China, Beijing, China (2016); A New Generation of Chinese Women Artists, Eli and Edythe Broad Art Museum at Michigan State University, East Lansing, USA (2016); Painting as Strait Gate: Post-80s Artists Invitation Exhibition, Hive Center for Contemporary Art, Beijing, China (2016); It’s Not Right But it’s Okay, Ullens Center for Contemporary Art, Beijing, China (2015).