北京

曹雨
《我有水蛇腰》

2017年11月4日 – 2018年1月28日


 

曹雨

 
 

 

 
 

 

 

 

曹雨
我有水蛇腰 


2017 (中文)

麦勒画廊北京部荣幸地向您宣布,我们即将举办艺术家曹雨(1988年生于辽宁)的首次个展我有水蛇腰,该展览将展出曹雨一系列 颇具实验性的新作,作品涵盖摄影、录像、绘画、雕塑、装置、表演等诸多媒介,艺术家用庄重而冒险的举动及冲击力的视觉形态侵 袭观众,对身体与自我、感知与意志、艺术经验与观者体验等话题进行了独特的诠释,对艺术及其意义以及与现实错综复杂的关系 发出诘问。在呈现生活与艺术的粘连状态的同时,营造了一个奇异而极富张力的场域效果。 

整个展览以观众的被动介入而开篇:观众在拉开大门把手进入展厅的同时,腻糊糊的凡士林也在无意中粘满手掌。矛盾的情感交流 在进入展览伊始就开门见山地发生,让人无法抗拒又于无形中被吸引,一如该作品名困惑的浪漫(2017,凡士林,纸巾,尺寸可变)。 这时观众因手上的粘稠物而被牵制着步入局促私密的洗手间,置身于艺术家精心设计的另一件充满荒诞的来自身体的声音作品肉味 (2017,声音装置,尺寸可变)。走出洗手间,手上物理的粘稠感或许已被清除,但心理上的不适与疑问会伴随观者回到展厅。 

之后的作品虽没有对观者矛盾的情感加以抚慰,但也并未进一步“冒犯”,而是转向艺术家的身体及其相关,这时观众便从“受虐者”的 当事人变回旁观者。作品彩云(2017,黑色胸罩,250 x 280 cm)中,用来呵护女性重要器官的文胸被踩在脚下,观众置身其上会 有一种不稳定感和柔软不适的快感,犹如置身云朵之间,奇妙的同时也蕴藏着危险。作品世界与我无关(2017,长头发(艺术家本人 的),墙面,尺寸可变),艺术家的一根柔软的长发穿破墙上的小孔后又从墙背面另一个孔折返回来,头发的首尾系成一个结,这无 不散发着四两拨千金的力量与智慧,同时也渗透出一丝孤僻与偏执。 

我们还将展出其备受关注的代表作品泉(2017,单频高清录像,彩色/无声,11'10",10+ 2 AP)——艺术家利用自己哺乳期的 身体制造了一个颇具雄性色彩的喷泉纪念碑。在录像作品我有......(2017,单频高清录像,彩色/有声,4'23",6+ 2 AP)中,艺术 家讲述的几十句不同的“我有......”清晰刺耳并勾起人的嫉妒甚至愤恨,而录像劳动者(2017,单频高清录像,彩色/无声,8'33",6+ 2 AP)中原本洁白细腻的视觉美感也因为艺术家用尿液和面的事实而让观众感到不适。 

透过这些形式及逻辑上隐约关联的作品,艺术家在对周遭现实或个人经验进行演绎和延展的同时,也建构出了其诚实、直接而锋利 的艺术语言。大尺幅作品女艺术家(2017,c-print,150 x 238 cm,3+ 1 AP)将艺术家的身份证高清扫描并放大,虽然图像 上涵盖的信息与其他任何人的身份证并无差别,但它恰恰也是对其作为一位女艺术家最极简、最本质的描述。而在带有雕塑感的系 列 绘 画 作 品 画 布(2 0 1 7,布 面 签 字 笔)中 — — 有 的 作 品 尺 幅 巨 大,犹 如 纪 念 碑 式 — — 艺 术 家 用 签 字 笔 描 绘 画 面 上 画 布 的 每 一 根 经 线 和纬线,描绘的行为本身更是对物质的感知与追随。 

开幕现场,艺术家将只身站在展厅地上一个由粉笔随意画的圆圈里。这件取名为艺术家在这的行为表演作品看似是一种寻求安全感 的自我保护,但更是画地为牢的自我禁锢,无论情愿与否,这个虚拟的界限让这个展览的主角只得自律自觉地站在自己画的圈里,时 刻让自己与观者保持“距离与独立”。在艺术家进行的或浪漫、或刺耳、或令人不适的艺术叙事中,观者亦获取了一次审视既定经验、 重新认知自我、感知生活的契机。 

曹雨1988年生于辽宁,毕业于中央美术学院雕塑系,现工作、生活于北京。近期展览包括:THE PUBLIC BODY .02,Artspace,澳 大利亚悉尼(2017);策展角落,巴塞尔艺术展香港展会,香港会议展览中心,中国香港(2017);艺术8:中国青年艺术家奖入围艺 术家联展,艺术8,中国北京(2017);影像·观察,寺上美术馆,中国北京(2017);另一种选择:第三届今日文献展,今日美术馆,中 国北京(2016);为什么表演?,明当代美术馆,中国上海(2016)。 

 

 

卢森

Mirko Baselgia,曹雨,程然,李钢,REBEKKA STEIGER,王凝慧,WITTMER & KOENIG,鞠婷
《群展-Extended Ground》

2017年11月23日 – 2018年2月9日
开幕式:2017年11月23日,下午5点30分-7点30分


 

Mirko Baselgia

Landscape of growing I, 2017 (detail)
bronze (patina green)
77.5 x 56 x 4 cm
edition of 3 + 1 AP

 




Extended Ground


2017 (english)

We are happy to announce the group exhibition Extended Ground in our Lucerne Gallery. The exhibition shows nine different artistic positions: besides the Chinese artists Cao YuCheng RanJu TingLi Gang, Alice Wang and Xie Qi, Swiss artists Mirko BaselgiaRebekka Steiger and the Lucerne artist duo Wittmer & Koenig present their new works. Extended Ground reflects on the perspective of a younger generation of artists who either lived and worked in China for some time, are looking forward to their first encounter with China, or are Chinese themselves. Everyone in their own medium, be it video, installation, sculpture, object or painting, discusses socio-political and environmental issues as well as everyday topics. Introspective works of art, exploring into psychological and existential conditions complement the exhibition. 

Mirko Baselgia (*1982, lives and works in Lain) was artist-in-residence in Beijing, China, at invitation of Galerie Urs Meile in spring 2017. Both of his relief like bronze objects Landscape of growing I II (2017, bronze, 77 x 55 x 3.3 cm) are dealing with the process of growing. Can growing – also in a figurative sense – be made visible in an object? Baselgia works on this question within these bronze castings he made from the bark of a sort of fast growing trees he found in Beijing. These objects direct the attention to the manifestations and survival strategies of nature in the hostile environment of a mega city. Baselgia cast their shapes in solidified bronze, that traditional material the first Chinese artefacts like Shang dynasty ritual bronzes were made of. 

The artist Cao Yu (*1988, lives and works in Beijing) in her video “I Have...” (2017, single channel HD video (colour, sound), 4’22”, edition of 6 + 2 AP) enumerates in front of the camera her possessions or what she intends to achieve in the near future – from a diamond ring to a car with the number plate of the capital Beijing, to bodily advantages like her hourglass waist. The young Chinese woman in the video is in possession of every status symbol one can think of, also meeting up to our expectations of a successful young and attractive female artist – she seemingly lacks nothing. Yet in the course of viewing, an abyss opens up, a subtle void, no prestigious object or ephemeral advantage is capable of filling. 

The title of the work by Cheng Ran (Diary of a Madman - New York, 2016, single channel HD video, color, 16:9, approx. 73’), consisting of 15 videos, is a reference to the short story Diary of a Madman by Chinese writer Lu Xun (1881–1936). In a departure from Lu Xun’s story, Cheng is less interested in an explicit political message. By using complex cinematography expressed through his idiosyncratic ideas on memories, living space and language, his story conveys a mysteriously poetic sensation – one which lingers between the streets of Manhattan and the remnants of their shadows inside a disturbed mind that hums along to a strange tune… A profound sense of loss, alienation and madness run in the first person throughout the course of the New York segment, shown in his first institutional exhibition in the USA (New Museum, New York, October 2016 – January 2017). 

Ju Ting (*1983 in Shandong Province, lives and works in Beijing) draws from her experience in graphic printing. She layers a number of overlapping foils of acrylic paint, accepting the injuries of the surface occuring during the production and leaving them as part of the appeal of the work. In applying precise cuts into the surfaces Ju Ting creates a second series of works (+-103017, 2017, acrylic paint on wooden board, 104 x 123 x 7 cm). The excised thin stripes of paint are unfolded and fixated onto the opposite side revealing reliefs of vertical cuts that open the view into deeper layers of colour. The resulting compositions appear heavy, yet fragile, synthetic and at the same time bodily. 

For his Skin Colour series (Skin Colour, 2017, marble plate, bank note, 60 x 40 x 3 cm), Li Gang (*1986, lives and works in Beijing) rubbed colour pigments of paper money directly from the bank notes in a rectangular shape onto marble plates. Beneath the translucent shades of pigment he chisels the title Skin Colour, as a reference to the trust required among the people to make the modern banking system, based on mutual credit by using the relatively worthless paper money as an equivalent, work worldwide. 
The End (The End - 末 2014.07, 2014, waste materials from the exhaust pipes of the cars and water, 4.6 x 12 x 7 cm (ink), 11 x 28.5 x 25.5 cm (box)) is the artist’s statement on the dramatic increase of motorisation in his hometown Dali in Yunnan province, southern China. He scratched the smut out of exhaust pipes of cars and created a sculptural work of traditional elegance resembling an ink stone used for traditional Chinese painting or calligraphy, yet highly toxic.  

Rebekka Steiger 
(*1993, lives in Zurich, works in Lucerne) expresses herself freely and in a virtuoso manner in the medium of painting. In her work, which is characterized by the process of putting layer upon layer of paint onto the canvas and inviting serendipity, she confronts the unknown and the unexpected. Steiger creates images of a tremendous ambivalence and intensity, due to their intense colours and deriving from the artist’s deep interest in emotionality and the atmospheric O.T. (2017, oil and tempera on canvas, 240 x 200 cm). 

Overseas Chinese artist Alice Wang (*1983 in Xi’an, lives and works in Los Angeles) grew up in Canada and the United States. Her first videos were reflections on her autobiography, yet for untitled (2014, single channel video, colour/sound, 2’) she intentionally worked with performers. In the setting of a professional dance studio with mirrored walls, a group of female actors carry out inverse yoga positions. The video irritates the viewer’s sense of equilibrium, because the film material was put upside down in the final touch. The bodily strain is clearly visible in the faces of the performers, while jumping tennis balls remind the viewer of gravity and brings back to mind the terrestrial order of what belongs up, and what down. 

Attila Wittmer and Florian Koenig (both *1990, live and work in Lucerne) form the artist duo Wittmer & Koenig. With their Monument (2017, construction profiles, dimension variable) they create a three dimensional drawing using conventional Swiss building marker structures. Their installation is inspired by Social Realist sculptures still seen in Chinese public squares. During a study trip to China first formal experiments regarding the characteristics of those monumental sculptures were undertaken with chopsticks. Back in Switzerland the artist duo realised their project with building marker structures – solely known in Switzerland – which are used to mark any construction projects, to be made visible for neighbours and giving them opportunity for objection. This material manifestation of the population’s participation is deeply rooted in Swiss democratic values and implements a political interpretation, especially in combination with the Socialist Realist design. 

The two works by Xie Qi included in the group exhibition are representative of the series of portraits of people and objects she is engaged in. Preceding the process of painting, she always confronts herself with the person she is going to portrait. Her compositions are situated in ambiguous spaces, capturing the aura of the depicted in an almost mystical way, yet clinging to the physical characteristics of that person. Apart from the faces, she also portraits the bodies (Timid & Strained 1, 2017, oil on canvas, 88.5 x 69 cm). When she paints their faces, she feels as if penetrating them, while when painting the bodies, she has the feeling, they returned her look and entered into a communication with her.