Galerie Urs Meile will focus on a selection of new works by emerging and established contemporary artists. Our presentation will include works by Mirko Baselgia, Cao Yu, Ju Ting, Anatoly Shuravlev, Julia Steiner, Aldo Walker, Wang Xingwei, Zhang Xuerui and Zhou Siwei, and by the following artists.
Shao Fan (b. 1964 in Beijing, China) developed his unique visual language out of a thorough knowledge and application of Chinese classical aesthetics. He will be presented with recent ink paintings of animals, whom he depicts in poses, and situated in plain surroundings or in landscapes recollecting Chinese landscape paintings, where they can unfold their individual characteristics. He dedicates his minutely detailed brush strokes to dignify the depicted creatures in his monumental, always larger-thanlive paintings on silk or on rice paper, which is mounted on scrolls or onto canvas. In front of The Hand-licking Rabbit No.2 (2016, ink on silk, 270 x 170 cm) creature itself in its grace can be contemplated.
Yang Mushi (b. 1989 in Jiangxi Province, China) submits himself to a rigorous daily routine. He diligently works on his sculptural materials in vigorous acts of sawing, grinding and eroding, finally covering them with black lacquer, thus reducing them to dark shapes of strict aesthetics and a martial kind of beauty. In this context, his star shaped sculptural work Pivoting – Piece (2017, wood, black spray lacquer, Ø 86 x 9 cm) tends to evoke heraldic imagery or the Ninja's Shuriken more, than gleaming stars in the skies of nativity scenes. 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.
Hu Qingyan (b. 1982 in Weifang, Shandong Province, China) is a conceptual sculptor who in many cases uses prefabricated construction elements. In a conceptual, yet also playful approach, in his Roundabout (2017, carbon steel, air 145 x 151 x 135 cm) polished sewage pipes are weld together in a free improvisation on the topic of tubular connections and the wind blowing through them, building connections of the air inside and around. To stress the importance of this element in his hollow metal sculptures, he never forgets to include the air in the captions.
Li Gang (b. 1986 in Dali, Yunnan Province, China) employs in his new work series No Speaking (2017, porcelain, steel, 40 x 40 x 13 cm) antique Chinese vases this once for their auditive, not their visual qualities. For that purpose, he installs them in a metal frame onto the wall, the opening towards the spectator, or in this case, the listener. Like seashells, the vases catch the sounds of their environment and emulgate them into a sound like of distant wind or seabreezes. This piece with its functional outlook includes the whole surrounding space audibly. In his Skin Colour series (Skin Colour, 2017, marble plate, bank note, 60 x 40 x 3 cm), colour pigments of paper money are rubbed directly from the bank notes in a rectangular shape onto marble plates. Beneath the transluscent 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 equivalent, work worldwide.
Qiu Shihua (b. 1940 in Zizhong, Sichuan Province, China) paints pictures on the verge of visibility, which can only be experienced in front of the original work of art. What at first sight looks like a plain grey surface (Untitled, 2017, 82 x 148 cm), after a while reveals traces of soil and plants, forming into a landscape in the eyes of the leisurely beholder, seeming to emerge out of a fog, yet vanishing again as soon as the gaze becomes active. This pulse follows the very own inner rhythms of the sensualapproach towards the phenomena of the world and enables the viewer to experience the daoist practice of the central principle of wuwei, or action without active interference.
Rebekka Steiger (b. 1993 in Zurich, Switzerland) expresses herself freely, and in a virtuoso manner in painting. Repeated application of layers of colour in a process embracing serendipity characterize her artistic approach, always readily confronting the unknown and the unexpected. Steiger gets inspiration by browsing through old books and photographs and subsequently puts her abundant visual knowledge into practice in a subtle and playful manner. Her works, depicting figures situated in floorless rooms (O.T., 2017, oil and tempera on cotton, 240 x 200 cm) or riding on horseback through diffuse landscapes (Riders on the Storm, 2017, oil and tempera on canvas 170 x 240 cm) appeal to us for their mysterious intensity and rich colourfulness deriving from the artist's strong commitment to emotionality and the atmospheric.
Galerie Urs Meile shows the solo presentation DD-MM-YYYY (2017) by Cheng Ran (1981 in Inner Mongolia, China). This project is an essential part of the artist's Diary of a Madman project (from 2016 onwards), whose naming derives from what is widely considered China's first novel in modern Chinese of the same title, written by Lu Xun in 1918, depicting a madman who sees realities often overlooked by his fellow men. Cheng Ran's Diary of a Madman consists of three parts, named after three cities, New York, Hong Kong and Jerusalem. If the three cities are composed as the main chapters in Cheng Ran "diary", DD-MM-YYYY is considered by the artist to be the preface of this book of city stories.
The main medium of Cheng Ran is video, and he has often parodied, distorted and reinterpreted the classic works of art, literature and film history. The artist works project-based. His oeuvre showcases a variety of different media such as photography, installation, light box, sound performance and novel. Diary of a Madman is one of his most recent projects. Borrowing the novel's first-person narrative and diaristic format, Cheng Ran "writes" his own stories in his "diary" using untypical perspectives and uncelebrated imageries. Part 1 New York had its debut in the artist's solo show in October 2016 at the New Museum in New York. Galerie Urs Meile realized a solo exhibition conceptually continuing Cheng Ran's city stories in our Beijing branch this fall. Under the title DD-MM-YYYY Cheng Ran shows three video installations from the same series of works. The videos played in TVs are re-edited video collages extracted from news as well as from natural or urban landscapes. Cheng Ran fragmented those existing moving images into a parade of cinematic syllables, in order to construct his own narratives about one moment in the history of the cities. The graffiti on the surface of TVs, and the neon tubes indicate New York and Hong Kong. Ready-made objects that are closely related to the content of the videos are attached to the installations to achieve a heightened sense of form.
Opening Hours & Venue
Private Day (by invitation only)
Wednesday, December 6, 2017
Vernissage (by invitation only)
Thursday, December 7, 2017, 11am to 3pm
Thursday, December 7, 2017, 3pm to 8pm
Friday, December 8, 2017, 12 noon to 8pm
Saturday, December 9, 2017, 12 noon to 8pm
Sunday, December 10, 2017, 12 noon to 6pm
Miami Beach Convention Center
1901 Convention Center Drive
Miami Beach, FL 33139