展会信息

【艺博会】麦勒画廊@巴塞尔艺术展香港展会 1D23 & 策展角落 (Kabinett)

 作者：本站编辑  2026-03-21 12:08:26  0

Galerie Urs Meile麦勒画廊展位 | Booth

1D23

策展角落Kabinett

雷娜·裴Lêna Bùi

贵宾时段 | VIP Days3.25 (Wed.) 12:00 - 20:003.26 (Thur.) 12:00 - 16:003.27 (Fri.) 12:00 - 14:003.28 (Sat.) 12:00 - 14:003.29 (Sun.) 11:00 - 12:00

开幕之夜 |Vernissage3.26 (Thur.) 16:00 - 20:00

仅限邀请 by invitation only

公众开放日|Public Days3.27 (Fri.) 14:00 - 20:003.28 (Sat.) 14:00 - 20:003.29 (Sun.) 12:00 - 18:00

艺廊荟萃

Galleries

麦勒画廊荣幸宣布参加2026年巴塞尔艺术展香港展会。作为一家国际知名的先锋画廊，麦勒画廊长期致力于培育与发展中国和欧洲的当代艺术，并促进二者之间富有意义和成效的交流。目前，画廊在中国北京和瑞士苏黎世、阿尔德茨均设有展览空间。本次展会，画廊将带来代理艺术家近期的一批重要作品：安东尼奥·巴莱斯特·莫雷诺、蔡东东、陈思新、陈作、克洛丁·埃尔布、郭天天、胡庆雁、鞠婷、苗妙、罗瑟林德·纳沙希比、邱世华、邵帆、洛雷达纳·斯佩里尼、高嫣（Rebekka Steiger）、王兴伟、魏德曼/梅特勒、谢南星、颜秉卿、杨牧石、张书笺和张雪瑞。此外，雷娜·裴的最新作品将在策展角落单元特别呈现。

Galerie Urs Meile is delighted to announce its participation in Art Basel Hong Kong 2026. With locations in Zurich and Ardez, Switzerland, as well as Beijing, China, Galerie Urs Meile is internationally recognized as a pioneering gallery that fosters contemporary art across China and Europe, while facilitating meaningful cultural exchange between the two regions. This year, the gallery brings together significant recent works by Antonio Ballester Moreno, Cai Dongdong, Chen Sixin, Chen Zuo, Klodin Erb, Guo Tiantian, Hu Qingyan, Ju Ting, Miao Miao, Rosalind Nashashibi, Qiu Shihua, Shao Fan, Loredana Sperini, Rebekka Steiger, Wang Xingwei, Wiedemann/Mettler, Xie Nanxing, Yan Bingqing, Yang Mushi, Zhang Shujian, and Zhang Xuerui. In addition, Lêna Bùi's most recent works will be exhibited in the Kabinett sector.

郭天天（1988年生于中国湖南）的创作聚焦于绘画的时间性、材料的物质性以及身体感知的诗意回响，通过克制的色调和琴弦、音符等符号内容为观众提供通感体验。她的实践并非消解中国传统工艺与西方现代美学之间的二元对立，而是成为一种“未来考古”的形式。她重新梳理漆艺的悠久历史，同时将其与个人的情感及身体经验相融合。这种方法论将大漆从静态的文化遗产转化为活跃的探索场域。由此产生的多层次作品将她的自我意识与对自然和历史的反思融为一体。

Guo Tiantian's (b. 1988, Hunan, China) practice focuses on the temporality of painting, the physicality of material, and the poetic resonance of bodily perception, providing a synesthetic experience for audiences through muted color palettes and the symbolic content of strings and notes. Rather than dissolving the dichotomy between traditional Chinese craftsmanship and Western modern aesthetics, her practice becomes a form of "future archaeology." She is reexamining the extensive history of lacquer while integrating it with her personal emotional and physical experiences. Such methodology converts lacquer from static cultural heritage into an active site of exploration. The resulting multilayered surfaces merge her self-consciousness with reflections on nature and history.

鞠婷（1983年生于中国山东）运用版画技法创作出模糊绘画与雕塑边界的作品。她在木板上反复堆叠丙烯颜料，待积攒至一定厚度后加以雕刻。这一手法使原本工业化的材料充满触感，透出意外的生命力。鞠婷的作品以系列方式呈现，一条线索延伸出下一条，在保持内在观念连贯的同时打开新的讨论空间。她的创作方式常从身体经验出发，回应并挑战艺术史和社会中根深蒂固的父权叙事。

Ju Ting (b. 1983, Shandong, China) employs printmaking processes to create works that blur the boundary between painting and sculpture. Her works are distinguished by the application of multiple layers of thick acrylic paint on wooden panels, which she allows to accumulate to substantial density before carving into them. This practice transforms the cold and industrial medium into something tactile and unexpectedly organic. Working in series, Ju extends conceptual threads from one body of work to the next, maintaining continuity while opening new discursive possibilities. Ju interrogates bodily experiences that challenge entrenched patriarchal narratives within art history and contemporary society.

鞠婷 Ju Ting

深流 020826｜Deep Waters Run Quiet 020826,2025 - 2026

木板丙烯｜acrylic on board

183 × 304 × 9 cm, 双联拼接｜2 panels (每联｜each panel 183 × 152 × 9 cm)

苗妙（1986年生于中国河南）专注于绘画本身及绘画材料的研究。她的创作游走于日常生活的内外之间，色彩、形式与文学暗示相互交织，脱离了传统的绘画模式。她擅长捕捉生活片段，将其打乱重组，搭建出一个充满即兴趣味和想象力的视觉世界。曾于颜料公司工作的经历，使她对色彩和材料的感知格外敏锐。苗妙常在画布、木板、纸本上混合使用蜡、色粉、丙烯、油画等材料，作品构图如同万花筒，看似随性，内里却有严谨结构。她的创作亦可视为对城市生活、记忆以及物质特性的私人注解。

Miao Miao (b. 1986, Henan, China) focuses on painting and the study of art materials. Her practice examines the intersection of interiority and exteriority in daily life, where color, form, and literary references subtly challenge conventional painting approaches. She is fascinated by capturing fragments of daily life and rearranging them into an imaginative visual world infused with spontaneity and whimsy. Her experience of working at a pigment company has refined her sensitivity to color and material. By employing a range of media, such as wax, pigment, acrylic, and oil paints, on canvas, wood panels, and paper, Miao's composition of works resembles an enchanting visual kaleidoscope with meticulous internal structure. Her practice also offers a unique personal reflection on urban existence, memory, and the physical properties of materials themselves.

苗妙 Miao Miao

买菜买肉｜Buying Vegetable, Buying Meat,2025

丙烯,铅笔, 色素, 木板, 金属合页｜acrylic, pencil, pigments, wood, metal hinge

4联合页连接｜4 connected panels, 每联｜each panel 155 × 60 × 4.3 cm, 展开尺寸｜unfolded dimension 155 × 240 cm (约｜approx.)

罗瑟林德·纳沙希比（1973年生于英国伦敦）的创作横跨绘画与电影，提出关于亲密关系本质以及人际关系随时间推移而变化的动态问题。她的绘画捕捉源自日常经验的稍纵即逝、如梦般的瞬间，而她的电影则以非线性结构展开，其间穿插着权力关系和宏观历史的叙事。纳沙希比为反思社会政治现状开辟了新的空间，同时鼓励观众与作品通过直觉建立私人化的联系。

Rosalind Nashashibi (b. 1973, London, UK) works across painting and filmmaking, raising questions concerning the nature of intimacy and the shifting dynamics of human relationships over time. Her paintings capture fleeting, dreamlike moments drawn from everyday experience, while her films unfold through non-linear structures punctuated by manifestations of power relations and collective histories. Nashashibi opens space for reflection on socio-political conditions while encouraging audiences to form intuitive and personal connections with the work.

邵帆（1964年生于中国北京）的实践涵盖绘画、雕塑和装置，从道家视角探索自然与人类的相互关联性。在他近期的水墨画中，邵帆将猿猴等日常题材转化为自我进行哲学反思的场所，重复性在此既成为视觉结构，也成为冥想的实践。成千上万次重复的笔触交替描绘和消解老猿的不同身体部分，营造出一种神秘而引人探索的图像，令人联想到神性与人性交织的力量。此外，邵帆的家具雕塑由中国古代家具构件重组而成，并融入当代极简几何审美，揭示了现代中国哲学和文化状况的变迁。通过传统技法和日常题材，邵帆将中国文化记忆嵌入鲜明的当代语境之中。

Shao Fan's (b. 1964, Beijing, China) practice encompasses paintings, sculptures and installations that explore the interconnectedness of nature and human beings from a Taoist perspective. In his recent ink paintings, Shao transforms everyday subjects, such as apes, into sites of sustained philosophical reflection, where repetition becomes both a visual structure and a contemplative practice. Thousands of repetitive brushstrokes, alternating between articulating and dissolving parts of the old ape, create a mysterious yet exploratory image that recalls the intertwined forces of the divine and the human. Furthermore, Shao's furniture sculptures, reassembled from ancient Chinese furniture fragments and imbued with contemporary geometrical sensibilities, reveal the shifting philosophical and cultural conditions in modern China. Through traditional techniques and everyday subjects, Shao Fan embeds Chinese cultural memory within a distinctly contemporary context.

邵帆 Shao Fan

猿问 2224｜Question from The Ape 2224, 2024

宣纸上水墨｜ink on rice paper

175 × 148 cm

颜秉卿（1983年生于中国上海）的作品以日常主题和夸张的人物表现为特征。颜秉卿经常描绘裸体形象，强调身体的韵律动感和曲线。他从日常生活场景中汲取灵感，如儿童与动物玩耍，创造出欢快、寓言故事般的画面，在诙谐幽默的场景与细腻情感的表达间产生平衡。他使用蛋彩画——一种盛行于中世纪晚期至文艺复兴早期的媒介——进行创作，将非线性透视和历史背景融入当代叙事。颜秉卿将文艺复兴的视觉记忆与当代主题相融合，形成了独特的创作语言，既有对艺术史的理解，也有亲切的情感温度。颜秉卿在麦勒画廊的首次个展将于今年五月在北京空间举办。

Yan Bingqing's (b. 1983, Shanghai, China) works are characterized by everyday motifs and over-exaggerated representations of human figures. Yan frequently depicts nude bodies, which emphasize rhythmic movement and corporeal curves. Drawing inspiration from scenes of everyday life, such as children playing with animals, he creates jolly, fable-like images that balance humor and emotional immediacy. Working in tempera, a prominent medium from the late medieval to the early Renaissance periods, his works incorporate non-linear perspective and historical formal language into contemporary narratives. Yan's paintings combine visual references from the Renaissance era with contemporary subjects, creating a unique visual identity that balances art-historical awareness with emotional intimacy. Galerie Urs Meile Beijing will present the artist's first solo exhibition in May.

颜秉卿 Yan Bingqing

爬｜Climbing, 2025

木板坦培拉｜tempera on wood

60 × 50 cm

张书笺（1987年生于中国湖南）的作品从历史图像中寻找素材，再以摆拍式的构图和强烈的影棚光线重新演绎。受丢勒、达·芬奇等艺术家启发，他聚焦于人物面部，将常被忽略的细节单独提取放大。那些通常被视为瑕疵、甚至令人不安的特质，被他以夸张手法呈现，强化了真实与虚构之间的张力，以此探讨人的形象背后复杂的文化含义。他笔下的人物面孔如同编织细密的织物，刻画细致，透着心理上的分量感，与工业流水线的标准化形成鲜明对比。画中人物既熟悉又奇幻，提示着现实主义在当代艺术中依然可以保有其批判性。张书笺在麦勒画廊苏黎世空间的首次个展将于2027年举办。

Zhang Shujian (b. 1987, Hunan, China) draws from historical imagery and reinterprets it through staged compositions and dramatic studio lighting. Inspired by artists such as Dürer and Leonardo da Vinci, he focuses on the human face, isolating and extracting details that are often overlooked. By exaggerating flaws that are usually considered awkward or unsettling, Zhang heightens the tension between reality and fiction, examining the complexity of both the human figure and its embedded cultural symbolism. Faces in his paintings become intricately woven surfaces, meticulously rendered and laden with psychological weight, demonstrating a sharp contrast to the standardized uniformity of industrial production. His figures appear both familiar and fantastical, challenging the assumption that realism cannot sustain a critical presence in contemporary art. Galerie Urs Meile will present the artist's first solo exhibition with the gallery at its Zurich space in 2027.

策展角落

Kabinett

雷娜·裴Lêna Bùi

雷娜·裴（1985年生于越南岘港）观察人类生存如何与周遭环境相互交织。裴以越南Thu Thiem地区为灵感，呈现一系列层次丰富的绢本绘画，以及一件装置作品。该地曾被誉为“胡志明市新都市区的皇冠明珠”，如今却在零星散落的“新都市”、争议、停滞的开发与自然复归中重塑面貌。她运用混凝土垫块、钢筋、铝线与铜线等建筑中广泛使用的材料，以及大众信奉的土地神形象，隐喻大规模开发、土地观念的变迁，以及占据同一空间的不同存在。裴的作品反思信仰、梦想，以及那些引导人类经验的无形之力。对她而言，创作过程即是形成问题、并阐述渴望的过程。

Lêna Bùi (b. 1985, Da Nang, Vietnam) observes how human existence is intertwined with its surrounding environment. For the Kabinett sector, Bùi presents a series of layered silk paintings and an installation inspired by Thu Thiem—once hailed as the "crown jewel of Ho Chi Minh City's new urban area", now shaped by pockets of "new cities", disputes, stalled development, and returning nature. Playing with concrete spacers, steel rebar, aluminum, and copper wire, widely used in construction, and the image of the prevalent Earth God, she alludes to mass development, the changing perception of land, and the different entities occupying a space. Bùi's work reflects on faith, dreams, and the unseen forces that guide human experience. The process of making work for her is a process of forming questions and articulating yearnings.