L1-03&04, One Museum Place, 388 Shan Hai Guan Road, Jing'an District, Shanghai, China
MadeIn Gallery is honored to present a joint exhibition of three artists, “The Picture Is Not at Ease”, on November 7, 2020, featuring artists Chen Ying, Su Yu-Xin and Wang Ziquan, showcasing their creative exploration in the visual fields of painting, video and relief and latest works.
In the past months, with the profound changes in the world order and daily experience brought by the epidemic, our perception and visual experience of space and time, screen and image have also changed accordingly in this context. The mechanism of drew picture produces new meaning and new space for reading. This exhibition will focus on painting as a medium, and extend to video and relief works to explore the rich possibilities of picture-reading and the diversified development of visual language.
The artistic practices of Chen Ying and Su Yu-Xin are primarily painting. Chen Ying's paintings express the infatuation and exploration for perceptual embodiment and visual abstraction. With the characteristics of its symbolic geometric figures, Chen Ying's works advance and separate from the abstracted scenes which are reconstructed from the figures, and gradually strengthen the shapes and pictures, as well as the interaction among colors, structures and textures, which also derive and restrain each other. In this exhibition, the artist presents new works under different directions since his solo exhibition at KWM Art Center last year. Part of the exhibited works continue the artist's past style, while the others explore new working methods. Taking the disassembled human body shape and hair style as the modeling basis, the artist deduces from the concrete and abstract picture structure and color relationship, and counteracts the meaning of the form itself. The application and conversion of random brushstrokes create more overlapping spaces, thus expand more possibilities and richer viewing experience of abstract pictures.
Su Yu-Xin's paintings focus on capturing the connections among visual, language and neural perception. By painting as an action, she investigates people's experience of a certain object (landscape, object) in real life, and explores how to change the method of picture production and reproduction in turn; or, whether the way audience reads the picture may affect their experience of reality. All kinds of water body in landscapes are the themes that often appear in the artist’s creation, where the elements of sky, water surface, mountain and rock occur many times in different works. The tangible and intangible matter compete in shape and define each other’s boundaries, penetrating and transforming the way they occupy space.Red-Eye Flightvisualizes the relative geographical location and the vacuum time in flight state. Also presented in the exhibition is Su Yu-Xin’s latest works, a series of wooden object paintings in mobile phone scale. These hand-made wooden and plaster objects are polished, shaped and painted with a very close working distance, and the viewers are also required to approach the picture, offering a more intimate reading experience. These picture objects are interspersed among the large-scale works in the exhibition space, providing a rhythm similar to the picture-intakes during our lives in social distance for the past half year.
Wang Ziquan's latest video and reliefs works expand the visual experience from screen and the Internet. The artist’s creations come from his unique observation and understanding of the Internet and the virtual world. Through computer images and narrative videos, he copies and pastes between the virtual and physical space to explore the thresholds of virtuality and reality. In his latest relief work, Wang Ziquan uses computer to create fictional character figures, which are provided with both the realistic and the abstract of human body modeling. These digital figures are detached, disassembled and flattened, then covered with transparent plates engraved with imprint wireframes and bones. In the logic of computer image, these wireframes and thresholds are the real pictures, not the figure itself. Presented at the same time is his latest video workLychee Park, a fictional story that happened before software rendering. It continues the artist’s previous CG narrative image, creating a chaotic and fragmented visual aesthetics between video art and CG images.
L1-03&04, One Museum Place, 388 Shan Hi Guan Road, Jing'an District, Shanghai, China
Karen Ledererreceived her BFA in Printmaking and Drawing from Washington University in St. Louis in 2008 and an MFA in Printmaking from Rhode Island School of Design in 2012. She was an artist in residence at Robert Blackburn Printmaking Workshop, Lower East Side Printshop, and the Sharpe-Walentas Studio Program. Her work has recently been featured in solo exhibitions at One River School, Guilford College Art Gallery, Tennis Elbow at The Journal Gallery, Grant Wahlquist Gallery, and Field Projects. She has participated in many group exhibitions most recently at Morgan Lehman Gallery, Danese/Corey, Gloria's Project Space, The Flinn Gallery, and Ortega Y Gasset Projects.
WALKER ART CENTER PRESENTS ARTIST MICHAELA EICHWALD’S FIRST US SOLO MUSEUM SHOW
Michaela Eichwald, Die Unsrigen sind fortgezogen, 2014. Private collection, Minneapolis.
Berlin-based artist and writer Michaela Eichwald (Germany, b. 1967) maintains a restless and fearless belief in the possibility of painting. Bringing together pieces made over the last 15 years, this first US museum exhibition reveals the wide variety of references in her work, drawing on references to theology, philosophy, and art history, while also reflecting on her own life: her surroundings, thinking, reading, and friends.
Following studies in philosophy, history, art history, and German philology in Cologne, Eichwald emerged as an artist, with her first exhibition held at Galerie Daniel Buchholz in 1997. The context of Cologne—at the time, an undisputed center of European contemporary art—proved formative for Eichwald, a place where she maintained a lively exchange of ideas with many intellectuals and fellow artists, including Kai Althoff, Jutta Koether, Michael Krebber, Josef Strau, and Charline von Heyl, among others. In 2006, Eichwald began episodically blogging on uhutrust.com, providing a logbook with insight into her practice, everyday musings, and contemplations of current affairs.
Bridging abstraction and figuration, Eichwald’s densely layered paintings—often made on unconventional surfaces such as printed canvas or imitation leather—bear an alchemical combination of acrylic, oil, tempera, spray paint, mordant, graphite, varnish, and lacquer. Whether in large- or small-scale formats, her works combine smooth paint strokes and quick smudges, at times revealing figurative forms and snippets of text. Discussing her preference for pleather, the artist notes, “artificial leather has something repulsive, inelegant, something that cannot be easily classified in art history.” This sense of refusing to fall within conventions underscores Eichwald’s practice. While her works are part of a lineage of abstraction, they resist any direct connection to a particular movement or period, instead churning through a history of painterly styles and combining them in surprising ways.
To create her sculptures, Eichwald pours resin into bags, rubber gloves, and plastic bottles, in which she collects—like objects captured in amber—uncommon and dissonant materials, such as chicken bones, erasers, jewelry, mushrooms, fishing tackle, needles, candy, small drawings, and hard-boiled eggs. At once repulsive and alluring, grotesque and seductive, these pieces bring to mind associations ranging from trophies and time capsules to the human digestive system.
Interspersed throughout the exhibition is a newly commissioned long-form poem by her friend, writer Ulf Stolterfoht, created especially in response to the selection of works on view.
Curator: Pavel Pyś, curator, Visual Arts
The exhibition will be on view November 14, 2020–May 16, 2021.
Note: This exhibition was previously scheduled to be on view June 4–November 8, 2020.
To celebrate the opening of Michaela Eichwald’s first US museum exhibition, curator and writer Laura Hoptman will offer a virtual lecture that surveys the artist’s practice. Looking across Eichwald’s paintings, drawings and sculptures, Hoptman will seek key motifs and subject matters recurring throughout Eichwald’s work. The lecture will be screening online for free beginning at 10 am (CDT) November 14 and will be available online throughout the duration of the exhibition.
Michaela Eichwald, Gebet, so wird Euch genommen [Giveth, and it will be taken from you], 2019. Private collection, Minneapolis #walkerartcenter#fineartmagazine#artfun
‘OVR:20c’, Art Basel's edition of Online Viewing Rooms dedicated to art of the 20th century, is now live onartbasel.comand in the Art Basel app. Discover 600 exceptional artworks, from rare paintings by Postwar luminaries to genre-defying videos by feminist legends. To view the 100 rooms, please log in to your Art Basel account with your email address.
‘OVR:20c’ will run through October 31, 12 midnight CET. Make the most of the platform’s interactive features, including our live-chat and highlights sharing functions. With many galleries adding new work regularly, be sure to browse 'OVR:20c’ again before it ends tomorrow.
Find out more about the virtual events organized by our galleries, and explore further ‘OVR:20c’ highlights below.
Wishing you exciting discoveries,
Select Gallery Events
Gallery Event: Lost Drawings / Dibujos perdidos: Bernardo Ortiz in conversation with Victoria Noorthoorn Organized by Casas Riegner
Friday, October 30, 5:30pm CET
Join a conversation between Colombian artist Bernardo Ortiz and the Director of the Museo de Arte Moderno, Buenos Aires, Victoria Noorthoorn.
We are happy to inform you that our global Media Partner, the Financial Times has made its 'Collecting: Art Basel OVR:20c celebrates the 20th century' online supplement free to read for all. The FT provides the very latest arts and culture coverage from around the world, as well as news and analysis. Read ithere.
Top image: Beauford Delaney,Untitled(detail), 1959. Courtesy of Menconi + Schoelkopf, New York City.