Galerie Urs Meile:XIE NANXING THE SECOND WHIP WITH A BRUSH

Xie Nanxing Mug Mat, 2011 oil on canvas 190,5 x 300 cm

Xie Nanxing
Mug Mat, 2011
oil on canvas
190,5 x 300 cm

XIE NANXING
THE SECOND WHIP WITH
A BRUSH
April 12 – July 6, 2013

Upcoming Art fairs:
Art Basel
June 13 – June 16, 2013
Hall 2.1, Booth P15
Unlimited: Ai Weiwei
Fairytale, 2007
1001 Chinese Visitors, Gottschalk-Hallen,
Ladies Dormitory, mixed media
Unlimited: Yan Xing
Arty, Super-Arty, 2013
single channel HD video (b/w, silent)

Galerie Urs Meile Lucerne
Rosenberghöhe 4, CH-6004 Luzern
T +41 (0)41 420 33 18, F +41 (0)41 420 21 69
galerie@galerieursmeile.com, http://www.galerieursmeile.com
Opening hours: Tue – Fri 10:00 – 18:00
Sat Visitors welcome, please schedule an appointment

The most interesting painters today are those who remain compelled to advance the medium’s potential through experimentation and innovation. In this regard, Xie Nanxing (*1970, Chongqing, China ; who lives and works in Beijing and Chengdu, China is a maverick. THE SECOND WHIP WITH A BRUSH, his solo exhibition at the Lucerne branch of Galerie Urs Meile presents a selection of oil paintings from three of the artist’s recent series. Works from Xie Nanxing’s informally titled Canvas Print series are characterized by their stippled surfaces. Seen over time, their whorls and dots of pigment give way to vivid scenes that are mutually constructed by the artist and the viewer. Paintings from a second series are loosely based on illustrations found in an interior design catalogue, which Xie Nanxing transforms into spaces redolent with references both personal and art historical. The exhibition also features two recent «portraits,» part of an ongoing body of work that pushes a typically conventional genre toward surprising new possibilities. Thematically, THE SECOND WHIP WITH A BRUSH toggles between near-abstraction and a string of opaque, psychologically charged narratives, cohering around what the artist calls the «ashes» or «dust» found in every representation.Those who have seen Xie Nanxing’s earlier works, whether in reproduction or in major international exhibitions such as the 48th Venice Biennale (1999) and Documenta 12 (2007), can easily recall the strange beauty of his exactingly executed canvases, which seldom tell us anything directly but leave us with a great deal to consider.

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