Galerie Urs Meile is pleased to present Passaggio, a solo exhibition by Mirko Baselgia (b. 1982, Lantsch/Lenz, Switzerland) at the gallery’s Engadin location in Ardez. At the center of the exhibition stands the artist’s exploration of transition, materiality and the dissolution of fixed categories.

The central work is a wooden sculpture in two parts that unfolds between interior and exterior space. The piece is composed of two structural frameworks made from spruce three- layer panels and an outer skin of Swiss stone pine veneer. The forms consist of a series of curved wooden elements that create a hollow body, making both the supporting structure and its cladding visible. One element is situated indoors, standing, while the other is outdoors, lying; together they form a single work whose connection only becomes visible through their physical separation.

The standing form rises upright, asserting presence while forming an interior that remains open. The lying form, by contrast, appears as an opened shell, evoking exposure and vulnerability. Constructed from a visible framework, the piece foregrounds the relationship between structure and surface. The wooden skin never fully conceals it; both interact with one another, shifting attention from the object as a self-contained form to the interplay of layer, space, and material presence. The work does not assert definitive forms; rather, it articulates states, transitions, and interdependency.

The outdoor element is exposed to weathering; light, air, water and time gradually alter its surface, color, and material presence. The boundary between the sculpture and its surroundings becomes increasingly permeable, and dissolution emerges not as loss but as a continuation of the work itself.

Mirko Baselgia’s new pieces explore conditions in which familiar orders lose their unambiguity. Visibility is tied to material presence, while stability appears only as a temporary condition. Interior and exterior, structure and skin, supporting framework and surface initially appear as opposing categories. Within the works themselves, however, these boundaries begin to blur.

The exhibition title Passaggio does not refer to a single moment, but to an ongoing process. It describes transitions between seemingly fixed categories and points to a reality in which boundaries are not rigid divisions but permeable and constantly shifting. Sculpture and relief are thus understood not as self-contained objects, but as open systems in which meaning arises through the interplay between work, space, and viewer.