Brass (heat-colored brass), acrylic coloring, iPhone 12 mini
30 x 162 x 30 cm

Brass (heat-colored brass), acrylic coloring, iPhone 12 mini
455(mm) x 170(mm) x 260(mm)

Brass (heat-colored brass), marker pen graffiti, iPhone 12 mini
450(mm) x 350(mm) x 250(mm)

Video, sculpture
Colored brass, iPhone8P

Video, sculpture
Colored brass, iPhone8P

Video, sculpture
Colored brass, iPhone8P

Pigmented bronze
120 x 33 x 17 cm

Single-channel HD video, 1920 x 1080, color, sound
00:03:00

The work courtesy of and credit to the artist Chen Zhou.

Disposable lighter exploded on handmade watercolor paper, Epson UV print, mounted in aluminum frame
125 x 220 cm (without frame)

Disposable lighter exploded on handmade watercolor paper, Epson UV print, mounted in aluminum frame
125 x 220 cm (without frame)

(Left) 2014201620212022#B#1-15, 2023
Disposable lighter exploded on full-color printing photographic paper, mounted in aluminum frame
46 x 34 x 5 cm (with frame)

(Right) Apple Meat, 2023
Epson UV print on metal Barium sulfide, mounted in aluminum frame
27 x 22.3 x 4.5 cm (with frame)

Epson UV print on metal Barium sulfide, mounted in aluminum frame
27 x 22.3 x 4.5 cm (with frame)

Single-channel HD video, 4K，color, sound
00:21:50

Single-channel video, color, sound, 4K, HD
00:21:58

Single-channel video, color, sound
00:13:43
Edition: 2/5 + 2 AP

Single-channel HD video, color, sound
00:21:50
Edition: 1/5 + 2 AP

1# G
Single-channel HD video, color, sound
00:21:58

2# Pigeon (TCHA)
Single-channel video, color, sound
00:04:44

3# Inner Landscape (Wu Lang)
Single-channel video, color, silent
00:03:00

4# COMMOC (co-created with Darren Bader)
Installation
Dimensions and duration variable

The long-term art project “Pigeon 2021” of Li Ming started with his video work G. Following the intervention of the art institution TCHA, who created 10 “pigeon coins” in accordance with the logic of virtual currency on the Internet to embed the series of works into the blockchain, echoing the value change from one dollar to ten dollars in G. The first of the 10 pigeon coins was used to confirm the rights of G. The second was given to Pigeon produced by TCHA. The third was given to director Wu Lang’s Inner Landscape. The fourth belonged to a new work by Li Ming and Darren Bader. The project will continue, and Li Ming will keep releasing an equal number of pigeon coins for use by the subsequent creators together with TCHA.

Epson UV print ( Archival paper ), Mounted in aluminum frames
48 x 63 cm
Edition: 4 + 2AP

Epson UV print ( Archival paper), Mounted in aluminum frames
81 x 61 cm each, 2 photographs
Edition: 4 + 2 AP

Epson UV print (Archival paper), Mounted in wooden frames
151 x 131 cm
4 + 2 AP

Epson UV print (Archival paper), Mounted in wooden frames
105 x 105 cm
Edition: 4 + 2 AP

Epson UV print on acrylic, Mounted in aluminum frames
120 x 96 cm
Edition: 6 + 2 AP

Epson UV print ( Archival paper ), Mounted in aluminum frames
51 x 74 cm
Edition: 6 + 2AP

Epson UV print ( Archival paper ), Mounted in aluminum frames
46 x 61 cm
Edition: 4 + 2AP

six channel HD video, color, sound

768 x 576，4:3

video 1: 4’10”

video 2: 3’22”

video 3: 4’31”
video 4: 3’38”
video 5: 2’34”
video 6: 4’01”

Epson UV print on Ilford blank-and-white photographic paper, Mounted in aluminum frames
66 x 33 cm each, 9 photographs
Edition: 4 + 2 AP

Brass
163 x 16 x 50 cm
Edition: 4 + 1 AP

Oil on canvas
43 x 34 cm

German reflecta Huida projector AFM model, slide (50 pieces)
20(cm) x 30(cm) x 42(cm)

Single-channel HD video, color, sound
Dimensions variable
00:16:11

Epson UV print ( Archival paper), Mounted in aluminum frames
56 x 71 cm
Edition: 6 + 2 AP

Single channel HD video, color, sound
Display size variable
00:65:48

Paper currency, Apple host case, candles or matches
Dimension variable

7 Channel HD video, 1080P, color, sound, synchronizer
Display size variable (3 Channel HD video in the 2018 exhibition Li Ming: 1703)
00:12:20

5 Channel HD video, color, sound, synchronizer
Display size variable
00:28:58

Sound, texts, digital prints, packaging materials
Display size variable
00:32:21

Single-channel HD video, color, sound
00:18:58

Single-channel HD video, color, B&W, sound
00:04:30

Single-channel HD video, color, B&W, sound
00:06:01

Single-channel HD video, color, B&W, sound
00:14:19

Single-channel HD video, color, sound
00:02:09

Paint on paper, print
40 x 50 cm

15-channel HD video installation, color, sound

Video # 1: The Kuleshov Effect-1 (duration: 00:27:57)
Video # 2: The Kuleshov Effect-2 (duration: 00:10:39)
Video # 3: The Kuleshov Effect-3 (duration: 00:20:13)
Video # 4: The Kuleshov Effect-4 (duration: 00:05:06)
Video # 5: Security exit (duration: 00:05:37)
Video # 6: Junction (duration: 00:11:53)
Video # 7: Wavelength, 3 laps (duration: 00:16:00)
Video # 8: command line – 1 (duration: 00:18:50)
video # 9: command line – 2 (duration: 00:02:10),
video # 10: command line – 3 (duration: 00:11:16)
Video # 12: Cement Plant (duration: 00:15:21)
Video # 13: Underground, forward (duration: 00:21:57)
video # 14: Underground (duration: 00:02:00)
Video # 15: the flipped mountain tunnel (duration: 00:27:54)

Mixed media
Dimensions variable
Cooperated with Darren Bader
Images courtesy of the artist, By Art Matters, Hangzhou and Antenna Space, Shanghai. Photo © Young

A4 paper, marker pen, pencil, seal
84 x 119 cm

A4 paper, marker pen, pencil, seal
119 x 84 cm

iPad, Epson Micro spray on canvas, kite skeleton
Video: 00:07:46
Installation: 140 x 2.5 x 300 cm (6 pieces)

The kite installation image courtesy of the artist, By Art Matters, Hangzhou and Antenna Space, Shanghai. Photo © Young

Photo paper, watercolor paper, handmade paper, printing paper, notes and other paper 600 × 67 × 300 cm

Installation, video, sound, text, light, audience
Dimensions variable
00:09:27
 
“ME I WE” The relationship of a set of lens does not end here. They lens constitute a movement – in truth we can easily imagine how two mirrors reflect each other’s image – which is instantaneously formed. Nevertheless we can artificially assign it a temporal depth; such is the function of words. They can stretch, separate into layers, and even guide a process that is instantaneously completed. Words are different from pictures. They are not instant, smooth and clear to the eye. When one read words, one read them in linear fashion. It takes time to read them. Indeed the manner in which words are structured is itself one that requires advance thoughts.It is an attempt to create certain space. In this context, the formation of text is also an attempt to accomplish study and correction of oneself. From these words we can see how one (as in “ME”) develops to become many (as in “WE”). Each time an individual ‘grow’ to two, three, four and even five individuals, there will be changes in the relationship. During this process an increasing part of the external world is being drawn into one’s own world. Perhaps it is possible to identify certain relationship, scenario, phenomenon or circumstances that are familiar to the individual – they do not cross the boundaries of real life but are neither limited to its logic. Ultimately the hope is to create an increasing number of connecting points, real or imaginary, with reality. These words are not precise algorithms; they remain to be very much a part of language. Thus they often generalize or even allude to the wrong matter and stray from their train of thoughts before finally returning to their original premise. Insofar as they accompany such growth and shift in position, the scenarios and the issues involved in them also extend from one that is totally private to one that is semi-private, semi-public and completely public, until they congregate at an abstract level. Nonetheless this not the finishing points as we thought – it is only a point. Corresponding to this point is yet another point – the original individual entity. You can also imagine as such: these words ultimately make up a loop. Just as they seek to describe “a group of people” in this manner – “there is eventually presented a shape with a smooth surface. It may be round or somewhat round with curves replacing straight lines and sharp angles.” In the midst of it all, the words suddenly become voices, constituting a destructive intrusion. The voices are embedded in the transition from a group of people to an individual. They are spoken in the first person by individuals before they met others, and describe their stories or parts of the story. Yet at the same time we discover that the motive for such spoken statements which are detached from their temporal-spatial sequences, is to share or even seek help. All of them have the effect of bringing us back to the original title of “MEIWE” which is at once complementary and self-contradictory.

Singele-channel HD video, color, sound
Display size variable
00:01:03

Performance, 26-channel HD video
Part 1 – Straight Line, Video 1-25 duration: 00:02:30
Part 2 – Landscape, Video 26 duration: 00:17:40
Dimensions variable

Disposable lighters, handmade paper
110 (H) x 80 cm (W)

9-channel HD video, color, sound
Video 1：00:01:50
Video 2：00:05:04
Video 3：00:05:10
Video 4：00:10:03
Video 5：00:11:46
Video 6：00:06:35
Video 7：00:09:27
Video 8：00:07:53
Video 9：00:27:58

Two-channel HD video, color, sound
Video 1: 00:23:07
Video 2: 00:00:23

Eight-channel HD digital video , color, sound
Video 1: 00:02:30
Video 2: 00:02:30
Video 3: 00:02:30
Video 4: 00:02:30
Video 5: 00:03:53
Video 6: 00:03:53
Video 7: 00:03:53
Video 8: 00:03:53

During four different times in the same space, the artist has completed an image-making process from “imagination – realizing the imagination by means of a video camera – recovering the imagination through body movements”.

Treating his body as a prop, the artist interacts with various means of transportation in the video, offering meaningless “relationships” for the audience to consume.

In the video, “actions” have been “performed” as kind of texts – the serial movements as hidden montages in the long scenes, merely “occurs” without any meanings in fact. What the artist cares is whether his cooperating relationship with the video camera could interact with the audiences and how the artist, the video camera and the audiences control one another. Every prop shown in the video is not only a motivation that guides the artist’s movements, but also a trap leading audience to control the props by their consciousness. And these motivations are arranged into a certain pace to make the movements simply for looking at.

Disposable lighters, handmade paper
110 x 80 cm

361 disposable lighters with red gas have been broken and blasted on this piece of paper.

Single-Channel HD Digital Video, Color, Sound
00:05:51

I commissioned some lighters in Xiayi County, Henan Province.

This is a documentation of 361 lighters being broken and blasted. 361 here is not a metaphor and does not have a reference. It merely means the limit of how long my body could be physically consumed.

Disposable lighters, handmade paper
200 x 142 cm

977 disposable lighters with red gas have been broken and blasted on this piece of paper.

Four-channel video，color, sound
00:10:38
00:09:04
00:05:25
00:02:18

* Animal Protection Declaration: The animals appearing in the work are all incidentally encountered by the artist or rented through regular sources, and the animals were not actually harmed in the process of making the work.

Action, single-channel video，color, sound
00:03:28