2k, color, stereo
Liu Chuang (b. 1978, Tianmen) currently lives and works in Shanghai. In 2001, he received his BA from the Hubei Institute of Fine Arts.
Liu Chuang works primarily with film, sculpture, readymade and installation. His works often integrate long-term history and ecological arc for imagination, tracing the social, cultural and economic transformations of contemporary China. Weaving narratives that connect the micro and macro, past and present, fiction and reality, Liu Chuang explores how vast and complex changes in nature, tradition, demographics, cutting-edge technology, and socio-economic systems affect individuals and their engagements with the world as a whole.
His works have been featured in art museums including: National Museum of Contemporary Art Athens (ΕΜΣΤ), Athens, Greece (2022); Astrup Fearnley Museet, Oslo, Norway (2022, 2017, 2007); Centre Pompidou, Paris, France (2021, 2020, 2019); Centre Pompidou – Metz, Metz, France (2021); Kunsthalle Basel, Basel, Switzerland (2021); Seoul Museum of Art, Seoul, South Korea (2021); Power Station of Art, Shanghai, China (2021, 2014); MOT, Tokyo, Japan (2020); Taipei Fine Arts Museum, Taipei (2020); Para Site Hong Kong, Hong Kong, China (2020, 2016, 2012, 2009); NTU Centre For Contemporary Art, Singapore (2022, 2016); National Gallery Singapore, Singapore (2020); Guangdong Times Museum, Guangzhou, China (2019, 2018, 2017); Solomon R. Guggenheim Museum, New York, US (2018); House of World Cultures, Berlin, Germany (2016); Museum Berardo, Lisbon, Portugal (2016); Foundation Louis Vuitton, Paris, France (2016); Tampa Museum of Art, Tampa, US (2014); UCCA, Beijing, China (2013); Whitechapel Art Gallery, London, UK (2012); Minsheng Art Museum, Shanghai, China (2011); Pinacoteca Giovanni e Marella Agnelli, Turin, Italy (2010); New Museum of Contemporary Art, New York, US (2009); Macedonian Museum of Contemporary Art, Thessaloniki, Greece (2004); He Xiangning Art Museum, Shenzhen, China (2003) among others.
His recent biennales and triennials include: 2nd Thailand Biennial: Butterflies Frolicking on the Mud (2021); 11th Seoul Mediacity Biennale: One Escape At A Time (2021); 13th Shanghai Biennale: Bodies of Water (2021); 3rd Guangzhou Image Triennale 2021: Intermingling Flux (2021); Kathmandu Triennale 2077: Garden of Six Seasons (2021); 12th Taipei Biennial 2020: You and I Don’t Live on the Same Planet (2020); 5th Dhaka Art Summit: Seismic Movements (2020); 5th Ural Industrial Biennial of Contemporary Art: Immortality (2019); 7th Asian Art Biennial: The Strangers from Beyond the Mountain and The Sea (2019); 10th Shanghai Biennale: Social Factory (2014); 10th Gwangju Biennale: Burning Down the House (2014); The 43rd (Inter) National Salon of Artists (43 SNA): Guide To The Unknown (2013); 1st New Museum Triennale: The Generational – Younger Than Jesus (2009) among others.
His film festival participation includes: 38th Internationale Kurzfilm Festival Hamburg, Hamburg, Germany (2022 forthcoming); 32nd Singapore International Film Festival (SGIFF), Singapore (2021); 66th Berlinale (Berlin International Film Festival), Berlin, Germany (2016); 7th Bucharest International Experimental Film Festival (BIEFF), Bucharest, Romania (2016); 5th Kyiv International Shot Film Festival, Kyiv, Ukraine (2016); 8th Crosstalk Video Art Festival: Dark Ecology, Budapest, Hungary (2016); Arkipel-Jakarta International Documentary & Experimental Film Festival, Jakarta, Indonesia (2016) among others.
Numerous prestigious public institutions have collected Liu’s works, such as: Tate Modern, London, UK; Centre Pompidou, Paris, France; M+ Collection, Hong Kong, China; Astrup Fearnley Museet For Moderne Kunst, Oslo, Norway; LUMA Art Foundation, Arles, France; Kadist Collection, Paris, France; San Francisco, US; Rubell Family Collection, Miami, US; DSL Collection, Paris, France; The Walther Collection, New York, US; Guangdong Museum of Art, Guangzhou, China; K11 Art Foundation, Hong Kong, China; Sigg Private Collection, Switzerland; New Century Art Foundation, Beijing, China; Taikang Art Space, Beijing, China.
Liu Chuang, Can Sound Be Currency?, 2021
2k, color, stereo作品信息Information
Liu Chuang, Lithium Lake and the Lonely Island of Polyphony, 2020
3-Channel Video, Color, Sound
35 mins 55 secs作品信息Information
Liu Chuang, Bitcoin Mining and Field Recordings of Ethnic Minorities, 2018
6k (5760 x 1080), color, sound
Commissioned for ‘Cosmopolis #1.5: Enlarged Intelligence’ with the support of the Mao Jihong Arts Foundation
Liu Chuang’s video installation constructs a speculative journey through the history of technology, infrastructure, ecology and finance, intertwining this with anthropological knowledges and science fiction’s global imaginary. During his field trips, the artist observed that a large number of bitcoin mining sites are located inside abandoned hydroelectric plants in the rural terrains of Western China, an area also home to many minority groups. Contextualising questions of capital investment within histories of science and popular culture, the work makes lateral epistemological connections and reminds us that the deployment of cutting-edge technology is dependent on ecological and minority intelligences. Liu also explores how developments in infrastructure and capital have rendered these intelligences fragile, underlining the related destinies of the particular and the planetary. (by Cosmopolis 2#, Centre Pompidou)作品信息Information
Liu Chuang, Gluttonous Me, 2018
EVD: an all-in-one home entertainment system (walnut cabinet, Atman TV, amplifier, PC computer, 7 JBL loudspeakers, 1 JBL bass speaker, 7.1 surround sound system, plastic lampshades, LED light control system, mirror with aluminum alloy frame)
EVD：2300 x 1550 x 500 mm, Mirror With Aluminum Alloy Frame：7200 x 3000 x 500 mm x 2作品信息Information
Liu Chuang, Special Economic Zone, 2018
2k, Color, Stereo
Liu Chuang, BBR1 (NO.1 OF BLOSSOM BUD RESTRAINER), 2015
2k, Color, Stereo
Liu Chuang, Untitled (The Festival), 2015
Video, Color, Sound
Liu Chuang, Untitled (Dancing Partner), 2010
Single-channel HD Video, Color, Stereo
Liu Chuang, Segmented Landscape, 2014
Steel structure, white cotton cloth, electric fan and projection
Commissioned by the 10th Shanghai Biennale and Power Station of Art作品信息Information
Liu Chuang, Love Story No. 9, 2016
Liu Chuang, Buying everything on you (Liu Haifa), 2013
T-Shirt, Underwear, Jeans, A Pair Of Socks, A Pair Of Leather Shoes, Two Keys, Necklace, Keychain, Key Ring, Phone, Mobile Phone Charger, Wallet, Four Coins, Nine Banknotes, Six Business Cards, ID Card, Eight Big Shots, Two Telecommunications Cards, Two Photos, Ball Pen, Two Photo Bags, Fruit Knife, Wrapped Knife, Tissue Bag, Shopping Receipt, Delivery Note, Leaflets, Service Card, Flyer With Business Card, Plastic Folder, Four Banks Into The Bill, Two Delivery Notes, Registration Form, Customer Contact List, Manuscripts, Envelope, Notebook, Express Single, Invoice, Handwritten Receipt, Tax Registration Certificate, Five Test Orders, Two Bank Information Sheets, Cooperation Agreement, Handwritten List, Product Safety Instructions, Five Product Price List, Four Customer Data Sheets, Reminder List, Policy, Tax Documents, Customer Interview Record Sheet, Two Quotations, Newspaper, Nineteen Illegible Papers
120 X 504 X 20 cm作品信息Information
Liu Chuang, Buying everything on you (Liu Ailan), 2013
Bra, Long-sleeved shirt, Underwear, trousers, A pair of leather shoes, Hairpin, Eraser, Cleanser, Powder, Phone, necklace, Phone rope, comb, Watch, Sculpture toy, Plastic grid bag, ID card, Train ticket, Seven photos, wallet, Two bank cards, handbag, Seven business cards, Two photos, Two notebooks, Greeting card bag, Golden Shield Magazine, Job application form, Four Wal-Mart tickets, Three Accommodation receipts, Shopping receipt.
120 x 240 x 25 cm作品信息Information
Liu Chuang, Buying everything on you (Guo Chunli), 2013
Bar, T-Shirt, Briefs, Pans, A Pair Of Sandals, Handbag, Moisturizing Essence, Clear Smooth, Whitening Secret, Eyeliner, Smoothing Toner, Face Cream, Eye Shadow, Hair Spray, Hair Towel, Hairpin, Bra Hood Hook, Sunglasses, Radio, Two Keys, Necklace, A Pair Of Earrings, A Pair of Earring Bags, Bracelets, Toy Sculpture, Bra Straps, Two Makeup Removers, Side Tray, Phone, Four Business Cards, Six Photos, Wallet, A Sony Manual, Badge, Leaflets, Envelope, Sony Brochure, Five Customer Questionnaires, Two Napkins, Invoice, Express Sheet
120 x 270 x 20 cm作品信息Information
Liu Chuang, Love Story, 2013/2021
Digital inkjet prints
Liu Chuang：Earthbound Cosmology
2019.03.16 – 2019.05.12
2555 Longteng Avenue, Xuhui District, Shanghai, China
Liu Chuang | Luleå Biennia 2022, Sweden
Liu Chuang | “Statecraft (and beyond)” @ National Museum of Contemporary Art Athens (ΕΜΣΤ)
Liu Chuang | “Body Cosmos: The Art of Living Together” @ Xie Zilong Photography Museum
Liu Chuang | “INFORMATION (Today)” @ Astrup Fearnley Museet
Liu Chuang | “Free Jazz IV – Geomancers” @ NTU Centre for Contemporary Art Singapore
Liu Chuang | “Thailand Biennale, Korat 2021: Butterflies Frolicking on the Mud: Engendering Sensible Capital” @ Korat
Liu Chuang | “Paradiso: Selections from the Taikang Collection” @ Taikang Space
Liu Chuang | “You and I Don’t Live on the Same Planet” @ Centre Pompidou-Metz
Liu Chuang | “11th Seoul Mediacity Biennale: One Escape at a Time” @ Seoul Museum of Art
Liu Chuang | “INFOTRMATION (Today)” @ Kunsthalle Basel
Liu Chuang | “Reclamation, New Rocks, Stray Dogs, Birds, and Acoustics of the Garden” @ Incheon Art Platform Gallery
Liu Chuang | “The 13th Shanghai Biennale: Bodies of Water” @ Power Station of Art
Liu Chuang | “Taipei Biennial 2020” @ Taipei Fine Arts Museum
Meet the artist-explorer Liu Chuang | Alvin Li
He tackles bitcoin mining and engineered nature in his ambitious installations
Nestled in the Shanghai suburb of Songjiang, Liu Chuang’s studio is piled to the rafters with neatly organized books. Maps of various scales hang on the wall. Among the many charts and diagrams stuck to the shelves, I also spot a periodic table of elements. This scholarly setting recalls the office of a historian or a geographer more than an artist’s studio – and yet, over the past few years, Liu’s work has impressed the Chinese art milieu with an ever more interdisciplinary speculative practice that spans video, sculpture, and installation. Employing an expansive web of references that continuously stretches the discursive framework of his own work, the artist has also challenged the limits of Chinese contemporary art as a whole.
Cannibalised cultures and colonised territories | Mark Rappolt
One of the ways in which we assimilate the new is to insist that it is, in fact, old. Nothing comes from nothing, as the old saying goes. That certainly seems to be the case in Shanghai-based Liu Chuang’s three-channel videowork Bitcoin Mining and Field Recordings of Ethnic Minorities (2018). The work takes the form of found and filmed footage with a voiceover narrative that traces material and immaterial lines of power that have been deployed in China, over the past few thousand years, to conquer people and territories, and to generate material and immaterial profit. The narrative moves from economic inflation triggered in eastern China during the fifth century BCE, when King Jing of Zhou reduced the amount of copper in coins in order to fuel an obsession with creating enormous bronze chime bells, to nomadic bitcoin miners, operating outside any centralised banking system, herding their rigs across present-day China in harmony with the seasonal and regional variations in energy production.
In Focus: Liu Chuang | Paul Teasdal
Liu Chuang’s latest work, Segmented Landscape (2014), consists of six metal window grilles, each bearing a distinct geometric pattern. Installed above visitors’ heads in the main hall of the Power Station of Art, the venue for the 10th Shanghai Biennale, it is lit by spotlights while an artiȷcial breeze causes pieces of white gauze, hanging like curtains behind each grille, to shift gently. The shadows cast by the grilles appear as patterns transposed onto the fabric. The overall eȴect is of a series of photograms, which seems ȷtting since the work is, to some extent, a snapshot of China in the late 1980s and early ’90s, when such window guards suddenly began appearing on houses and apartments across the country. At that time, they could be seen as a visual reminder of China’s burgeoning prosperity; here, they seem a quiet lament to the individualization that has been a by-product of economic growth.
Love Story: Liu Chuang | Paul Laster
No stranger to the American art scene, Liu Chuang’s conceptual art has been featured in several outstanding group shows in the United States, including “The Generational: Younger Than Jesus” (2009) at New York’s New Museum, “28 Chinese” (2013) at Miami’s Rubell Family Collection, and “My Generation: Young Chinese Artists,” which recently debuted at the Tampa Museum of Art as well as the Museum of Fine Arts, St. Petersburg.