刘窗

    介绍

    刘窗(b. 1978,天门)现生活和工作于上海。2001年,他于湖北美术学院获得学士学位。

    刘窗的作品包括移动影像、雕塑、现成品和装置。他的作品通常将长时段的历史和生态弧线结合起来进行想象,追踪当代中国的社会、文化和经济转型。他编织了连接微观和宏观、过去和现在、虚构和现实的叙事,探讨了自然、传统、人口、尖端技术和社会经济体系的巨大而复杂的变化如何影响个人以及他们与整个世界的接触。

    刘窗的作品曾在以下美术馆展出:雅典国立当代艺术馆(2022即将展览),奥斯陆阿斯楚普费恩利现代艺术博物馆(2022、2017和2007);巴黎蓬皮杜艺术中心(2021、2020和2019);蓬皮杜艺术中心-梅茨馆(2021),巴塞尔当代艺术馆(2021);首尔市立美术馆(2021);上海当代艺术博物馆(2021和2014);东京都现代美术馆(2020);台北市立美术馆(2020);香港Parasite(2020、2016、2012和2009);新加坡南洋理工大学当代艺术中心(2022和2016);新加坡美术馆(2020);广州广东时代美术馆(2019、2018和2017);纽约古根海姆美术馆(2018);柏林世界文化宫(2016);里斯本贝拉多美术馆(2016);巴黎路易威登美术馆(2016);坦帕美术馆 (2014);北京尤伦斯当代艺术中心(2013); 伦敦白教堂画廊(2012);上海民生现代美术馆(2011);都灵阿涅利美术馆(2010);纽约新美术馆(2009);马其顿当代艺术馆(2004);深圳何香凝美术馆(2003)。

    刘窗最近参加的双年展和三年展包括有:蝴蝶在泥浆上嬉戏,第二届泰国双年展(2021);一次逃脱,第十一届首尔媒体城市双年展(2021);水体,第十三届上海双年展(2021);交融的激流: 前沿心智,第三届广州移动影像三年展(2021);一园六季,加德满都三年展(2021);你和我不住在同一个星球,2020台北双年展(2020);地壳运动,第五届达卡艺术峰会(2020);复活,第五届乌拉尔工业双年展(2019);来自山和海的异人,第七届亚洲艺术双年展(2019);社会工厂,第十届上海双年展(2014);烧掉房子,第十届光州双年展(2014);知道不知道,第43界国际艺术家沙龙(2013);比耶稣年轻,第一届新美术馆三年展(2009)。

    刘窗参加的电影节包括有: 38届汉堡国际短片电影节(2022),32届新加坡国际电影节(2021),第66届柏林国际电影节(2016),第7届布切斯特国际实验电影节(2016),第5届基辅国际短片电影节(2016),第8届Crosstalk录像艺术节(2016),印度尼西亚Arkipel国际纪录&实验电影节(2016)。

    刘窗的作品被以下公共机构收藏:伦敦泰特现代艺术馆,巴黎蓬皮杜艺术中心,香港M+博物馆,奥斯陆阿斯楚普费恩利现代艺术博物馆,阿尔勒卢玛艺术基金会,旧金山卡蒂斯特艺术基金会,迈阿密鲁贝尔家族基金会,巴黎DSL,纽约瓦尔特收藏,广州广东省美术馆,香港K11艺术基金会,瑞士西客收藏,北京新世纪艺术基金会,北京泰康空间。

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    • Meet the artist-explorer Liu Chuang|文:李佳桓

       

      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|文: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|文: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|文: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.

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