{"id":354,"date":"2012-04-13T04:03:00","date_gmt":"2012-04-13T04:03:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=354"},"modified":"2022-09-06T04:13:39","modified_gmt":"2022-09-06T04:13:39","slug":"lost-in-liu-bolin","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/lost-in-liu-bolin\/","title":{"rendered":"Lost in Liu Bolin"},"content":{"rendered":"\n

a conversation with Daniel Ho, Gu Ling, Chris Moore<\/p>\n\n\n\n

Liu Bolin: Lost in Art,\u201d <\/strong>solo exhibition by Liu Bolin.<\/p>\n\n\n\n

Eli Klein Fine Art<\/a><\/strong> (462 West Broadway, between Houston and Prince, New York). Mar 20 \u2013 May 11, 2012.<\/strong><\/p>\n\n\n\n

Chris Moore:<\/strong> Like Cindy Sherman, Liu Bolin\u2019s photography largely uses rather than portrays himself but whereas Sherman\u2019s work is about the characters caught in the strangeness of an unanchored moment, Liu\u2019s are all about someone, often himself, being subsumed into a place, whether a policeman, a political banner, a polluted river, or Mao\u2019s portrait above the Tiananmen Gate in Beijing.<\/p>\n\n\n\n

Daniel Ho: <\/strong>Liu is becoming a meme more than anything. I guess it is rooted in the visual trickery or illusion that stretches to the origins of photography (if not further to trompe l\u2019oeil<\/em> and discovery of perspective itself) and highlights this artifice.<\/p>\n\n\n\n

Gu Ling:<\/strong>\u00a0I think his practice initiates from the \u201caction\u201d itself rather than photography. He paints himself and merges into the environment, role-playing, one after another, according to the surroundings. In some interviews, Liu said he was considered a nobody and often ignored by others. This became the motivation for him to deal with this ignorance directly, making himself\u00a0 \u201cinvisible\u201d and leading people to reflect whether it\u2019s the environment that is at fault or is it they themselves. In the exhibition \u201cLost in Art,\u201d he co-operated with the fashion masters in the same way, action or performance art rather than simply photography.<\/p>\n\n\n\n

\"\"
Liu Bolin, Hiding in New York No. 5 \u2013 Tiles For America,
Photograph, 46 1\/2 x 59 inches (118 x 150 cm), 2011<\/figcaption><\/figure>\n\n\n\n

CM:<\/strong> What about the fashion link? I like the \u201call-over\u201d effect of the \u201ctrade-mark\u201d Gaultier Breton fisherman shirts.<\/p>\n\n\n\n

DH: <\/strong>Really it\u2019s just a proliferation of an art brand, which lends doubtful cultural value to brands eager to burnish their credibility in the noble aim of selling more handbags and scarves to a billion Chinese.<\/p>\n\n\n\n

CM:<\/strong>\u00a0I think it\u2019s more complex than that. Gaultier is perhaps the most famous \u201cinsider-outsider\u201d in fashion, even more so than Vivienne Westward \u2014 so why Gaultier instead of frankly almost any other designer or fashion house? There\u2019s real bite here, even if teasing \u2014 which I\u2019m sure Gaultier appreciates \u2013 and it is fun, including with it\u2019s very \u201cvirality.\u201d<\/p>\n\n\n\n

\"\"
Liu Bolin, Alber Elbaz for Lanvin,
Photograph ,57 1\/2 x 78 3\/4 inches (146 x 200 cm), 2011<\/figcaption><\/figure>\n\n\n\n

DH:<\/strong> I\u2019m holding back my gag reflex with this whole fashion thing. I suppose there is arguably a subversive element to his work. Just because his \u201cHiding in the City\u201d series has gone viral doesn\u2019t mean it\u2019s bad. It probably is designed to go viral, but it\u2019s a bit of a one-liner, at least on first sight.<\/p>\n\n\n\n

CM:<\/strong> What about on second sight? Surely repetition is the point here \u2014 always the same passive pose \u2014 individual \u201cpassivity\u201d in Chinese art is a topic worth special attention, starting with Zeng Fanzhi.<\/p>\n\n\n\n

DH:<\/strong>\u00a0One could say the invisibility of the people speaks to a certain powerlessness, which in the West perhaps is read as the \u201clost individual\u201d in the \u201ccollectivity\u201d of the Chinese anthill. And to show powerlessness like that is at least a bit subversive.<\/p>\n\n\n\n

\"\"
Liu Bolin, Hiding in the City No. 97 \u2013 The Yellow River
Photograph, 46 1\/2 x 59 inches (118 x 150 cm), 2011<\/figcaption><\/figure>\n\n\n\n

CM: <\/strong>How?<\/p>\n\n\n\n

DH:<\/strong> By drawing attention to what seems invisible.<\/p>\n\n\n\n

GL:<\/strong> American artist Alexa Meade<\/a> paints on people\u2019s bodies to turn the physical into a two-dimensional image. The transition between the painted surface and its surroundings is striking. It\u2019s the same method but has exactly the opposite effect. Desiree Palmen, a Dutch artist, also used the Meade approach, which is similar to Liu, but doesn\u2019t rely on painting. She uses tailor-made costumes and even dolls which are meant to be \u201cfake companions.\u201d<\/p>\n\n\n\n

CM:<\/strong> Anything else?<\/p>\n\n\n\n

DH:<\/strong> The \u201cWhere\u2019s Waldo?\u201d quality to it. The apparent merging of the human and the backdrop under the machine vision of the camera \u2014 oh, wait, that\u2019s nothing new\u2026.<\/p>\n\n\n\n

GL:<\/strong> For me the method itself sounds a bit childish and funny, like Daniel mentioned, the \u201cWhere\u2019s Waldo\u201d quality; but it also carries a kind of shared child-like wish to be transparent, so we can\u2019t be seen by others. It\u2019s like a kind of \u201csuper power\u201d and Liu has realized it through art.<\/p>\n\n\n\n

CM:<\/strong> I think it raises specific questions to do with the temporal and spatial relationship between photography and performance. Asking \u201cwhere am I now?\u201d begs the question \u201cWhy?\u201d<\/p>\n\n\n\n

(All images courtesy of Eli Klein Fine Art and Liu Bolin)<\/p>\n","protected":false},"excerpt":{"rendered":"

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