{"id":8547,"date":"2013-02-16T09:15:00","date_gmt":"2013-02-16T09:15:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=8547"},"modified":"2023-01-19T10:30:30","modified_gmt":"2023-01-19T10:30:30","slug":"liu-xiaodong-is-that-all-there-is","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/liu-xiaodong-is-that-all-there-is\/","title":{"rendered":"Liu Xiaodong \u2013 is that all there is?"},"content":{"rendered":"\n

\u201cThe Process of Painting\u201d<\/strong><\/a><\/p>\n\n\n\n

<\/strong>Kunsthaus Graz, Universalmuseum Joanneum<\/strong><\/a> (Mariahilferstra\u00dfe 2-4, 8020 Graz, Austria), Jun 6-Sept 2, 2012<\/strong><\/p>\n\n\n\n

\u201cLiu Xiaodong\u2019s Hotan Project\u201d<\/strong><\/a><\/p>\n\n\n\n

Today Art Museum<\/strong><\/a> (Building 4, Pingod Community, No.32 Baiziwan Road, Chaoyang District, Beijing<\/em>), Jan 13-Feb 22, 2013<\/strong><\/p>\n\n\n\n

Like many artists from China, Liu Xiaodong professes a strong desire to paint reality, simplicity, something \u201ctrue\u201d, reflecting China\u2019s artistic heritage and the stresses of modernization. But while Liu\u2019s truth is potentially seductive \u2013 the simple lives of everyday people \u2013 it is carefully contrived.<\/p>\n\n\n\n

Liu was born in 1963 in Liaoning Province, China. He learnt to paint from his uncle, later obtaining an oil painting degree from CAFA in 1988. He went on to star with fellow graduate and wife, Yu Hong, in \u201cThe Days\u201d (\u51ac\u6625\u7684\u65e5\u5b50), Wang Xiaoshuai\u2019s cult 1993 feature film about post-Tian An Men ennui. The film, which cost only $10,000 to make, was enthusiastically received outside China but blacklisted at home. Since then, Liu has had a small number of important solo museum shows, is represented in prominent public and private collections and by leading commercial galleries. He is also part of the faculty of CAFA.* Liu\u2019s Kunsthaus Graz exhibition last summer, elegantly curated by G\u00fcnther Holler-Schuster, presented works from the 2010 series, \u201cHometown Boy\u201d and a new series painted in Eisenerz, a declining iron-ore mining town in Upper Styria, Austria, including documentary videos and photographs of his painting expeditions and diary entries.<\/p>\n\n\n\n

\"\"<\/a>
Liu Xiaodong \u201cInto Taihu\u201d, oil on canvas, 300 x 400 cm, 2010, after Emperor Huizong\u2019s \u201cAuspicious Cranes\u201d, 1112
(courtesy of Liu Xiaodong Studio)<\/figcaption><\/figure>\n\n\n\n
\"\"
Emperor Huizong of Song Dynasty \u201cAuspicious Cranes\u201d , handscroll, color ink on silk, 1112 (detail)
<\/figcaption><\/figure>\n\n\n\n

Image in public domain: from P. Ebrey, Cambridge Illustrated History of China, 2nd edition, Cambridge University Press: Cambridge, 2010, p.151. (Wiki Commons)<\/p>\n\n\n\n

There are two aspects to Liu\u2019s practice: how he paints and what he paints. Ever since photography was invented, the issue of how painting can remain relevant has become ever more neurotic. While it remains the cultural asset of choice for collectors, it no longer holds a preeminent place in mass culture: that honor goes to photography, music and film, and their primary means of distribution, the Internet. Responses to the notion of painting are now radically divergent, including post-socialist pop-surrealism (Dubossarsky & Vinogradov, Neo Rauch), photo-eaters (Luc Tuymans, Eberhard Haverkost), painting-sculptors (Angela de la Cruz and Roxy Paine), obsessive abstractionists (Tomma Abts), and performance painters (Katharina Grosse). What unites these incredibly disparate artists is the way they challenge the tradition of painting \u2013 some more, some less \u2013 and make it relevant to its current social milieu. Liu represents another branch: process painting. In Liu\u2019s case this encompasses field trips, painting in the open and in anthropomorphic-scale what he sees, recording the trips in documentary-style video footage and through his copious photographs and diary-entries. It is as valid as any other putative practice but whether it opens a new frontier for painting, as suggested by the exhibition, is doubtful. The methods are not unknown to art historians, researchers or anyone with an Internet browser.<\/p>\n\n\n\n

\"\"<\/a>
Liu Xiaodong \u201cJincheng Airport\u201d, oil on canvas, 300 x 400 cm, 2010
(courtesy of Liu Xiaodong Studio)<\/figcaption><\/figure>\n\n\n\n
\"\"
Liu Xiaodong \u201cWest Ridge Again\u201d, oil on canvas, 300 x 400 cm, 2010
(Courtesy of Liu Xiaodong Studio)<\/figcaption><\/figure>\n\n\n\n

What is also questionable is the inherent claim of the earnest v\u00e9rit\u00e9 process to authenticity: that realist painting is a painting of the \u201creal\u201d \u2013 real people, real hardship. But truth cannot be unmediated (although Liu does acknowledge this). The \u201cexpression\u201d of a real situation in a Liu Xiaodong painting, the performance of empathy, however sincere, is as emotively constructed as anything Hal Foster criticized in his 1983 rebuff to expressionism, \u201cThe Expressive Fallacy\u201d.<\/p>\n\n\n\n

Liu\u2019s subject matter is consistently socially marginalized people. So in Austria he sought out a town that reflected that of \u201cHometown Boy\u201d, a former industrial town left behind in the wake of the economic success and excess enjoyed in other parts of the country. The paintings, executed in situ and in the open, often recall famous, particularly realist and impressionist works, e.g. \u201cWest Ridge Again\u201d recalls Courbet\u2019s \u201cBonjour Monsieur Courbet\u201d of 1854, and the card players in front of a disused military jet in \u201cJincheng Airport\u201d recall C\u00e9zanne\u2019s \u201cThe Card Players\u201d of 1890-92.<\/p>\n\n\n\n

\"\"<\/a>
Liu Xiaodong, \u201cBent Rib\u201d, oil on canvas, 150 x 140 cm, 2010
(Courtesy of Liu Xiaodong Studio)<\/figcaption><\/figure>\n\n\n\n

For all the bravado of economic transformation, it inevitably involves countless disjunctions. The people left behind in these (relative) backwaters of society could leave but the decisions involved in doing so are not easy, including abandonment of family and familial history. It is right to depict these places as much as any other, perhaps more so, because it is deluded to live only in the fantasy of pristine progress. However, to suggest it represents a privileged \u201ctruth\u201d is taking aesthetics too far. Perhaps Eisenerz, \u201cwhich is exposed to an enormous process of change, has suddenly become a global model\u201d, as Holler-Schuster suggests (107), but the booming mining towns of Shandong Province or Australia demonstrate different models of change (positive and negative). So is this poverty tourism, if not actual nostalgia?<\/p>\n\n\n\n

\"\"<\/a>
Liu Xiaodong installation view), with \u201cTrees Growing Out of Swimming Pool\u201d in foreground and \u201cInto Taihu\u201d at rear.
(courtesy Kunsthaus Graz)<\/figcaption><\/figure>\n\n\n\n
\"\"
Liu Xiaodong \u201cXiao on Duty at the Police Station\u201d, oil on canvas, 140 x 150 cm, 2010
(courtesy Liu Xiaodong Studio)<\/figcaption><\/figure>\n\n\n\n

One of Liu\u2019s key works is \u201cInto Taihu\u201d which refers to \u201cAuspicious Cranes\u201d, 1112, by the Song dynasty Emperor Huizong, depicting 20 cranes flying over the Kaifeng Palace during a festival \u2013 a good omen and piece of propaganda (it is in Liaoning Provincial Museum, Shenyang, Liu\u2019s home province). Huizong is most famous for forcing the stiff court style of painting to adopt the poetic innovations of the Literati painters and poets, and for losing the empire to invaders. The literati painting style would in time become as clich\u00e9d and academic as its official forerunner but to the post-1990s generations it continues to hold a rebellious metaphoric quality, albeit one that is itself becoming slowly devalued. Liu\u2019s version is humorous and a little subversive. But we also see that the central tenet of his practice is re-discovery or re-enactment of existing images from art history in the \u201creality\u201d of ordinary people. There is nothing wrong in itself with depth by quotation though, and sometimes his works do have a wry humor and a painterly flair, but equally are they not almost self-indulgent? There is an almost atavistic and epicurean quality to them, like hard-times Hollywood films. The reality depicted \u2013 the photographs, the films, the diary entries, the journey, the documentary performance and performance of documentation \u2013 is all Liu\u2019s construction. Bonjour Monsieur Liu!<\/p>\n\n\n\n

\"\"<\/a>
Liu Xiaodong, \u201cLi Wu Works the Night Shift and Still Can\u2019t Sleep by Day, 2010,
oil on canvas, 150 x 140 cm, 2010
(courtesy of Liu Xiaodong Studio)<\/figcaption><\/figure>\n\n\n\n

Afterword on Liu Xiaodong\u2019s Hotan Project<\/h2>\n\n\n\n

Liu Xiaodong\u2019s current exhibition at Today Art Museum in Beijing presents six traditional paintings and lots of his painting-photographs and sketches of ethnic-minority-jade-digger types. A couple of the latter are also included in the Parkett edition<\/a> \u2013 a good bit of multitasking. \u201cI needed to think of a new way to engage, to make people discover that painting still has possibilities.\u201d Quite.<\/p>\n\n\n\n

Volumn 91 of Parkett and it\u2019s edition of art works by featured artists, including Liu Xiaodong, will be launched on February 1 at Leo Koenig Gallery, New York.<\/p>\n\n\n\n

Notes<\/strong><\/p>\n\n\n\n

* Museum shows include \u201cEnergy and Character\u201d at Shanghai Art Museum 2006 and \u201cLiu Xiaodong: Hometown Boy\u201d at UCCA, Beijing, 2010. Representing galleries include Lisson Gallery, Mary Boone Gallery, Massimo de Carlo and Tang Contemporary. Liu has also been the focus of art-tastemaker Parkett magazine (Vol.91, with essays by Charles Mereweather, Philip Tinari and Hou Hanru) and a book edited by his erstwhile friend, Ai Weiwei, and Britta Erickson (\u201cThe richness of Life. The Personal Photographs of Contemporary Chinese Artist Liu Xiaodong 1984-2006\u201d, Hong Kong 2007).<\/p>\n\n\n\n

References<\/strong><\/p>\n\n\n\n

\u201cLiu Xiaodong. Prozess Malen\u201d, Ex. Cat., Kunsthaus Graz, Universalmuseum Joanneum, Verlag f\u00fcr Moderne Kunst: N\u00fcrnberg, 2012<\/p>\n\n\n\n

\u201cTruth in Painting does not Equal Truth in Reality\u201d, interview between Liu Xiaodong and Philip Tinari, Parkett magazine, Vol.91, 2012, trans. Philip Tinari, pp.16-23.<\/p>\n\n\n\n

<\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cThe Process of Painting\u201d Kunsthaus Graz … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":8,"featured_media":8587,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[5002,105,366,5003,5004,5005,5006,5007,5008,5009,209,5010,5011,5012,5013,5014,5015,3782,38,5016,5017,5018,5019,5020,4916,5021,5022,5023,5025,5024,5026,5027,5028],"yoast_head":"\nLiu Xiaodong \u2013 is that all there is? - \u71c3\u70b9 Ran Dian<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/www.randian.art\/liu-xiaodong-is-that-all-there-is\/\" \/>\n<meta property=\"og:locale\" content=\"zh_TW\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Liu Xiaodong \u2013 is that all there is? - \u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"og:description\" content=\"\u201cThe Process of Painting\u201d Kunsthaus Graz … Continue reading →\" \/>\n<meta property=\"og:url\" content=\"http:\/\/www.randian.art\/liu-xiaodong-is-that-all-there-is\/\" \/>\n<meta property=\"og:site_name\" content=\"\u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"article:published_time\" content=\"2013-02-16T09:15:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-01-19T10:30:30+00:00\" \/>\n<meta property=\"og:image\" content=\"http:\/\/www.randian.art\/wp-content\/uploads\/2023\/01\/liu-xiaodong.png\" \/>\n\t<meta property=\"og:image:width\" content=\"584\" \/>\n\t<meta property=\"og:image:height\" content=\"305\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"Duyen Le\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Duyen Le\" \/>\n\t<meta name=\"twitter:label2\" content=\"\u9810\u4f30\u95b1\u8b80\u6642\u9593\" \/>\n\t<meta name=\"twitter:data2\" content=\"8 \u5206\u9418\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"http:\/\/www.randian.art\/liu-xiaodong-is-that-all-there-is\/#article\",\"isPartOf\":{\"@id\":\"http:\/\/www.randian.art\/liu-xiaodong-is-that-all-there-is\/\"},\"author\":{\"name\":\"Duyen Le\",\"@id\":\"http:\/\/www.randian.art\/#\/schema\/person\/4d95ceea857b4c4fde91b6437bfaee13\"},\"headline\":\"Liu Xiaodong \u2013 is that all there is?\",\"datePublished\":\"2013-02-16T09:15:00+00:00\",\"dateModified\":\"2023-01-19T10:30:30+00:00\",\"mainEntityOfPage\":{\"@id\":\"http:\/\/www.randian.art\/liu-xiaodong-is-that-all-there-is\/\"},\"wordCount\":1363,\"commentCount\":0,\"publisher\":{\"@id\":\"http:\/\/www.randian.art\/#organization\"},\"keywords\":[\"Austria\",\"Beijing\",\"CAFA\",\"Eisenerz\",\"Guenther\",\"Gustave Courbet\",\"Holler\",\"Kunsthaus Graz\",\"Liaoning\",\"Liu Xiaodong\",\"painting\",\"process\",\"Schuster\",\"The Days\",\"Today Art Museum\",\"Universalmuseum Joanneum\",\"Wang Xiaoshuai\",\"Yu Hong\",\"\u4e2d\u56fd\u5f53\u4ee3\u827a\u672f\",\"\u4eca\u65e5\u7f8e\u672f\u9986\",\"\u4f20\u7edf\u7ed8\u753b\",\"\u5218\u5c0f\u4e1c\",\"\u5218\u5c0f\u4e1c\u5728\u548c\u7530\",\"\u552f\u8fdb\u6b65\u8bba\",\"\u6587\u4eba\u753b\",\"\u683c\u62c9\u8328\u7f8e\u672f\u9986\",\"\u7164\u77ff\u57ce\u9547\",\"\u73b0\u5b9e\u4e3b\u4e49\",\"\u771f\u5b9e\u6027\",\"\u7ed8\u753b\u7684\u8fc7\u7a0b\",\"\u827a\u672f\u53f2\",\"\u8fb9\u7f18\u4eba\u7fa4\",\"\u8fc7\u7a0b\u7ed8\u753b\"],\"articleSection\":[\"Reviews\"],\"inLanguage\":\"zh-TW\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"http:\/\/www.randian.art\/liu-xiaodong-is-that-all-there-is\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"http:\/\/www.randian.art\/liu-xiaodong-is-that-all-there-is\/\",\"url\":\"http:\/\/www.randian.art\/liu-xiaodong-is-that-all-there-is\/\",\"name\":\"Liu Xiaodong \u2013 is that all there is? 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