Opening Reception: 27th April 2012, Friday, 3:30 - 6:00 pm
Venue: YANG GALLERY Beijing
3rd Taoci Street, 798 Art District, No. 4 Jiuxianqiao Road,
Chaoyang District, Beijing 100015
Tel: +86 10 5762 3020
RSVP: beijing@yanggallery.info / spore@yanggallery.com.sg
For full listing of exhibited works click here
Liu Liguo is one of the most established Chinese Contemporary artists in the international Art market. His works have been collected by several Contemporary Art Museums, private Art Foundations and Major Corporations from all over the world.
Liu Liguo’s works are the representation and reflection of a Chinese form of ego, lost within consumer society & whose principle manifestation is a usual combination of elements particular to modern China- Religion, Folklore, Consumerism & the image of Mao Zedong. Whether it’s a sculpture or a painting, everything is materially opulent, dripping with sensuality and abundance.
In his works, popular culture and folklore are consciously accentuated, saturated by faith in progress, memories of the revolution and a modern form of quasi-religion; a spirit investment inspired by developments made within society. On a formal level, Liu Liguo has sought out an avant-garde variation on Chinese traditional arts. His vision took shape as early as the mid-nineties in a series of ceramic ‘buttocks’; at first an attempt to express the duality and paradox existing between the vigour of the changes taking place and the cultural vulgarity that resulted from the consumer society that was achieved.
Liu Liguo has attempted to modify the form of commercial statuary so that it might express the way in which modern culture has found form in China; to make of it an apt material for the manifestation of that modernity- both its
failings and its innovative power- within which, despite everything, criticism and satire are able to maintain their essential meaning. Even more importantly, critical attention is given so that their meaning is allowed to immerge in its integral truth, without neglecting the feelings of identification that we necessarily have out of fear of losing the characteristics of the twentieth century Chinese ‘ego’.
failings and its innovative power- within which, despite everything, criticism and satire are able to maintain their essential meaning. Even more importantly, critical attention is given so that their meaning is allowed to immerge in its integral truth, without neglecting the feelings of identification that we necessarily have out of fear of losing the characteristics of the twentieth century Chinese ‘ego’.
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