![]() ![]() ![]() Hardly, if ever, is the text the focal point for an exhibition – what was your approach towards the graphic experience of the show as opposed to an exhibition with classic pictures on the wall or sculpture etc? We spoke to Inventory, the studio responsible, to hear a little more about this unique design brief… So these pieces of text and adjoining catalogue are suddenly elevated beyond their normal captioning status, in some cases being the only thing to focus on affords them an interesting position that they suddenly become part of the artwork itself. For example with Friedman’s work, before you read the blurb, the lack of anything on a white cuboid is inexplicably boring as opposed to inexplicably sinister. But Invisible needs explanation before you can even begin to experience the artwork. Each piece evoking a spatial awareness and our understanding of that beyond the literal, new conventions and “limits of our perceptual capacities.”Ī regular exhibition might have just the title of the work, the date it was made, perhaps an anecdote as to its creation or small slice of context all of this fitted neatly to the bottom right corner of the wall below the work. Invisible: Art of the Unseen 1957 – 2012 includes works such as Yves Klein’s “architecture of air” and Tom Friedman’s plinth on which a professional witch has cast a curse directly above. Such art has raised the collective hackles of red-top papers with contentious cries of “can’t see what all the fuss is about modern art?” A sentiment echoed in some of the best comments I have ever had the pleasure of reading, i.e., direct quote: “Art it isn’t i hate that if a normal people does it its nothing but if an art critic says its art its art i say these art critics know nothing.” His work has been exhibited throughout the world, including at the Today Art Museum in Beijing, the Museum on the Seam in Israel, the Berkshire Museum in Massachusetts, the Seoul Art Museum in Korea, and the Chicago Cultural Center in the United States.Currently showing at the Southbank’s Hayward Gallery is an extraordinary group show of works of art that are, for all intents and purposes, invisible. Shandong College of Arts and his Master of Fine Arts from the Central Academy of Fine Arts inīeijing. He celebrates people like President Obama who are “on fire,” unwilling to accept the world as it is today and trying to stand up for the true needs and concerns of the people.īorn in China’s Shandong province in 1973, Liu Bolin earned his Bachelor of Fine Arts from the ![]() His Burning Man and Burning Man Obama represent people’s anger and the subsequent desire for change in society. Rather than trying to fight, people attempted to hide and adapt to these forced changes.Ĭonversely, Liu Bolin’s newest sculptures rejoice in the new hope he has for humanity. He portrayed the tragedy of the increasing insignificance of the individual in China as the government focused on presenting a modern commercial and industrial image. Highlighting the lack of recognition which was paid to the citizens that built them. He drew attention to great landmarks in China, both old and modern, while Liu Bolin’s earlier Hiding in the City photography series, in which he paints himself into the urban landscape, was inspired by the Chinese government’s demolition of the Suo Jiacun Artist Village in Beijing in 2006. His works have been communicated via emails, blogs, magazines and journals on a massive scale. His message of political protest is understood throughout the world and bridges gaps in language and culture. Since Liu Bolin was first exhibited at Eli Klein Fine Art in 2007, the artist’s popularity has exploded on the international arena. Private Reception with the artist: 6-9 PMĮli Klein Fine Art is proud to present Liu Bolin’s second solo exhibition at the gallery this showįeatures his new photography and sculpture. Liu Bolin returns to New York for his second solo exhibition, ON FIRE, at ELI KLEIN FINE ART NEW YORK ![]()
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