LIU Ren  刘任

 

selected works 作品精选


artist statement

The idea of these works comes from my feelings and thoughts of learning the subject "English" in school. My English is very poor, since I didn’t make much effort in learning in my childhood, and didn’t realize the importance of a second language either. When growing up with countless examinations, evaluations, and selections one after another, I found English tests became more and more frequent, and mastery of English skill seemed essential for the future development of every young people in China. Then I suddenly realized that the social environment was no longer that in my childhood. China's rapid internationalization caught a young man like me by surprise who just began to have a little common sense. 

Are these English tests overspreading China, big and small, merely a means of selection? Apparently they are product of the rapidity, internationalization, and fierce competition nowadays. Learning English reposes all kinds of emotion, as big as the nation’s development, as small as an ordinary family’s prosperity and a person’s state of living. I am among them too. My affiliation with English is somewhat different, however, in my transforming the instrumental function of the language to a new kind of artistic expression. In the name of art, I’m more interested in dissolving the practicability of “English” while highlighting the cultural aspect of the process of “learning English” by transforming the materials into visual language. 

During the three years from 2005 to 2008, I have personally completed the dissolution through the artistic creation. Now the English appeared in my works is a contradiction of expression: as a language symbol, on one hand, it is a better visual carrier of expressing affection and space of imagination than others; On the other hand, as the words and interpretations in my work appear singly or fragmentally, they are often not readable. Hence I think they are more like windows of symbol, behind each of which there represent people’s living memory and trajectory. Trajectory may be dissolving and memory fading as time passes by, and my works may only mean a picture, an object, or merely a symbol to people. But I believe there is another possibility: When they standing before my works, just a single word, they will come up with amount of corresponding information from the past, which undoubtedly is the proof of us being alive. 


I always believe that the thing values more is the process of art work production, in which there hide tons of irrational and intangible thing that only the artist can feel by heart alone in silence. And that is the real core driving force for the production. And the growth of the power definitely sticks to the factors including the surroundings and characteristics of the artist. As for my works, now or the past, they’re all involved in English words, interpretations, and huge amount of hand work. And the process of copywriting is undoubtedly what I’m most interested in. It seems to be simply a quiet state. However, it’s rather a time consuming process in which I often get to experience the separation of my eyes, hands, and my mind, from their original unified status. This “mind wandering” is rather interesting in that it looks like I’m working as usual while the inner part of mine is probably riding the waves to nowhere through that fragmental and shattered windows of information.

艺术家自述

我的艺术创作开始于对学习“英语”这门科目的感受与思考。因为从小就一直没有重视英语的学习,也没感觉到一个人学习第二语言的重要性,因此英语特别差。但随着不断的成长,一个又一个的考试、评判、选拔,我发现英语水平的测试出现的频率越来越高,英语的掌握似乎成为了中国年轻人未来发展所必不可少的通行证。这时我突然意识到我所处的环境已不像我的小时候了。中国的迅速国际化让我这个刚刚明白了点事理的年轻人有种措手不及。 


难道在中国,扑天盖地、大大小小的英语考试真的只是表面的选拔形式?显然它更是如今快节奏、国际化,和激烈竞争的产物。“学好英语”也同时寄托了各种大大小小的情感,大到国家的发展,小到一个普通家庭的兴旺,以及个人的生存状态等。而我显然也在其中,只不过我对英语的感情更为另类,它是建立在将其作为语言的工具性转化成为艺术表达的创作过程之中的。借艺术之名,消解“英语”的实用性,通过视觉语言和材料的组织与转化,凸显“学习英语”的文化性,显然是我所感兴趣的。 

从2005年到2008年的三年中,我认为就个体而言,通过艺术创作我已完成了对英语实用性的消解。如今我作品中出现的英语,是一种表达效果的矛盾性:作为语言符号,一方面它有着别的视觉载体难以比拟的情感表达和想象的空间;而另一方面,在我作品中的英语单词和注释,由于是片段、单一的出现,往往它又不具备可读性。正是这样一种前提下,我认为它更像一个符号窗口,每个窗口背后似乎都象征代表着人活着的一段记忆与轨迹。可能随着时间的推移人们会淡忘很多,留下的轨迹会慢慢消失,当看到我的某件作品时,作品对他的意义只是一张画、一件物品,或者一个符号而已。但是,我想也有这种可能:当人们站在我的作品前时,只是一个简单的单词和注释,就能勾起他与之对应的大量信息。而这些,无疑正是我们活着的证明。 


我始终相信,一件作品更大的价值在于创作的过程。在创作过程中那些很多无法用语言逻辑表述或外化的,只可艺术家一个人静静体会的东西,才是真正的核心创作动力。而这股力量的成长也必然与艺术家自身的环境、性格等复杂因素完全地粘合在一起。作为我的创作,不管是过去还是现在,都涉及到了很多的单词和注释,以及大量的手工制作。而抄写过程无疑是我最感兴趣的。表面看来,只是个简单的安静状态,实则我在漫长的抄写过程中往往会经历由注意力、眼、手的统一,到注意力与手的分离状态。而这种“走神”是很有趣的,表面看来还是平静的抄写,内心则可能早已翻江倒海,通过那片断的、破碎的信息窗口跑到九霄云外去了。 


cv

1983 Born in Shanghai

2007 MFA, Fine Art College, Shanghai University

2003 BFA, Shanghai Arts & Crafts College

Solo Exhibitions

2013 

FILTRATE, White Space, Beijing

2012

Youth: Everything in Between – Liu Ren & Su Chang, Don Gallery, Shanghai

2011

“Merciful”, White Space, Beijing
2009

“2008102020091112..8:35... ” , Don Gallery, Shanghai
2008

“Deep Practice”, Amspace, Shanghai

 Group Exhibitions

2014

Manual machines, Art Seasons, Beijing

John Moores Painting Prize, Himalayas Museum, Shanghai

2013

The overlapping reflection—ZhuJiajiao contemporary art exhibition, Shanghai

9㎡ Museum—The Living Room, Abteilung Kultur Bildung des Deutschen Generalkonsulats, Shanghai

Break and Breathe–Hands On No.5, College of Fine Arts Shanghai University, Shanghai

ABUSE, Dongallery, Shanghai

MEMO 1, White Space, Beijing

on the sea, J-gallery, Shanghai

 2012

All tomorrow’s parties, VART CENTER, Shanghai,

Creative m50, M gallery, Shanghai

Outdated, Dongallery, Shanghai

Brilliant Artist Books from around the world, CAFA Art Museum, Beijing

“BOOM” CYAP exhibition, Beijing

Do a book,  White Space, Beijing

2011

more, less - a group show of five artists, Egg Gallery, Beijing

We Are Here, Don Gallery, Shanghai

Shanghai gallery sellection, Shanghai World Fiancial Center, SWFC, Shanghai

Contemporary Art Fair, First issue—pass, Shanghai

If…, , Don Gallery, Shanghai

A Learning Method -- Hands On No.4 , M50, Shanghai

Alibi, Linda Gallery, Beijing

“+follow”, MoCA, Shanghai

Red Gate Launch Pad, Red Gate Gallary, Beijing

DAS ICH IM ANDEREN, Mercator Foundation, Essen, Germany

Contemporary China, Wandesford Quay Gallery, Cork, Ireland

2010

ABSOLUTE DISTANCE, White Space, Beijing

 Obsessive compulsive disorder (OCD) -- Hands On No.3, DDM, Shanghai

“Plan-Artists’s Card”, Expo 2010 Shanghai, Italian Pavilion

“Print Speech”, Shanghai University

“The Joy Of Thinking”, Shanghai Times Square

“Art without boundaries” , Don Gallery, Shanghai

“10 02 06”, Don Gallery, Shanghai

2009

“Plan-Artists’s Card”, The Italian Government Institute of Culture Consulate General of Italy, Shanghai

“In the Mood for Paper”China, Indian and Iran Contemporary Paper Art Group Exhibition, F2 Gallery, Beijing

2008

“M50 Creative New Artist Award Exhibition”,  M50, Shanghai

“AUTHENTIC”- exchibition of young chinese artists, Ku Art Center, Huantie Art Center ,Beijing

“Luo Zhongli Scholarship Exhibition”, Beijing University

“Expression and Posture”, Shanghai Duolun Museum of Modern Art

“A Room with A View” , Amspace, Shanghai

2007

“Red Gate Gallery Visiting Artists Exhibition”, Red Gate Gallery, Beijing
 “Luo Zhongli Scholarship Exhibition”, Chongqing Art Museum, Chongqing

“Shanghai Young Artists Exhibition”, Liu Hai Su Art Museum, Shanghai
 “Annual Selected Students Group Exhibition”, Beijing Today Art Museum

2006
 With The Way We Game -- Hands On No.1 , Deng Kunyan Creative Center, Shanghai

 “New Interface Exhibition”, Liu Hai Su Art Museum, Shanghai 

简历

1983年生于上海

2007 上海大学美术学院版画系

2003 上海工艺美术学校  

个展

2013

过滤,空白空间,北京

 2012

青春,东画廊,上海

2011

旁白,空白空间,北京

2009

2008102020091112..8:35..., 东画廊,上海

2008

练神功,上午艺术空间,上海

群展

2014

手工机器,季节画廊,北京

约翰莫尔绘画奖,喜马拉雅美术馆,上海 

2013

叠影重重—朱家角当代艺术展,上海

9平米美术馆项目—会客厅,德国总领事馆文化教育处,上海

无事间隙—手感5,上海大学美术学院,上海

节制,东画廊,上海

备忘录,北京,空白空间

海上,J画廊,上海

2012

为了明日的聚会,视觉艺术中心,上海

“望”-M50创意新锐5周年回顾展,M艺术空间,上海

不合时宜,东画廊,上海

钻石之叶——全球艺术家手制书展,中央美术学院美术馆,北京

“引爆“中国青年艺术家汇报展,北京展览中心

作一本书,空白空间,北京

 2011

多少-五人展,Egg Gallery,北京

我们在这儿,东画廊,上海

海上会荟,国际环球金融中心,上海

艺术项目—渡过,上海当代艺术博览会

如果…, ,东画廊,上海

手感4—学习方法,M50复旦视觉艺术中心,上海

不在场,林大艺术中心,北京

“+关注”,上海当代艺术馆

从红门启程,红门画廊,北京

DAS ICH IM ANDEREN,麦卡托基金会,埃森,德国

中国当代艺术, Wandesford Quay画廊,爱尔兰

2010

绝对距离,空白空间,北京

手感3—强迫症,东大名创库,上海

艺术家的纸牌, 上海世界艺术博览会,意大利馆

版画言说,雕塑大棚, 上海大学

思维的乐趣, 时代广场,上海

艺术无界限,东画廊,上海

10 02 06,东画廊,上海

2009

艺术家的纸牌, 意大利驻沪总领事馆文化处,上海

染纸倾怀—纸上作品展,F2画廊,北京

2008

2007m50 creative创意新锐评选获奖作品展,M50艺术园区,上海

真当—中国青年艺术家联展, 库艺术中心,环铁艺术城,北京

“罗中立奖学金” 获奖作品巡回展,北京大学,北京

表达与姿态,多伦美术馆,上海

A Room with A View,上午艺术空间,上海

2007

红门画廊2007年度访问艺术家,红门画廊,上海

“罗中立奖学金” 获奖作品展,重庆美术馆,重庆

上海青年美术大展,明圆文化中心,上海

年度大学生提名展,今日美术馆,北京

2006

手感1—以我们的游戏方式,登琨艳创意园区,上海

新界面艺术家登陆展,虹桥画廊,上海

奖励

2008   

M50 creative创意新锐银奖

2007   

今日美术馆提名展优秀奖

上海青年美展入围奖

罗中立奖学金 

红门画廊访问艺术家


resources 资料

  • 刘任:脆弱而坚韧的蛋壳  文/卢隽婷 (PDF)
  • 青春只有一次,不容错过 文/王静 (PDF)
  • 青春展览-周末画报报道2012年8月刊711期 (PDF)
  • 2011旁白个展-周末画报访谈评论 (PDF)
  • 手工机器: 一种对峙或锋锐 文/于艾君 Manual Machines: confrontation or sharpness by Yu Aijun (PDF)