Mary Corse, Liu Wei, Nari Ward
July 7 – August 27, 2016
Future Seasons Past
February 28 – April 18, 2015
536 West 22nd Street & 201 Chrystie Street, New York
Museum Exhibitions & Projects
What About Art? Contemporary Art from Chin...
March 14 – July 16, 2016
Museum Boijmans Van B...
Sensory Spaces 4: Liu Wei
June 14 – September 28, 2014
Liu Wei Christie's International Real Estate
June 29 2016
Art against the system The Korea Herald
June 8 2016
Liu Wei "Artist of the Year," 10th Award of Art China
May 20 2016
Liu Wei Opens New Exhibition at PLATEAU in Seoul ARTINFO
May 7 2016
Nocturnal Friendships HK Magazine
July 24 2015
Ocula A conversation with Liu Wei
April 1, 2015
Art in Asia
January - February 2015
The New York Times
December 11, 2013
Gallerist NY ‘I Wanted to Get Rid of Style’: Liu Wei on His Show at Lehmann Maupin
March 5, 2013
March 5, 2013
The New York Observer
June 11, 2012
Lehmann Maupin Gallery Now Representing Liu Wei
May 31, 2012
Essay by Gunnar B. Kvaran
Interview with Hans Ulrich Obrist
Essay by Guo Xiaoyan
August 31, 2011
August 7, 2011
Interview with Jerome Sans
December 31, 2008
Essay by Philip Tinari
August 31, 2004
Shanghai: Liu Wei, Minsheng Art Museum
By: Angie Baecker
"Trilogy," Liu Wei's largest solo show to date, was an abstract but ambitious exhibition in which the artist presented a trio of major new works. Whcrc his oeuvre prcviously lcancd toward the conceptual, making sly critical jokes about the psychic state of society, the artist's more recent works possess a dense aesthetic intelligcnce that represents a transformation In his practice.
Each in its own room, the three works that make up the exhibition were Golden Section, 2011, Power, 2011, and Merely a Mistake, 2010. In Golden Section, pieces of furniture are enveloped by heavy sheets of metal, which section the furniture off and disrupt its utility. The proportions of the metal affixed to the structures arc based on the golden ratio, a mathematical constant long thought to order much of the world (such as the structure of the spiral in a nautilus shell, or in Leonardo da Vinci's
sketch of Vitruvian Man.) Applied here, the golden ratio brings the desk, cabinet, and so on into conformity with the principles of rational beauty and classical majesty. But the ratio's inscription onto the furniture brutally violates the purpose of the humble originals: Form denies the object its function.
Power is a collection of cathode-ray-tube television sets, symbolizing a technology all but obsolete today. The television monitors are stacked together; horizontal lines of light pulse across them. A timer turns the screens on and off, switching between states of animation in violent cracks of electricity and noise. The work strikingly echoes Liu's 2009 solo exhibition, "Yes, That's All!, at Boers-Li Gallery in Beijing, where rows of television monitors with jammed signals manifested a disturbance. But what Power shows is not feedback or white noise. Its title, in the Chinese original (which translates literally as "On/Off") and in its English version, points to sobering, time-worn questions: What kind of quantity is this "power"? And who operates it?
Where Golden Section and Power embody the brutality of restriction and control, Merely a Mistake is transcendent. The work is built from the discarded wooden debris of demolished buildings, repurposed here in pavilions and platforms of skeletal semi-Gothic arches. The beams that make up the soaring arches are rough, made from poor quality construction materials dotted with splinters and flecked with chips of pastel paint. Yet an edifice to spirituality arises from the debris of its absence. Merely a Mistake, shown previously at the 2010 Shanghai Biennale, is most similar to some works from Liu's "China" series, 2005-, in which ceramic vessels are arranged in the shape of rockets. But the military-cultural complex of that series has given way to an organic architecture of the vernacular that searches for the spiritual in the midst of godlessness.
The works of "Trilogy" are forthright and ponderous, embodying on the one hand those unseen pressures that imperceptibly draw the social boundaries we live within, and then breaking free of them in Merely a Mistake. It's a new direction for Liu, leaving behind the representative for the imaginative, but one that could possibly offer answers to questions that he has already articulated.