Liu Qiming, male, was born in Sichuan in February 197 1. 1995 graduated from sichuan fine arts institute. Since 1995, he has taught in aba normal university Art Department and Art College of Southwest University of Science and Technology successively, and graduated from David Smithsonian in England in 1995. Now living in Beijing, mainly engaged in painting, video, behavior, installation and network interactive works creation. And devoted to artistic charity activities. His works focus on historical memory, which is impressive.

Chinese name: Liu Qiming.

Nationality: China.

Place of birth: Sichuan

Date of birth: 197 1 65438+ February.

Occupation: Cross-border artist

Graduate school: sichuan fine arts institute.

Representative works: Sensitive Words, 272 Days and Nights of You and Me, etc.

Exhibition introduction

Solo Exhibitions

20 13 "Cloud Project # @ Liu Qiming Solo Exhibition", Singapore STUDIO67 Art Space.

20 13 Liu Qiming (39.998595, 1 16.55438+05) _ Anthropology, Caochangdi Art Museum, Beijing.

20 13 "272 Days and Nights of You and Me", Liu Qiming Independent Art Project, Singapore STUDIO67 Art Space.

In 2008, "One Line" Liu Qiming solo exhibition, Shifeng Art Space, Beijing.

Harmony in 2008, Art Building, Beijing.

Quit in 2006, PasingerFabrik, Munich.

200 1 Liu Qiming Oil Painting Exhibition, Zhong Ding Gallery, Taichung.

1995 oil painting exhibition of radon and tritium, sichuan fine arts institute, Chongqing.

Jointly hold an exhibition

20 14

Pass by Zhuanquan Shenzhen Contemporary Art Center

"Body-shaping" art invitation shows Beijing Art Center.

Art Adventure World Cultural Development Beijing Representative Office Beijing

20 13

Across the Ocean —— Exhibition of Contemporary Works by China Artists in Caracas, Venezuelan National Museum

20 13 Time Restart —— Chongli Art Museum, China Contemporary Art Exhibition

20 12

"Fool's Wharf" Shanghai International Live Art Festival Shanghai

"Garden Live" The First Suzhou International Live Art Festival Suzhou

Breathing with the Sound of Body —— Jinxi, the First International Live Art Festival of Jinxi Ancient Town

"Listening and Speaking-Rumors" Exhibition in Beijing 798 Art District

Benetton Art Project Beijing Yimen Gallery Italy

The 13th Open International Behavior Art Festival Beijing Space Station

Kaicang Liang Na 20 12 Art Granary Contemporary Art Exhibition Qisheng Contemporary Art Museum

In fact, I have been waiting for you for a long time and Beijing 798 Art Project.

20 1 1 year

China Contemporary Art Exhibition Venezuelan Museum of Contemporary Art, Caracas.

Luchuan Collection Exhibition Space Beijing

Beijing "4_" Exhibition

Phoenix in the digital age

20 10 year

"10 yuan" Art Activity Network+Field Experiment Exhibition

"Hidden Phase" China Contemporary Art Exhibition Nice

"Sensitive Words" Network+Field Behavior Experiment Exhibition Beijing

"Warm Winter" Plan Beijing Art District

Beijing jiyi building

The experimental images of "28 kinds and 36 cases" were displayed on the Internet in Beijing.

In 2009

Paris art fair

Recent History-China Contemporary Art Exhibition, tours Castle Art Museum.

Let's play with the Primary Color Life Gallery, Beijing.

Experience/Stunning: Fengfeng Art Institute China Contemporary Art Exhibition

"Mixing and Sharing" CC Comprehensive Art Exhibition Beijing Art Center

The documentary "5 12 Taking Xinjian Primary School as an Example" shows Beijing on the Internet.

"Feitian" experimental image shows Beijing on the Internet.

"The day after tomorrow" experimental image shows Beijing on the Internet.

the year of 2008

Try to remember Osha Hong Kong Gallery.

Abnormal Xi gallery

Rebuilding China, Virginia Miller Gallery, Miami.

Baise temptation Xi gallery

"* * * Walk Together" China Contemporary Art World Relief Auction was held in Beijing.

China Contemporary Art Exhibition of Hong Kong Opera House

JW Art Center, "China Situation" Contemporary Art Exhibition.

In 2007

"Inheritance and Transcendence"1976 —— 2006 Academic Retrospect Exhibition of Sichuan Painting School, Ministry of Culture, Beijing

"Gold" 2007 Contemporary Art Exhibition Beijing Capital Normal University Art Museum

"Restarting Suojia Village" Beijing International Art Camp Exhibition

"Reverse Movement" Contemporary Art Exhibition Beijing

Beijing Huantie International Art Exhibition

"Hunda" 12 Joint Exhibition of Beijing new york Art Space

Beijing Chunnuanhuakai 798 Gallery

Xiangbei Yanwu space

In 2006

Red age Hangzhou

New york New Minimalism Concept Exhibition

In 2005

Shanghai Mianyang Art Exchange Exhibition Shanghai

"From the Origin" 8-person Oil Painting Exhibition Mianyang

In 2004

Sichuan Chengdu Oil Painting Exhibition Chengdu

In 2003

Sichuan University Art Teachers' Works Joint Exhibition Chengdu

200 1 year

Existentialist immigrants to Chengdu

1999

Moment: China Art at the End of 20th Century.

1998

National Art Teachers' Works Exhibition in Normal Universities Liaoning

Second Prize of Chengdu Sichuan Fine Arts Exhibition

1997

Shanghai urban personality four-person art invitation exhibition

China Oil Painting Overseas Tour Exhibition in Southeast Asia and Europe

1996

Literature Exhibition of Chengdu Plateau Red Art Studio

review article

Preserve historical memory

-talk about Liu Qiming's oil paintings.

Wang Lin

In a society that only values collectivism, even people-oriented ideas are easily polluted. When "people" become "people", individuals are often excluded. As far as China's feudal cultural tradition is concerned, the people are relative to the monarch. As the saying goes, "the people are important, the monarch is light, and the country is second." The importance of the people is that it is the foundation of the monarchy. There is a premise for us to judge whether today's society really enters modernization, that is, the degree of realization of individual freedom priority in social system and social life. The constitution stipulates the democratic rights of every citizen, but we can't realize them in real life. The status quo of civil rights in name only has a profound impact on the psychology of China people.

Because of this, when I saw Liu Qiming focus on historical memory, my heart was filled with emotion.

Liu Qiming cut into history from the perspective of personal memory. No matter the title of that year, or the revolutionary model, anti-terrorist elite, Olympic imagination and other works with historical narrative as an opportunity, the painter has never directly described political and historical events. He always uses psychological symbolism to describe his feelings about the fading historical memory.

This is a history of poetry, a historical poem.

Liu Qiming's paintings are empty and lonely, quiet and distant. He always uses gray-gray blue, gray green or gray pink-to form a hazy and fuzzy background, even the picture of clouds and water meeting itself. There are clouds and waves in the middle and halos in the daytime, among which Tiananmen Square is a typical political symbol. This kind of China classical tower appears between clouds and water, and has the image of a fairy mountain and a beautiful corridor, which adds illusory poetry to the painter's surreal situation. At the same time, it also implies the historical pertinence of personal narrative with its political symbols.

The painter's description of people is long-distance, and the narrow space communicates the passage of time. Whether walking, cruising, or doing sports postures, or hanging on branches and ropes, painters deliberately paint them as silhouettes with a translucent background, thin, tiny, floating, rootless, passive, helpless and doomed. Liu Qiming reveals deep loneliness in the picture, which is true and true. Only in this way can the art as inspiration reveal the truth of spiritual reality with its sensitive and subtle psychological reaction.

Artistic creation does not have to appear in a confrontational and antagonistic way, but it is a criticism of social reality, spiritual reality and cultural reality. As a personal experience of life, the critical value of artistic creation lies in challenging the established collective discourse with personalized artistic language. Liu Qiming's works are obsessed with personal spiritual reaction and psychological memory of historical events, which in itself is a denial of the autocratic right and collective consciousness of obliterating historical memory. Liu Qiming constantly and even stubbornly uses the red dotted line in the picture, which is not only the form need of visual attention in gray and cool tones, but also the red roof, red rope, red scarf, red underwear and so on. They are all political symbols or pan-political symbols with significative meaning, but the painter makes them different, separates them from real life, constructs a surreal experience, and restores history to personalization through fragmentation, personalization and fragmentation of history. Liu Qiming touched history with his sad poems, aiming to prove that history can't be forgotten. In fact, this sentence itself contains respect for history, even if it is a heavy history that has caused great harm. Perhaps this is why Liu Qiming's works are full of sadness and poetry.

Speaking of Liu Qiming's paintings, we are reminded of Kiefel, a contemporary German painter, who wrote a magnificent elegy for German national history since World War II with blood and tears and introspection. I've been thinking that Chinese paintings have begun to show works like Liu Qiming's. They sing in a low voice and linger on historical experience. When can an artist like Kiefel give a strong moral voice to historical suffering?

June 2008 15

On the edge of Taohua Mountain in sichuan fine arts institute

be in danger of

-Liu Qiming, his people and his paintings.

prison

No one can tell how long a thread is, how much redundancy it can have in series, and how light it can provoke. However, there is such an artist who takes line as the main theme of his creation and interprets his outlook on life and art with a line. This man is Liu Qiming.

The distance between two physical particles in space is the original meaning of a line. It can't form a real thing, but it plays an important role in linking heaven and earth and bearing life in Liu Qiming's art. A slender and light line, why does he have such an important comparison with it? This has a lot to do with his own experience. Since middle school, he seems to have been under pressure from other students-he was expelled from the league for protesting against cheating in school exams; For a teenager, the ideal of pursuing progress is hit by the so-called organizational principles and political reality. However, just a few years ago, when the university just cultivated his ignorant observation and expression methods of art and reality, the result of graduation assignment hit his artistic dream again-he was assigned to teach in Aba Tibetan and Qiang Autonomous Prefecture, Sichuan Province. The religious situation in ethnic minority areas and the lack of cultural information brought by being far away from Chengdu, the provincial capital, made his heart full of loneliness and no comfort. He is still young, needs art, and needs the exchange of thoughts and feelings. So he set up his own studio in Chengdu. In the next few years, he shuttled between the studios in aba normal university and Chengdu Plain. The consumption of time and energy finally made him decide to resign, because only in this way can he paint with peace of mind and realize his artistic dream. However, the subsequent reality of life made him feel false and cruel again and again-the encouragement of his friends made him join a scam; Wenshan Huihai and the new rules and regulations from the school kept him busy; The unexpected death of his mother made him feel the pain of the harsh reality of urban-rural differences.

He should have enough time and energy to engage in his favorite painting creation, but he was teased by the reality of life for more than 30 years. He should have used violent images to vent these pains in his own paintings, and he can get rid of them quickly, because only in painting can he find human dignity and the meaning of life. However, when we see his recent works after two years' development in Beijing, we feel more elusive silence and indifference. The erratic dark sea of clouds is a corner of the symbolic building of political power, looming, but never staying. Tornadoes and mushroom clouds released from them, as the energy field of external political forces, can cover the sky, make the sun and the moon dull and make everything depressed. After many experiences, Liu Qiming learned to see the essence through phenomena. External constraints and realistic disputes cannot arouse his interest with the brush in his hand. He wants to show his answers to these pressures and puzzles, and he wants to hold the invisible hand that controls the real concrete world from a higher angle. Therefore, he chose metaphor, combining thousands of dark clouds symbolizing reality with seemingly tiny symbolic architectural symbols. One is a seemingly empty but endless natural phenomenon, and the other is an artificial thing that seems inorganic but contains great strength and energy. The combination of the two in painting is only because of the existence of China people and the confusion of China people. Otherwise, the whole picture will appear blurred and weak.

What artists are most concerned about is that characters are suspended in the foreground like dolls. They were naked, leaving only a piece of red cloth to hide their shame. In this vast sea of clouds that seems to devour everything, they don't seem to panic, but mechanically repeat some prescribed actions that have long been "melted into the blood and put into action" by external forces. These movements come from the model operas of Mao Zedong era and are well-known plays in the so-called "years of burning passion". But in Liu Qiming's eyes today, these are just superficial actions. Because the stars have changed, the illusory ideal of that year has long since disappeared, and no one believes it, but the body of the character has been preserved by the artist. Therefore, from the pictures, we can find that these dancers do not depict too many personality characteristics, and everything is just a hint and outline.

These mechanical drama characters are so incongruous with the red rope hanging from a height that we can't help wondering whether this rope can save these fallen people. In fact, this slender string is just a hairspring of life, which can't bear so many historical and political burdens. It is symbolic and suggestive, just like red underwear, red scarf and red flag in some works. It is a symbol of unbearable weight of life and a sigh of unbearable lightness of life.

The heavy and gloomy background and the light and grotesque prospect are connected by a lifeline, which is connected with the hairspring of human life, but it is so slender. Why does it carry the power and light of life? As a result, a strong sense of crisis surges up and down the screen, erratic but ubiquitous, and no one can really get rid of it. This is Liu Qiming's inner tragic consciousness, which can at least arouse our audience's sad consciousness.

interview

2008-6- 10

lure

-Interview with Liu Qiming

Artist: (hereinafter referred to as Liu)

Reporter: Cao's World Art magazine (hereinafter referred to as Cao)

Reporter: Teacher Liu, look at your work. It's very interesting! The works are very China, poetic and full of melancholy! This is very different from the popular contemporary art today!

Liu: Really? Very poetic, which means very lyrical! The so-called "contemporary art" refuses to express emotions, hehe!

Reporter: I feel that Mr. Liu, your work is mainly a reflection and criticism of totalitarianism.

Liu: Criticism, how dare I! In the face of powerful words, I just show you what they do in my own way!

Reporter: Teacher Liu, your works do not directly describe events, but often make the audience feel very realistic! Give people more aftertaste, very humorous, but not ridiculous. Can you talk about how your creativity came into being?

Liu: Humor is out of the question, but it's really not funny. In my creation, I like to record in a seemingly relaxed, long-distance and quiet way, instead of directly describing the present life. I think maybe when we live in it, it is always dull or vague. So I always touch my past life in a memory way after a period of time.

Reporter: Can you say that you are an artist with historical themes? Just like the revolutionary model and other works, there are traces of historical themes in the name of the work.

Liu: I don't like to simply trace back or describe history, because reality is a mirror image of historical diversity, and the past and the future are actually simply and mechanically reflected and overlapped today! I choose a character symbol or a work name with a specific era label, which has only one meaning. With its symbolic and implicit condensed information, I can convey my understanding and judgment of the current real life!

Reporter: What do you think is the biggest factor affecting artistic creation?

Liu: When it comes to influence, it is still an old saying: "Art comes from life". Only since the so-called history of civilization has politics had the greatest impact on life! It permeates all aspects of our lives, just like an invisible hand, controlling each of us' thoughts and behaviors! It's like we are used to our life for a long time, but we can't escape without knowing it! Although it always happens through some specific events in our lives, it has long been habitually accepted and even recognized during our growth. Politics is like this, always through brainwashing, in order to make you identify with and accept the values that are in their interests.

Therefore, "art originates from life". If art wants to reflect life, it should not simply describe what we see, but need to further explore and express the invisible things that control our lives. I think this is what we usually call "the depth of art"!

Reporter: I believe that the audience can perceive from your works that you are an artist with great social responsibility! Do you think social responsibility is important for an artist?

Liu: It doesn't matter. I think an artist should first be a maverick intellectual in society! Social responsibility is always the basic measure to measure an artist. "How to make art" is a matter of method, and "What kind of art to make" is a matter of attitude. "Social responsibility" is the basic principle to judge whether a worker engaged in art is an artist.

Reporter: all this happened before college? What about after college?

Liu: During my college years, I was lucky enough to meet a group of excellent teachers, such as, () and Wang Lin, who have greatly influenced and helped me. At that time, they also had many activities, such as "China Experience Exhibition" and "Art Literature Exhibition". Chuanmei's teaching is also relatively open, and students who like art always get together to discuss art regardless of departments and grades! In this way, when I graduated from 1995, I held my first exhibition-oil painting exhibition of radon and tritium (middle) in sichuan fine arts institute. At that time, faced with reality and ideals, East and West, tradition and modernity, I felt extremely confused and confused. I tried to convey my life feeling and artistic thinking during my study in the Academy of Fine Arts with the embarrassing state of being imprisoned.

Reporter: When you worked in Tibetan plateau, what influence did it have on your creation today?

Liu: When I graduated 1995, I came to teach in the Art Department of aba normal university, Wenchuan County, Sichuan Tibetan and Qiang Autonomous Prefecture. I dream of finding my soul home in this Tibetan-Qiang Plateau where Tibetan Buddhism is strong. But I soon found out that I was wrong! The sky on the plateau is always blue, but the air is suffocating. Plateau has never been a moving landscape that needs to be eulogized in literature and politics.

Reporter: You didn't try to leave?

Liu: Yes, I wrote to my brother Feng, who had just arrived in Beijing to work, and wanted to be a professional painter in Beijing. But I soon learned that all the artists in Yuanmingyuan had been driven away! So I set up my own studio in Chengdu, so I often travel between Aba Plateau and Chengdu Plain.

Reporter: That must be very tiring!

Liu: Tired and happy! I organized some activities there and got the support of teacher Wang Lin. I remember when we started the "Plateau Red" art studio, Miss Wang also wrote to encourage me to "save the world carefully"! This sentence continues to encourage me!

Reporter: Then how did you leave later?

Liu: Faced with the embarrassing lack of religious culture and the helplessness of the system, I applied for transfer for five years and finally failed. Finally, I left aba normal university with "three noes".

Reporter: What do you mean by "three noes"?

Liu: It is divorced from the state system. "Three" are the three shackles of population management in China system, namely "file relationship, salary relationship and household registration relationship".

Reporter: Back to Chengdu?

Liu: No, I went back to my hometown of Mianyang. Friends encouraged them to set up private universities (Mianyang Science and Technology City Branch of Sichuan Education College). Dream of saving education in China by running private schools. It turned out to be just a scam. After leaving the plateau and returning to the city for a year or two, I am always afraid. I always thought this was not my life. Although I wander around every day, I can't adapt myself. I've always been an outsider. Life floats like leaves on the water.

Reporter: That's how we felt when we saw your "Floating" series later! In 2002, you taught in the Art College of Southwest University of Science and Technology?

Liu: Yes, I became a director.

Reporter: Can the "three noes" status enter the school again in the system?

Liu: Yes, it's a characteristic of China! Everything is in the hands of the leader!

Reporter: Now that you are a director, should you be able to realize your educational ideal?

Liu: This is even worse! I've been going crazy for years. The reality is helpless and against one's will. Every day is a mechanical rule, rigid teaching evaluation, formatted papers, and no creativity is allowed. Everything as long as the data, standardization! These so-called college art education are like a bitch's archway. This is a completely false life. At this stage, I chose gorgeous and abstract colors to whitewash and escape my life, and the result was another failure. Escaping will never solve the problem!

Reporter: It seems that you really don't adapt to living in the system! So I came to Beijing in 2006.

Liu: Yes, I am very lucky to be able to do what I like to support my family.

Reporter: It should be free now!

Liu: Freedom is only for the bondage of the body?

Reporter: How can I put it?

Liu: For example, something happened in my family last year. On April 10, 2007, my mother went to the hospital to treat asthma accompanied by her father, but on the way to the hospital, because the oxygen bottle in the ambulance was empty, my mother died of suffocation. With all the facts and evidence in front of us, the hospital arbitrarily denied the facts! Later, with the help of a lot of factual evidence and the participation of many friends including the media, the hospital finally had to admit all the facts. After mediation, according to the compensation standard of rural hukou in our country (the compensation standard of urban hukou and rural hukou is different), the basic compensation of 45,000 yuan was paid, and it was over. Not only do you have no basic spirit of repentance, but you also refuse to make the most basic humanitarian apology to our family!

Ironically, those who are really responsible for the hospital have not been punished to any extent. Instead, the nurse in the ambulance was expelled from the hospital! The reason is that, as a person in the hospital, because she reminded the doctor twice in the ambulance that oxygen tanks are anaerobic, she finally became one of the key witnesses and testimonies in this case. ...

Reporter: What a pity! China, there are too many such things!

Liu: Yes, very helpless! This is the life and fate I have to face. So I also dedicate this exhibition to my mother.

Reporter: After so much experience, your work is not negative. Although they are sad, they make us feel a kind of hope and strong vitality!

Liu: Yes, the value and significance of life are above everything else!

Reporter: Will you dabble in other creative ways?

Liu: Yes, I am preparing to take some pictures and videos at present. Any art form has its irreplaceable advantages and limitations. I am interested in trying new things!

Reporter: Good! We are very much looking forward to seeing your new work! Thank you, Miss Liu.

April 2008

-Excerpt from World Art Magazine