Lv Liantao


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Jumping into the mire


Lv Liantao
Solo Exhibition
SIMULACRA, Beijing, China, 2021







The exhibition "Jump into the Mire" is the first solo exhibition of the artist Lv Liantao, and it is also an exhibition of the artist's new creation in 2021. This exhibition presents eight of the artist's latest works, which continue the artist's strong style of previous works: starting from the body and presenting his thoughts on the relationship between body and power, individual and collective, repetition and poetry, incarnation and alienation, order and chaos, etc. in the form of mechanical installations.

"Jumping into the Mire" as the theme of the exhibition implicitly expresses three kinds of struggles: firstly, the exhibition space and the works are like a mire for the participating audience, and the interactivity of the works in this exhibition is like the mire's entanglement with the audience's flesh; secondly, the art creation is like a mire for the creator, and the birth of the works is accompanied by the artist's self-affirmation and the process of the artist's work. The process of creation is accompanied by the self-affirmation and denial of the artist, and the constant change of the program, through which the artist leans infinitely on his own ideal situation; again, from the theme of the work, the game of power and the temptation of desire are like a quagmire for the real human situation. These three relationships precisely describe the three relationships between human beings and reality implied in this work of Lv Liantao, and these three are entangled and progressive.

The mire is temptation, the mire is entanglement, the mire is struggle, the mire is contest, the mire is the pessimistic activist, the mire is the desire to talk, the mire is the desire to speak, the mire is the lost poetry, the mire is the anxious modern life, the mire is a group of pigs flying into the sky, the mire is the ashes of history, the mire is the mess, the mire is the aesthetics of Reifenstahl, the mire is the child who never grew up in The Tin Drum, the mire is a fairy tale, the mire is a tragedy. Being in the mire is the artist's situation, presenting the mire is the artist's instinct, and jumping into the mire is the courage of the artist and the participants.

In the outdoor space of this exhibition, the artist presents three works, one is the artist's work "2020" created in 2020, this work restores the artist's feet and legs with brass material, presenting a scene of constantly kicking against the exterior wall of the gallery, each impact deeply imprinting the English word "SORRY" on the brick wall. The other is a dynamic installation "Play" placed on a classical sculpture table, presenting a chair in constant motion. The order and disorder, affirmation and negation, dynamics and stillness form the contradiction between the outdoor works. Walking into the exhibition hall, the artist has cut the space into two distinct parts in gray and white, and the exhibition space has been transformed into a mire of symbolic imagery, and walking into the exhibition hall means stepping into the mire created by the artist. The first exhibition hall mainly presents four works: "WHERE ARE YOU", "I AM HERE", "Don't Leave Me" and "I Will / I Won't" (indoor part), which present the entanglement of watching and being watched with the elements of light, mirror and machinery. In the second exhibition hall, the artist presents the large dynamic installation "Temporary Relationship", rather than temporary relationship, the artist establishes a power game space in this space, the so-called game includes the action of picking up and putting down, looking and being looked at, etc., presenting the game while expressing temptation and absurdity, all this happens in a complete exhibition hall like a theater of absurdity. The absurdity lies in the absurd form of the scepter itself and the absurd form of the gaze around it, as well as the absurd form of the real human being living with the symbolized flesh in reality.

The exhibition formed by Lv Liantao's works can also be regarded as a whole work - an artist's theater rather than just an exhibition. Now that the theater of the mire has been formed, the audience's participation has undoubtedly become a part of the rehearsal, and participation has become a part of the work. Welcome to this participatory exhibition that is not meant to be a theater but has become one.

You are welcome to "jump into the mire" and "we will drag our tails in the mud".