Beijing-based artist Liu Wei (b. 1972) works across a range of media and techniques, including photography, painting, sculpture and installation. The ready made is a recurring element in his practice, and his work is often assembled out of everyday found objects, such as ceramics, books, television sets, fridges and fans. The artist re-works these discarded materials, transforming them into ...
Beijing-based artist Liu Wei (b. 1972) works across a range of media and techniques, including photography, painting, sculpture and installation. The ready made is a recurring element in his practice, and his work is often assembled out of everyday found objects, such as ceramics, books, television sets, fridges and fans. The artist re-works these discarded materials, transforming them into sculptural objects and installations of layered complexity.
Part of a generation in China that grew up in a period of rapidly accelerating urbanisation, Liu Wei has frequently turned to architectural and urban themes in his work. While he presents the city as a dynamic and vital force, he often raises questions about contemporary urban life: the way we plan, build, consume and experience our cities.
In a suite of paintings entitled Purple Air (2011-2012), for example, abstracted patterns of upward-reaching vertical lines delineate a city as though seen through the grid-like patterning of venetian blinds. His austere cityscape Exotic Lands (2012) or the monochromatic series Meditation (2010-2011) could be understood as a counter-point to these works. Horizontal bands and blocks of cool grey form a marked contrast to Purple Air’s exuberant colour and noise, evoking a moment of motionless, sombre calm.
A motif of geometric forms and horizontal and vertical lines runs throughout this artist’s diverse practice, from the measured linear compositions of his paintings or the bare strips of light dissecting old television sets in Power (2011) to Merely a Mistake (2009-2012), a series of complex polyhydric structures assembled from Beijing’s discarded building materials, an urban flotsam of wooden beams, door frames, planks and metal bolts.
This recurring geometric schema could be read as a gesture of self-expression. Combining a logical, systematic approach with imaginative abandon, Liu Wei’s work forges a personal sense of order and meaning out of rigidly controlled social and political structures and the turbulent disorder of the contemporary cityscape.
Liu Wei was born in 1972 in Beijing, where he lives and works. He graduated from the National Academy of Fine Arts, Hangzhou, in 1996. His first solo exhibition was at Courtyard Gallery, Beijing (2005), followed by, among others, ‘Love It, Bite It’, BizArt, Shanghai (2006) which travelled to China Art Archives and Warehouse, Beijing (2007). More recent solo exhibitions include ‘Trilogy’, Minsheng Art Museum, Shanghai and ‘Myriad Beings’, Today Art Museum, Beijing (both 2011), ‘Liu Wei’, Long March Space, Beijing, ‘Liu Wei: Foreign’, Almine Rech Gallery, Paris (both 2012),’Sensory Spaces4 Liu Wei’ Museum Boijmans van Beuningen, Rotterdam (2014) and ‘Liu Wei:Colours’, UCCA Beijing(2015). He has taken part in many international group exhibitions, from ‘Beijing in London’, Institute of Contemporary Arts, London (1999) to ‘China Now’, The Museum of Modern Art, New York (2004), ‘China Power Station: Part II’, Astrup Fearnley Museum of Modern Art, Oslo (2007), ‘China Power Station: Part III’, Mudam Luxembourg (2008), ‘DREAMLANDS’, Centre Pompidou, Paris (2010) and ‘Shanshui: Landscape in Chinese Contemporary Art’, Lucerne Museum of Art, Switzerland (2011). Liu Wei participated in the 51st Venice Biennale (2005), the 9th Lyon Biennial (2007), the 6th Busan Biennale (2008) and the 4th Guangzhou Triennial (2012). He received the CCAA Award for Best Artist (2008) and was nominated for the Credit Suisse Today Art Award (2011).