刘力国
"贩卖想象"
杨 • 艺术中心 / 北京 中国北京市朝阳区酒仙桥路4号,798艺术区陶瓷三街，100015 电话：＋86 10 5762 3020
杨 • 艺术中心 / 新加坡 新加坡东陵路19号东陵购物中心 #02-41，邮编247909 电话： +65 6721 8888
"贩卖想象" 刘力国的作品表达着一种迷失在消费社会的当今中国形式的‘自我’。 其主要元素综合了宗教 ，民俗，消费 性质与毛泽东的形象组合成的一种代表性的当下社会反映。 刘力国的作品出奇地华丽及丰富。在他的作品中，流行和民俗都被淋漓精致地加倍放大，灵感来自社会发展 的一种精神性的投资。刘力国寻求对中国传统艺术的一种前卫变化而且早 在九十年代中期从一系列陶瓷'屁 股'形状的雕塑作品中就已表达消费社会正在发生的变化和文化的超凡脱俗的活力之间存在的两重性和悖论。 刘力国试图从他的作品中表现出消费社会带来的一种思想模式 ，用一个恰当的手法来表现 批评和讽刺这两种 极端观念二合为一的意义。那些粗俗的主题被最终改造成从革命到消费社会的缺陷形式，从而完成了从民间 的前卫性的转换，突出二十世纪中国的“自我”主义的特点。 更重要的，在刘里国的作品里呈现了其整体的真实和我们必须接受的自我认同。不然的话我们将丧失这种独 特的自我特性。就这一点来说，刘里国的作品最终充分表达的是一种宿命。
目录
文本 何桂彦与力国对话 作品 简历展览年表 生活 工作室
文本 TEXT
太阳花系列2 油画 Sunflower oil painting 100cm×150cm 1998
符号化是那个时代的艺术痕迹 ——何桂彦与刘力国的对话
何桂彦：20世纪90年代初，伴随着“新生代”、“政治波普”、“玩世现实主义”的崛起，当代绘画有一个 明确的转向，那就是远离宏大叙事，远离启蒙意识，并积极地介入现实。你早期的作品创作于1993年前后， 它们主要是一种什么风格？ 刘力国：风格上仍保留了80年代的一些现代主义特征，也受到了90年代初波普化表达的影响。
我曾经在中央美院做过一个讲座，谈材料的独特性，不要说你随便就可以 做一个瓷器、做一个铜雕，做一个树脂，它们只是手段，相反，一个成熟 的艺术家会驾驭语言，让材料自己说话，让材料与你要表现的主题很好的 结合。
何：1993到1995年的作品有一个较大的转变，集中体现在《太阳花系列》中，一个是具有浓郁的艳俗氛围， 另一个是出现了“屁股”的形象。这种转变基于怎样的考虑？ 刘：当时的感觉是，因为中国国门刚打开，西方的东西一进来后，给人的反差特别大，心里有一种失落感。 此时，出现了一边倒的情况，只要是西方的都是好的，而我们的都是不好的，都该全部扔掉。但在我看来， 传统中其实有很好的东西，为什么我们要遗弃，难道它们一点存在的价值都没有吗？于是，在创作中，我希 望放弃那种极端的态度。我的作品大多会给人一种诙谐、调侃、喜气洋洋的感觉，像方力钧那批艺术家的作 品中有时还有一些比较强烈的情绪，我的比较温和，可能跟我的性格有很大关系，我做不出那种血腥、暴 力、激烈、对抗性的作品。我希望在诙谐、调侃的氛围下给予一些善意的提示。“屁股”这个形象在当时是
很不雅的，但这个屁股就像人们对待传统时的态度一样，以为它是丑的，是羞于被人看到的。不过，一旦将
何：你当时的那批作品还是保留了90年代当代绘画的一些共同的特征，例如平面化、图像化、波普化、艳俗
它和“花束”并置在一起时，就会出现一种荒诞感。“花束”是雅的，而“屁股”则不雅，在视觉上，它们
化。《太阳花系列》从一开始在视觉上就向图像和符号转变，而不是像80年代现代主义风格那样注重形式与
既熟悉，又陌生，但当两个东西，两种符号并置到一块，滑稽与荒诞就弥散出来了。
语言的探索。
何：这种荒诞感是否也来源于更为内在的原因，即人们在社会急速转型的背景下，在社会——文化心理上所
刘：我们都希望作品有个人符号，而且越典型越好。符号化是那个时代的痕迹。
产生的焦虑，或者说一种不适感？90年代初的社会转型，以及消费社会的兴起，在价值方面，一个明显的社 会症候是，早期集体主义的、形而上的生活方式，向一个世俗的、消费的、形而下的生活转变。你的作品实
何：你是怎么选择，最终确定你的个人符号的，当时基于怎样的考虑？
质也有一种对消费社会本身所展开的思考。 刘：当我在选择“屁股”这个形象时，直觉就是这个符号必须要有典型性。如果这个形象一开始就是人们陌 刘：当时的社会转型对我们的冲击很大。过去，我们活在集体化的意识里，我们被集体主义、宏大叙事的价
生的，那么，它就需要大家花很长的时间去了解、去熟悉。一旦这样，这个符号的选择就失败了。在我看
值观所塑造，所支配，比如，我们从小的教育就是爱祖国、爱人民、爱伟大的领袖，但没有一个价值导向是
来，艺术家要正确理解自己的能量，它不可能太大。所以，我要找一个最熟悉的符号，所有人都知道的符
教我们如何真正的独立思考，独立的生活。改革开放后，西方的价值观进来了，我们认识到个体要自由，个
号，然后再把它移植到作品中，使其典型化。面对这个符号，不管你是白皮肤、黄皮肤，只要你看到就能认
人要独立。但是，我们似乎又从一个极端走向了另一个极端，有点矫枉过正。在那个转型的时代，很多东西
识。只要达到这种程度，这个符号才是靠谱的。“政治波普”中，艺术家开始用各种“文革”符号，再比
都是错位的，而且，我们在思想上也没有做好准备，因此容易极端化。
如，方力钧的那个光头，当时国外的报道就把它看作是“无声的呐喊”。很显然，明确的符号能强化作品的 表达力度。当然，对于艺术家来说，当你选择好符号后，还要对它进行形式与语言上的转换。在我的作品
世纪末彩虹艳俗艺术展 天津泰达 Sunflower oil painting
1999
中，“屁股”的形象大多做了陌生化的处理。
满汉全席 瓷 Chinese Banquer Ceramic 106cm×106cm×96cm 2000
商量，我要做什么，我会跟你讲，让你给我提意见，我也会告诉你，这个作品该怎么去做。当时那批年轻的 批评家，如朱其、黄笃、高岭跟大家都很熟，在一起玩、吃饭，讨论艺术问题。
何：你是什么时候将架上绘画中的图像、符号转化成瓷质雕塑的？ 何：当时艺术家的意识中还普遍保留着80年代那种运动意识，就是大家要制造一个新的艺术趋势、一种现 刘：选择瓷器，主要是因为它是传统文化的一个载体。97年我就在做方案，但完成是98年的事情。当时在准
象，一种风格，引领某种潮流。
备一个关于艳俗的展览，时间特别急，我记得参展的艺术家有李路明、孙平等。这个展览是由廖文、栗宪庭 策展的。李路明当时是湖南美术出版社的社长，他正在策划一本关于艳俗方面的书，也希望把这个展览的作
刘：是的。所以大家要在一起讲，在一起聊，甚至还要做笔记，你讲的什么，我又讲了什么，然后大家讨
品放在里边。我那时在潮州，而不是在景德镇，后来就做了那批瓷器作品，后来也收录在李所编的书中。
论。当时也翻艺术史，现在想来挺好玩的，有那么一点乌托邦的感觉，也有点集体化的运动意识。
何：从90年代中期的《大众样板》、《艳妆生活》，再到1999年天津泰达美术馆举办的《跨世纪彩虹——艳
何：你早期绘画中的艳俗风格一直延续在你的瓷器作品中，而且，从题材上看，2000年以来的作品在内容上
俗艺术》展，艳俗艺术成为了90年代中后期一个重要的艺术潮流。
含量更大，这集中体现在《满汉全席》、《经典系列》中。同时，这批作品充斥着浓郁的民俗气息，仍然追 求“戏拟”与“反讽”的表达。
刘：在当时身边的朋友中，栗宪庭是艳俗艺术最重要的推手。还有一个年轻的批评家杨卫，他在90年代中期 也画一些具有艳俗风格的作品，后来就慢慢转向策展了。实际上，那个时候的展览、批评氛围跟今天很不一
刘：瓷器这个材料满足了我当时的表达，它们很华丽，光彩照人，比较符合我作品的表达，就是要喜气洋
样。比如说今天的策展人、批评家要写东西了，他才会去找艺术家要相关的资料。但我们那时做作品彼此都
洋，就是我们过上好日子了，我们成为万元户了——作品要表达的就是那种自我的满足感。但是，从材料的
榜样-举手的红卫兵 瓷 Models Series Ceramic 134cm×66cm×53cm 2005
佛-五子罗汉 瓷 BUDDHA-the Five Bodhisattvas 46cm×38cm×24cm 2005
物理性能看，尽管很华丽，但瓷器本身易碎。因此，用瓷来表达，讽刺的就是那种极其浮躁的暴发户心态。
按照西方雕塑的标准去比较，它们就全不对，结构不对，透视也不对，比例更成问题。但是它们很像，做得
比如，买一瓶人头马一口就想把它喝完，虽然消费得起人头马，但心理上还是农民。你过去不要瞧不起我
也很好、很流畅，这是很有意思的。我当时就用这种方式，将“毛”的头与佛的躯体结合起来。当时主要考
吗，看，现在我有钱了，我很厉害吧，人头马都买得起。就是这样一种心态。记得我上大学的时候，刚刚看
虑的是，中国是一个政教合一的国家。我以前去过西藏，发现一个独特的现象，老百姓供养的是毛主席，左
到彪马、阿迪达斯的鞋子，太贵了，我们买不起。为了有一种满足感，我们在鞋上画一个同样的商标，虽然
右则供着班禅和达赖。为什么会如此呢，是50年代共产党解放西藏后，让原来的农奴过上了自由的生活。所
是造假，但可以满足自己的虚荣心。瓷器表面的华丽与自身的易碎性刚好能隐射出那种虚幻、自我膨胀的欲
以他们认为“毛”是最大的佛，然后才是班禅、达赖。如果从艺术的眼光去看，这些造像非常有意思，民俗
望。我曾经在中央美院做过一个讲座，谈材料的独特性，不要说你随便就可以做一个瓷器、做一个铜雕，做
味很浓。但是视角不同，也会产生一种错位感。比如，在“毛”身上彩绘，在民间看来，这是非常美好的，
一个树脂，它们只是手段，相反，一个成熟的艺术家会驾驭语言，让材料自己说话，让材料与你要表现的主
会寄托很多吉祥的意义，但是你也会觉得在一个伟人身上涂绘很不合适。不过，在普通人的眼中，这似乎没
题很好的结合。
有太大的区别。所以，后来我就借用这种民俗化的方法来创作，就是把渺小的东西做得伟大，把伟大的东西
Ceramic
做得平民化。 何：要在语言与观念之间找到一个契合点。后来的作品又有什么样的变化？ 何：透过这个佛像，也可以看到，中国老百姓最日常的生活中也渗透着意识形态。不过，你不忌讳别人会说 刘：2005年的时候，我开始做《榜样系列》。我本身不是学雕塑的，但经过几年的摸索，突然感觉民间有很
使用“毛”的形象仍然是走中国符号的老路，仍然基于一种后殖民的策略？
多资源可以利用，比如民间的那些塑像。不过，挑战也很大，因为它们的个性和形式感都非常强，如果改动 大了以后就没有了，如果改动小，你自己的观念就无法表达，你自己的风格就给它吞了。我当时就提了“粗
刘：不忌讳。中国当代艺术本来就是舶来品，是向西方学习的产物。我记得有一个批评家曾说过，我们还没
俗的民间语言和民间雕塑”。中国民间雕塑的特点是有很强烈的形式感，做得很像，追求神似。不过，如果
有准备好，现代主义来了，还没有消化现代主义，后现代主义又来了。我们就是在这样的环境中生长的。使
经典系列 瓷 Classic Series Ceramic 58cm×39cm×33cm 2000
用“毛”的形象，这是我们的社会语境造成的，至今，“毛时代”的意识仍支配着大部分中国人。
宣传方式。从图像逻辑看，它们比较荒诞，有些无厘头。事实上，乍一看，我们的社会很多现象其实很荒 诞，有点无章可循，但它很有活力，充满各种可能性。
何：改革开放以来，咱们的整个文化情境完全是错位的，是一种混杂的现代性使然。在你的作品中，我们也 会看到一种混乱、无序的存在状态。
何：在一个“后发性”的现代化国家，出现混杂而鲜活，错位而荒诞的现象是很正常的。但从图像叙事的角 度看，当把这些片断化的场景同时置入作品时，就会形成一种新的图像景观。
刘：我们就生活在这样的环境里，这样的文化情境中。原本就如此，有时甚至比表象更混杂。而我作品中的 杂乱、矛盾、无序只是对这种社会症候的反映。
刘：这种景观化的表现跟我自己的专业相关。我是学舞台设计的，在戏曲学院，早期还参与一些电影和电视 剧的拍摄。我比较喜欢象征主义戏剧，比如苏联的斯坦尼斯拉夫斯基，德国的布莱希特，在我的作品中，我
何：从你最近三年的作品风格上看，已经跟早期的波普与艳俗拉开了距离，但在图像叙事与符号表达方面，
会下意识的呈现这些东西。
仍有一种内在的联系。 何：除了刚才谈到的来源于现实的图像外，还有一部分是超现实的、想象的、虚构的，但它们似乎仍有图像 刘：有一些关系。比如，这个作品描绘的是斑点狗和长颈鹿在故宫里边的婚礼。画面是超现实的，但作品的
学的来源，跟今天图像化时代的批量生产有关系。你是怎样选择的，并将它们融入一个虚幻的场景中。
叙事则由各种图像来完成，你会看到在这个作品中，出现了很多汽车，有很早生产的卡迪拉克、中国的国产 汽车……它们都同时出现在一个画面上。这个国产汽车的广告很奇怪，画中的女孩是从乡下招来的，她们是
刘：我个人比较厌恶摆拍的那种方式。这些图片大部分来自于网络，我在搜集资料的时候，没有想把它做成
活体广告，旁边的模特却非常的时髦，汽车是纸做的，所以女孩们可以拿着它在大街上走，这是一种很好的
什么，而是先把这些图像储存起来。选择时也没有什么标准，第一反应是它有意思我就存下来，就这样，我
存了很多的图片。这些图片可能存上两年、三年都不会用到，但偶然间，我会想我要表现一个什么感觉的主
分子，布尔乔亚那种酸溜溜的东西让我受不了，所以我的作品有一种游离感，既有喜庆的农民似的趣味，又
题时，就会想到这些图像，就会自然地把它们放在我的作品中。由于每一张图像都有自身的特点，所以我会
有点小资般的感觉，不确定性穿插其间。这种感觉可能更符合我的个性，骨子里有一种小资情结，无意识地
在风格上进行处理，使其统一化，纳入到一个共同的叙事框架里。要让一张照片或图像具有你的味道，实际
就会在作品流露出来。有一段时间，我完全被艳俗的概念所束缚，很难放开创作。后来，我尽量让作品打
很难，也很有挑战性，但也是我最开心做的。
开，让所有的东西进来，尽量去找我内心需要的那种感觉。
何：这次的展览叫“贩卖想象”，在我看来，这种“想象”实质是由图像与场景引发的。但是，从图像的原
何：联系到你早期瓷器作品中的“屁股”的形象，再看你近期的作品，你仍然比较关注性和情色的东西。
初生产来说，它们从一开始就会被注入一种意识形态，或者是西方人的价值观，以及关于未来的想象和乌托 邦的东西。你在使用那些外来图像的时候，考虑过图像背后隐含的意识形态话语没有？
刘：这个感觉一直是有的。不过，最近两年的作品考虑得更多的还是语言。我希望它们在风格上不要太跳 跃，为啥会采用一些象征主义或波普的手法，是尽可能地削弱绘画自身的特点。我希望打动观众的首先是纯
刘：我没有从意识形态的角度去考虑，相反，我认为图像本身就是一个复合体，里面有很多信息，关键是艺
视觉的呈现，而不是绘画自身的技巧，肌理，因为它们仅仅是手段。在我的作品中，图像与景观的意义要大
术家如何去利用，改造它们。
于绘画自身的技法与语言上的价值。
何：在最近的这批作品中，少了艳俗的味道，多了一些中产阶级的情趣。
何：希望让作品返回到图像本身？
刘：早期的时候，“艳俗”里头有一个很大的东西，就是有些“土”。我的骨子里很错位，就是有点小知识
刘：对，回到图像自身。
何：从艺术家个人创作脉络的发展来说，这批作品能从一个侧面，反映90年代以来“艳俗”的一个变化轨
“艳俗艺术”已经过去了，它是那个特定时代的产物。和过去不一样，那时的艺术偏向于潮流，但今天的艺
迹。从对90年代以来的大众文化、消费时代的语境的回应，到面对全球化而来后殖民浪潮的冲击，我的问题
术充满了太多的可能性。当然，这里确实有风险，一个新东西的被认可需要一个时间，一个过程，但我喜欢
是，“跨世纪的彩虹”展览以后，“艳俗”是不是就划上了句号？换言之，2000年以后，艳俗艺术是否有新
这样，愿意这么去做。我完全可以按照我原先的线索去画，没有问题，但我不喜欢这样，它会让人难受。
的推进，或者出现了新的变体？你怎么看待你个人创作脉络的变化？
虽然过去我们取得了一些成绩，但艺术家要勇敢的挑战自己，艺术本身是个体的劳动，是自我价值的显现， 所以，需要不断去超越，这也是我坚持不断创作的最大动因。
刘：90年代的文化情境出现了一边倒，西方十分的强势，而西方关注我们则充满了猎奇。虽然说那时已经全 球化了，但从国际的角度出发，我们的艺术仍然没有脱离地域性，所以无法回避“后殖民”的眼光。但是， 今天的情况不同了，中国已经完全融入全球化的浪潮中，我们跟西方是平等的，都在同一个世界舞台上。所 以，我希望我们能用一种国际化的语言进行表达，而不是那种地域化的，只有语言呈现出它的开放性、包容 性，才能真正体现文化的开放性。但是，面对快速多变的国际艺术潮流，不单是我一个人会感到困惑，对 于大多数我这个年龄段的艺术家，都是一个巨大的挑战。从“艳俗”走过来的艺术家，每个人都需要“转 型”。有的人可能转得比较好一些，有的人可能转过来最终又转回去了。其实，这种创作状态可以适用于所 有艺术家，但我更喜欢有创造性的艺术家，比如达明安·赫斯特，像火焰山一样，激情四射，每年都有新作 品，新花样。大部分中国艺术家都做不到这点，这里边既有创造力的问题，也有受艺术市场支配的原因。
2012年1月15日
作品 Works
经典-金底万花 瓷 Classic Series Ceramic 52cm×26cm×30cm 2004
经典系列-1 瓷 Classic Series Ceramic 30cm×30cm×55cm 2004
经典系列-1 瓷 Classic Series Ceramic 30cm×30cm×55cm 1999
经典系列 瓷 Classic Series Ceramic 30cm×30cm×55cm 1999
经典--喜气洋洋 瓷 Classic－Glowing with Joy 55cm×38cm×36cm 2004
22
Ceramic
经典--欢天锣鼓 瓷 Classic－Glowing with Joy 30cm×30cm×55cm 2004
Ceramic
经典系列 瓷 Classic Series Ceramic 30cm×30cm×23cm 2005
经典系列 瓷 Classic Series Ceramic 20cm×25cm×35cm 2004
记忆中的风景系列 瓷 Getting Back the Sceneries in memory 40cm×40cm 2006
Ceramic
花儿（粉红色玫瑰花）系列 瓷 Flowers Series Ceramic 35cm×35cm 2004
鹤鸟 瓷 Cranes Ceramic 54cm×54cm 2006
桃子 瓷 Peaches Ceramic 54cm×54cm 2006
石榴 瓷 Pomegranate 54cm×54cm
Ceramic 2006
行走的足迹－脚 瓷 Foot Steps Ceramic 29cm×22cm×9cm 2006
榜样-举手的红卫兵 瓷 Models Series Ceramic 134cm×66cm×53cm 2005
榜样-开国大典 瓷 Models Series Ceramic 134cm×66cm×53cm 2005
榜样—毛主席去安源 瓷 Models Series Ceramic 134cm×66cm×53cm 2005-2006
榜样系列-2 瓷 Models Series Ceramic 134cm×66cm×53cm 2005-2006
红旗飘飘系列 瓷 Red Flag in the Wind Series Ceramic 63cm×40cm×35cm 2006
佛 瓷 Buddha Ceramic 29cm×26cm×25cm
2006
维纳斯和中国鞋子 瓷 Venus and Chinese Mixed Media Ceramic 130cm×32cm×45cm 2006
满汉全席 瓷 Chinese Banquer Ceramic 106cm×106cm×96cm 2000
营养品-2 瓷 Food Ceramic 50cm×30cm×30cm
2000
营养品-5 瓷 Food Ceramic 50cm×30cm×30cm
2000
简历展览年表 BIOGRAPHY
刘力国 1961 生于黑龙江 1991 毕业于中国戏剧学院美术系 个展 2007 刘力国作品展，程昕东国际当代艺术空间，北京 中国 1998 生活样式个展，艺术文件仓库，北京 中国 1994 华德公寓个展，北京，中国 部分联展和获奖情况 2009“混合与分享·CC综合艺术展(Ⅰ)” 2009 中华人民共和国60周年当代艺术成果展，文化部，北京，中国 2008 中国式性感，时尚芭莎，北京-上海，中国 2008 3.15消费展览，程昕东国际当代艺术空间，北京，中国 2008 2008香港艺术博览会，香港，中国 2008 中国声·势：变化的回声，奥沙艺术空间，香港，中国 2007 中国美术，贝里库画廊，里昂，法国
2006
天行健，798亚洲艺术中心，北京，中国 转变中的迷失－中国的今日艺术 Eliklein Fine Art, 休斯顿，美国 媒介和传统的当代道路—中国雕塑十人展亚洲艺术中心，北京，中国 金蝉脱壳：从传统和革命中的语言拯救，四方当代美术馆，南京，中国 巴塞尔国际画廊博览会，巴塞尔，瑞士 布鲁塞尔博览会，布鲁塞尔，比利时 开放“关于民族话的语言的改造”798艺术节，北京,中国 金光大道“后现代主义改造的故事当代艺术展”，先声画廊,北京,中国 国际画廊博览会，北京,中国 第二届今日中国美术展，中国美术展，北京，中国 毛—当代艺术视觉， JGM画廊，巴黎，法国 花非花，宋庄美术馆展览，北京，中国 超验的中国，阿拉里奥北京艺术空间，北京，中国 传统偶像与批判传统，赫兹利特·古顿和福克斯画廊，纽约，美国 美国纽约中国现代艺术展，赫兹利特·古顿和福克斯画廊，纽约，美国 ARCO’2006国际现代艺术博览会，马德里，西班牙 意大利博洛尼亚博览会，博洛尼亚,意大利 意大利米兰艺术博览会，米兰,意大利
Art@agnes，东京，日本 日本动漫！东京画廊，北京，中国 永无止境，阿拉里奥画廊,北京，中国 兄弟现代艺术展，程昕东国际当代艺术空间，北京，中国 中国国际画廊博览会，世界贸易中心，北京，中国 东京艺术博览会，东京，日本 粉碎、拼接与重组，临界—零工厂画廊，现代艺术展，北京，中国 灰-红，北京新锐艺术计划，北京，中国 2005“线”艺术，弗兰多斯展览中心，根特，比利时 幸福，艺术与画廊，米兰，意大利 国际当代艺术博览会，巴黎，法国 力—毛泽东与中国艺术家展览，程昕东国际当代艺术空间，北京，中国 制造虚拟 (II/VI)一个观念的中国当代美术馆， 程昕东国际当代艺术空间，北京，中国 后工厂——来来去去，798厂，北京，中国 临界,零工厂画廊，大山子艺术区，北京，中国 末法，北京东京艺术工程，北京，中国 中国国际画廊博览会，世界贸易中心，北京，中国
2004
上海艺术博览会，上海，中国 在北京的天空下现代艺术展，怡景轩画廊，北京，中国 黄天厚土，中国雕塑十年回顾展，中华世纪坛，北京，中国 宋庄，十年邀请展，宋庄画家村大院，北京，中国 被禁止的感觉？中国当代艺术中的情色话语， 佩里格市法朗索瓦·密特朗文化中心及沙哈拉市 古教堂，佩 里，法国 巴黎艺术博览会，巴黎，法国 中国国际画廊博览会，世界贸易中心，北京，中国 2003 今日中国美术，中华世纪坛，北京，中国 平遥国际摄影展，平遥,中国 各行其道，广东美术馆，广州，中国 2001 2001艺术论坛,柏林,德国 再造形象与符号，环宇经典文化中心，北京，中国 各自表达，艺术文件仓库，北京，中国 2000 中国—网络影像艺术，吉林美术学院，长春，中国 平面当代艺术展，中国妇女活动中心,北京，中国 二月群展，四合院画廊，北京，中国
1999 跨世纪彩虹—艳俗艺术展，泰达当代艺术博物馆，天津，中国 宋庄—宋庄当代艺术展，东廊画廊，上海，中国 首届世界华人装置艺术研讨会装置艺术文献，艺术公社，香港 1997 生活样式，布莱梅、汉堡巡回展，德国，中国，北京 1996 首届华人平面设计展，国际展览中心，北京，中国 85-95年中国前卫艺术文献展，太古广场，香港 1995 葡萄牙大使馆9人展，北京，中国 1994 中国水墨画大展，首都博物馆，北京，中国 驻京艺术家联展，首都博物馆，北京，中国 1993 中国油画年展，中国美术馆，北京，中国 1992 五人油画展，北京音乐厅画廊，北京，中国 毕业设计展，戏剧学院，北京，中国 国际舞台设展，戏剧学院，东京，日本 1990 设计法国先锋派戏剧大师梅特林克的戏剧《闯入者》， 中国青年剧院，北京，中国 1989 十人水墨画展，首都博物馆，北京，中国 1986 黑龙江省青年美术作品展，黑龙江美术馆，黑龙江，中国
Liu Liguo 1961 Born in Heilongjiang, China 1991 Graduated from the fine arts department of Beijing’s National Theatre Institute Selected Solo Exhibitions 2007Liu Liguo Solo Exhibition, Xin Dong Cheng Space for Contemporary Art, Beijing, China 1998“Life Styles”, Art Document Storehouse, Beijing, China 1994Private Exhibition, Huade residence, Beijing, China Selected Group Exhibitions 2008 3.15- Let’s Consume!, Xin Dong Cheng Space for Contemporary Art, Beijing, China 2007 Chinese Fine Arts,Gallerie de Bellecour,Lyon,France The Power of the Universe, Asia Art Center,Beijing,China China Now: Lost in Transition, Eliklein Fine Art, Houston, U.S.A. The Contemporary Road of Media and Tradition, Asia Art Center, Beijing, China The Escape: The Rescue of the Language of Tradition and Revolution, Nanjing Square Contemporary Art Museum, Nanjing, China; Basel International Art Fair, Basel, Switzerland; Brussels International Art Fair, Brussels, Belgium; Liberate “Concerning the Transformation of Cultural Language”, 798 Art Festival, Beijing, China; “Yellow Brick Road “Post-modernist Story of Transformation, Contemporary Art Exhibition, the First Sound Gallery,Beijing, China; Beijing International Art Fair, Beijing, China 2006 Second Exhibition of “China Today”, National Museum of Fine Arts, Beijing, China “Mao: Contemporary Visions”, JGM Gallery, Paris, France “Flowers”, Songzhuang Museum of Art, Beijing, China “Beyond Experience – New China”, Arario Gallery, Beijing, China “Icons and iconoclasts”, Hazlitt Gooden & Fox, New York, U.S.A. Chinese Contemporary Art Exhibition, Hazlitt Gooden & Fox, New York, U.S.A ARCO 06, International Modern Art Fair, Madrid, Spain Arte Fiera, Bologna, Italy MiArt, Milan, Italy Art@agnes, Tokyo, Japan “Japanimation”, Tokyo Gallery, Beijing, China “Endless”, Arario Gallery, Beijing, China “Brothers”, Xin Dong Cheng Space for Contemporary Art, Beijing, China CIGE, World Trade Center, Beijing, China Art Fair Tokyo, Tokyo, Japan “Mashup, Match & Mix”,Critical–Zero Factory, Beijing, China “Grey-Red”, New Art Project , Beijing, China
2005 Lineart, Flanders Expo Center, Gent, Belgium ”Joy”, Artandgallery, Milan, Italy FIAC, Paris, France ”Charm and Strength” – Mao Zedong and the Chinese Contemporary Artists, Xin Dong Cheng Space for Contemporary Art, Beijing, China ” Dream Producers” (II/VI): The Imaginary Museum of Chinese Contemporary Art, Xin Dong Cheng Space for Contemporary Art, Beijing, China Post Factory – Come and Gone, 798 Factory, Beijing, China ”Critical”,2 Zero Fields Gallery, Dashanzi Art District, Beijing, China ”Degenerate Dharma”, Beijing Tokyo Art Projects, Beijing, China. CIGE, World Trade Center, Beijing, China Shanghai Art Fair, Shanghai, China Under the Sky above Beijing, Yijingxuan Gallery, Beijing, China Sonzhuang Ten Year Invitational, Beijing, China 2004 ”Forbidden Senses”, Sensuality in Contemporary Chinese Art, Espace culturel François Mitterrand, Périgueux, France FIAC (France International Art Contamporary), Paris, France CIGE, World Trade Center, Beijing, China ”Yellow Earth, Thick Earth” (retrospective of ten years in Chinese sculpture), Millennium Monument, Beijing, China 2003 ”China Art Today”, Millennium Monument, Beijing, China Pingyao International Photography Festival, Pingyao, China ”My Way”, Museum of Fine Arts, Guangzhou, China 2001 2001 Art Forum Berlin, Berlin, Germany ” Reinventing the Images and Signs”, Huanyu Jingdian Cultural Centre, Beijing, China ”Self-expression”, Art Documents Storehouse, Beijing, China 2000 Image and Net Art Exhibition, Jilin Academy of Fine Arts, Changchun, China Two-dimensional Contemporary Art, China Women’s Activity Centre,Beijing, China February Group Show, Courtyard Gallery, Beijing, China 1999 Ouh la la ! Kitsch!” Teda Museum, Tianjin, China Songzhuang Exhibition of Contemporary Art, Eastlink Gallery,Shanghai, China The First Chinese Installation Artists Documentary Exhibition, The Commune of Art, Hong Kong 1997 “Live Styles”, Hamburg, Bremen, Germany 1996 First Chinese Design Exhibition, International Exhibition Centre, Beijing, China ”Eleven’s – The Avant-garde”, Taikoo Place, Hong Kong 1995
9 Artists” – Exhibition of Portuguese Embassy in China, Beijing, China 1994 Chinese Inks, Capital Museum, Beijing, China Beijing Resident Artists, Capital Museum, Beijing, China 1993 Annual Oil Painting Exhibition, National Museum of Fine Arts, Beijing, China 1992 Five Painters”, The Beijing Concert Hall Gallery, Beijing, China Graduation Show, Institute for Traditional Theatre, Beijing, China International Stage Design, Theatre Institute, Tokyo, Japan 1990 Stage Design for Maeterlinck’s ” L’intruse”, Chinese Youth Art Theatre, Beijing, China 1989 Ink and Wash, Ten artists, Capital Museum, Beijing, China 1986 Exhibition of Young Artists from Heilongjiang, Heilongjiang Museum of Fine Arts, China
生活
LIFE
和学生们过生日 2008 晒太阳 2010 我和大笨 2005 哈尔滨与夫人 2011
宋庄工作室 2010 “袜子”在东坝工作室的快乐生活 2009 东坝工作室外给大笨洗澡 2009 “大笨”在东坝工作室 2009 宋庄工作室工作中 2010 我和刘勃舒老师和夫人何老师在一起 2010 刘力国学生时代
东坝工作室 2008 宋庄工作室 2012 宋庄工作室2009 宋庄工作室的工作生活 2010 艺术车间-刘力国798工作室相片 2004
艺术车间-刘力国798工作室相片 2006
世界另一边 The Other Side of the World Oil on Canvas 75 x 150cm 2010
有一天 One Fine Day Oil on Canvas 300 x 100cm 2010
博物馆里的艺术 The Exhibit from the Museum Oil on Canvas 220 x 150cm 2010
响雷 Thunder Oil on Canvas 220 x 150cm 2011
一边一边 Side by Side Oil on Canvas 225 x 150cm 2010
铜雀台 Bronze Cranes Oil on Canvas 150 x 300cm 2011
跳到那个球上去 Skipping to Another Planet Oil on Canvas 220 x 150cm 2010
紫色的忧伤 Violet Surpression Oil on Canvas 100 x 200cm 2010
我们也有愤怒的时候 We Have Angry Times Too Oil on Canvas 200 x 250cm 2010
晒太阳 Sun-tanning Oil on Canvas 150 x 100cm 2009
永恒就是这样产生的 The Production of Eternity Oil on Canvas 200 x 150cm 2009
啊，世界 TOh, World! Oil on Canvas 220 x 150cm 2010
让马恩毛的思想响彻世界 All Hail the Great Teachings of Mao! Oil on Canvas 150 x 75cm 2009
迈克杰克逊-双重打击 The Wedding of a Dalmatian & Giraffe Mixed Media (resin & a Sheep rib bone) Oil on Canvas 150 x 200cm 2010
同性之家 Living in Harmony Oil on Canvas 125 x 200cm 2010
紫气东来 The A Purple Breeze Oil on Canvas 150 x 120cm 2010
惊喜 TOh, World! Oil on Canvas 90 x 150cm 2009
斑点狗和长颈鹿的婚礼 The Wedding of a Dalmatian & Giraffe Mixed Media (resin & a Sheep rib bone) Oil on Canvas 85 x 113 x 50cm 2010
110
随风而去 Gone with the Wind Oil on Canvas 100 x 150cm 2009
Art evolved, or hast there been an emergence of new variant? How do you view the changes in the context of your personal creation?
Liu: I do not have an ideological point of view to consider, on the contrary, I think the image itself is a complex, there is a lot of information, the key is the artist how to use and transform them.
Liu and cultural context: the 1990s there have been one-sided, the West is very strong, while Western concern that we are filled with adventures. That had been globalized, but the international point of view, our art is still not out of the locality, so I cannot evade the “post-colonial vision. However, the situation today, China has fully integrated into the wave of globalization, we are equal with the West, are the same on the world stage. So, I hope we can use an international language to express, not the kind of geographical, language showing its openness, inclusiveness, in order to truly reflect the culture of openness. However, in the face of rapidly changing international artistic trends, is not only a confused artist for most of my age, is a huge challenge. “Gaudy” came to be an artist, everyone needs to “transition”. Some people may turn better than some people may turn to eventually turn back. In fact, the creation of state can be applied to all artists, but I prefer to have creative artists such as Damien Hirst, like the Flaming Mountains, passion, every year, new works, new tricks. Most artists cannot do this here side of both creativity and dominated by the art market. Gaudy Art “has passed, it is a product of that particular era. Not the same as in the past, when the art is biased in favor of trend, but today’s art is full of many possibilities. Of course, there does have the risk of a new thing to be recognized needs a time, a process, but I like it, willing to do so. I can follow my original clues to paint, no problem, but I do not like it, it will make people uncomfortable. Although in the past we have made some achievements, but the artists to be brave enough to challenge their own art itself is the individual’s labor is the manifestation of self-worth, so we need to continue to go beyond, I adhere to the ever-creative motivation. January 15, 2011
He: In these works, the less flashy taste, more than some middle-class taste. Liu: In the early days, “gaudy” inside a big thing, some “soil”. My bones dislocation, a little intellectuals, bourgeois kind of sour things so that I cannot stand, a free sense of my work, both festive farmers like fun, a bit petty like feeling uncertain during which sexual interludes. This feeling may be more in line with my personality in essence, a Petty complex, the unconscious will show itself in the works. For some time, I was completely flashy concept bound; it is difficult to let go of creation. Later, I tried to make the works more open, so that all things come in, try to find the feeling of my heart. He: Your early porcelain works in “buttocks” image, look at your recent works, you are still more concerned about sexual and erotic ideas. Liu: This feeling has always been, yes. However, the recent two years of work to consider more on language. I hope that the style should not be too different, why would some symbolism or pop approach, as far as possible to weaken the characteristics of the painting itself. I hope to impress the audience is first of all pure visual rendering rather than painting techniques, texture, because they are merely means. In my work, image and landscape significance is greater than the value of the painting techniques and language. He: The development of the creative context of individual artists, these works from one side to reflect the “flashy” a change in track since the 1990s. From popular culture of the 1990s, the context of the consumer era response to the face of globalization from post-colonial impact of the wave, my question is; after the exhibition of the century rainbow “,” gaudy “is not coming to an end? In other words, after 2000, has Gaudy
image landscape. Liu: The landscape of the performance comes from my studies. I studied stage design at the College of Performing Arts, and I was also involved in the shooting of movies and TV shows. I prefer the drama of the symbolism, such as the Soviet Union, Stanislavsky, Brecht, Germany, in my work, I will subconsciously showing these things.
I remember one critic has said, we are not yet ready for modernism, and have not yet digested modernism, and postmodernism again. Our growth in this environment. The “Hair” image, which is caused by our social context, so far, the sense of “Mao era” still dominate the majority of Chinese people. He: Since the reform and opening up, our entire cultural context is entirely misplaced, is a mixture of modern dictates. In your work, we will also see a chaotic and disorderly state of existence.
He: In addition to just talking about comes from the realistic images, as well as part of the surreal imagination, fictional, but they seem to still image source of the image of the era of mass production today. How do you select them into a fantasy scene?
Liu: We live in such an environment, such a cultural context. And already the case sometimes even more than the appearance of mixed. My work looks at the messy, contradictory; the disorder is only a reflection of the social symptom of this.
Liu: I personally dislike the shot put that way. Most of these pictures from the network to collect information at the time, I did not want to make it into what, but the first image storage. Nor what criteria selection, the first reaction was that it was interesting to me to survive, so I saved a lot of pictures. These pictures may be kept on for two years, three years and will not be used, but by chance, I would think I want to show a sense of the subject, they will think of these images will naturally put them in my work. An image has its own characteristics, so I will be in the style of treatment, so that they can be unified and integrated into a common narrative framework. To make a photo or image to your taste, practically it is difficult, and very challenging, but I am most happy to do.
He: From the point of view of your work style in the last three years, with early pop and flashy widened the distance, but in the image narrative and symbolic expression, there is still intrinsically linked.
He: The exhibition is called “trafficking imagine, in my opinion, this” imagination “in real terms is triggered by the images and scenes. However, from the original production of the image, from the outset that they will be injected into an ideology, or Western values, as well as on the future of the imagination and the utopian things. When you use those external images, consider the image behind the ideological discourse does not?
Liu: There is some relationship. For example, this work depicts the Dalmatians and giraffe in the Forbidden City, inside the wedding. The picture is surreal, but the narrative of the work done by a variety of images, you’ll see in this work, there has been a lot of cars, the early production of the Cadillac, China’s domestic car ... they are at the same time appear on a single screen. Domestic car ads is very strange girl in the painting is attracted from the countryside, they are the in vivo ad, next to the model is very fashionable, the car is made of paper, so the girls can take it walking in the street. From the image standpoint, they are absurd, some do not make sense. In fact, at first glance, our society a lot of the phenomenons are very absurd, a bit out of nowhere, but they are very dynamic, and full of possibilities. He: In a “modern country mixed and fresh, dislocation and absurd phenomenon is normal. However, the image narrative point of view, when the scene of these pieces when placed in the works, it will form a new
经典系列 瓷 Classic Series Ceramic 58cm×39cm×33cm 2000
Liu: In 2005 when I began to do “example series. I studied sculpture, but after several years of exploration, suddenly feeling the public has a lot of resources available, such as civil statue. However, the challenge, because of their personality and sense of form is very strong, if you didn’t change, if you couldn’t make small changes to your own concepts, or couldn’t express your own style, you were swallowed. I did mention the “vulgar folk language and folk sculpture”. Chinese folk sculpture is characterized by a very strong sense of form, has done similar aims at spiritual. However, if in accordance with the standards of Western sculpture, to compare, they are all wrong, the structure does not, not right perspective, or the proportion of a problem. But they like doing things very well, very smooth, it is very interesting. I thought in this way, the combination of head of hair and the body of the Buddha. The main consideration and influence is that China is a theocratic state. I’ve been to Tibet and found a unique phenomenon, people dependent Chairman Mao, left and right for the Panchen Lama and the Dalai Lama. Why so, after the 1950s, the Communist Party of the liberation of Tibet, so that the original serfs had on the freedom of life. So they think that the “hair” is the largest Buddha, then is the Panchen Lama, the Dalai Lama. From an artistic point of view, these statues are very interesting, very strong folk flavor. But the perspective is different, also have a misplaced sense. For example, in the “hair” on the painting, folk opinion, that this is very good, and it has pinned a lot of auspicious significance, but you will find a great man who painted a very inappropriate. However, in the eyes of ordinary people, this does not seem much different. So, then I borrowed this folk method to create the small things do great things done to the civilian population. He: Through the Buddha, you can also see the daily life of Chinese people also permeated with ideology. However, you do not taboo others will say, “Mao’s image is still the old road with Chinese symbols, still based on a post-colonial strategy? Liu: Do not taboo. Chinese contemporary art has always been exotic, is a product of learning from the West.
collectivization movement awareness. He: The flashy style of your early paintings has continued in the porcelain works, and from the theme point of view, the works since 2000 in the content on the content of greater embodied in the “Feast”, “Classic Series” in. And at the same time, these works filled with a strong folk flavor, and still pursue the expression of “parody” and “irony”. Liu: Porcelain completely suits my expression style; it is gorgeous, glamorous, more in line with the expression... Therefore my work is beaming, and allows me to express the kind of self-satisfaction. However, from the physical properties of the material, although it is ornate, but the porcelain itself is fragile. Therefore, the porcelain expresses, ironically, the kind of extremely impetuous upstart mentality. For example, buy a bottle of Remy Martin one wanted to finish it, although the consumer can afford to Remy, but there is the psychological side to it as well. The past, you do not look down on me, watching, and now that I have money, I am very powerful, and I can afford Remy. It is a state of mind. I remember when I was in college, just to see Puma, Adidas shoes, they were always too expensive, and I could not afford them. In order to have a sense of satisfaction, we drew a similar trademarks or logos on our own shoes, although it is false, but to meet their own vanity. The gorgeous porcelain surface with its own fragility could just hidden injection kind of illusory self-expanding desires. I once did a lecture at the Central Academy of Fine Arts to talk about the unique nature of the material, do not think you just can make porcelain the same way one makes bronze or makes a resin, they are only a means, and on the contrary, a mature artist will control language, let the material speak for itself, so that material to show with your theme is a good combination. He: It is always a challenge to find a meeting point between the language and concepts in art. How have you been able to do this, with regards to your later works? And what kind of changes have you implemented?
佛-五子罗汉 瓷 Buddha－the five Bodhisattvas Ceramic 46cm×38cm×24cm 2005
beginning I thought that people would be unfamiliar with the concept, and that it would take a long time to understand, to become familiar with. In my opinion, the artist needs to understand and control his or her own energy. So, I looked for one of the most familiar symbols, everyone knows that the symbol, and then applied it to my work. No matter your race or skin tone, you would understand the symbol. To such an extent that this symbol is the fly. “Political Pop”, the artist began to use a variety of “Cultural Revolution” symbol, for example, Fang Lijun’s bald, foreign reports put it as the “silent cry”. Obviously, a clear symbol can strengthen the expression of the intensity of the work. Of course, for the artist, when you choose a good symbol, but also its form and language conversion. In my work, “buttocks” image most of the strange handling. He: For your images and symbols, do you prefer paint or porcelain? Liu: Porcelain, mainly because it is a carrier of the traditional culture. 97 years to do the program, but completion of 98 years of things. In the preparation of a flashy exhibition, a particularly urgent, I remember participating artists Lee Road, Sun equal. This exhibition is by Lio Man Xianting policy development. Lu Ming Lee was the president of the Hunan Fine Arts Publishing House, he is planning a book about the flashy aspects of this exhibition of works on the inside. I was in Chaozhou, rather than in Jingdezhen, later made a batch of porcelain works, was also included in the book edited by Lee. He: The artist’s consciousness has also retained awareness of the kind of 1980’s movement; to create a new artistic trend, a phenomenon, or style.
He: Does this absurdity also come from a more intrinsic reason that people, in the context of rapid social transformation, become socially, culturally, or psychologically anxious? The social transformation in the early 1990s and the rise of consumer society, in terms of value, a social symptom, early collectivism, the metaphysical way of life, to a secular consumer, and the physical life transitions. Your work in real terms is also thinking of launching a consumer society itself. Liu: The social transformation at the time had a big impact on us. The past we lived in, the collectivization of consciousness, shaped by our values of collectivism, the grand narrative dominated childhood education, for example; to love the motherland, love people, love a great leader, but not to have independent thinking, or independent lives. Through reform and opening up to Western values, we recognized that as individuals we had to be free, to be independent people. But we seem to vary from one extreme to the other extreme, and it has the sense of a little overkill. In that era of transition, a lot of things were misplaced, and in terms of ideology we were not prepared. He: Your more recent works retain some common features from the 1990s, such as flat images, the Pope of flashy technology. “Sunflower Series” from the outset in the visual images and symbols change, instead of 1980s modernist style, focus on the exploration of form and language. Liu: We all want to work with personal symbols, and the more typical as possible. The symbols are our links to that era. He: How did you choose the personal symbols you retained from those eras?
Liu: Yes. Therefore, we want to talk together, talk together, and even to take notes of what you speak; I speak what, and we discuss it. Was turned to art history, and now want fun, a bit utopian feeling a little
Liu: When I selected the “buttocks” image, the intuition is that this symbol must be typical. From the
He Guiyan: The early 1990s, along with the “New Generation”, “Political Pop, Cynical Realism,” saw the rise of contemporary painting and a clear shift away from the grand narrative, away from the sense of Enlightenment and active involvement in reality. Your early work was in 1993, and looking back, before and after, do you say you have a primary style? Liu Liguo: I’d say the style still retains the characteristics of 1980s modernism, but also has that influence by the Pope expression of the early 1990s. He: There was a large shift in the 1993-1995 work embodied in the “Sunflower Series”, one is full of flashy atmosphere; the other is the image of “the buttocks”. What lead to such a change? Liu: It was mainly because the Chinese door just opened, “Westernization” came in giving us a great contrast, and in my heart there was a sense of loss. At this point, on the one side the view was; as long as the West is good, and we are bad, throw it all away. But my opinion has traditionally been; there are good things, why should we abandon them, do not they point to the existence of value? Thus, in the creation, I want to give up the kind of extreme attitude. Most of my work give people a witty banter, a festive feeling, like Fang Lijun, sometimes there are some strong emotions, mine are relatively mild, may have a great relationship with my character I can not do the kind of bloody, violent, intense, confrontational works. I hope to give some good tips in the atmosphere of humor, ridicule. “Buttocks” image at the time it is very elegant, but this buttocks is just how people treat traditional attitude, thinking that it is ugly, ashamed to be seen. However, with the “bouquet” and juxtaposition, there will be a sense of absurdity. “Bouquet” is elegant, and “Buttocks” indecent, visually, they are both familiar and unfamiliar, but when the two things are put together, the ridiculous and absurd diffuses out.
Trafficking Imagination
A Conversation With Liu Liguo. Words by He Guiyan I once did a lecture at the Central Academy of Fine Arts to talk about the unique nature of the material, do not think you just can make porcelain the same way one makes bronze or makes a resin, they are only a means, and on the contrary, a mature artist will control language, let the material speak for itself, so that material to show with your theme is a good combination.
CONTENTS
TEXT A Conversation With Liu Liguo. Words by He Guiyan Works BIOGRAPHY LIFE STUDIO YANG GALLERY • Singapore 19 Tanglin Road, Tanglin Shopping Centre, #02-41, Singapore 247909 Tel / +65 6721 8888
YANG GALLERY • Beijing 3rd Taoci Street, 798 Art District, 4 Jiuxianqiao Road, Chaoyang District, Beijing 100015 Tel / ＋86 10 5762 3020
Liu Liguo Solo Exhibition
Trafficking Imagination ‘Trafficking Imagination’: An Introduction to Liu Liguo’s Works Liu Liguo’s works are the representation and reflection of a Chinese form of ego, lost within consumer society & whose principal manifestation is a usual combination of elements particular to modern China- Religion, Folklore, Consumerism & the image of Mao Zedong. Whether it’s a sculpture or a painting, everything is materially opulent, dripping with sensuality and abundance. In his works, popular and folkloric are consciously accentuated, saturated by faith in progress, memories of the revolution and a modern form of quasi-religion; a spirit investment inspired by developments made within society. On a formal level, Liu Liguo has sought out an avant-garde variation on Chinese traditional arts. His vision took shape as early as the midnineties in a series of ceramic ‘buttocks’; at first an attempt to express the duality and paradox existing between the vigour of the changes taking place and the cultural vulgarity that resulted from the consumer society that was achieved. Liu Liguo has attempted to modify the form of commercial statuary s o that it might express the way in which modern culture has found form in China; to make of it an apt material for the manifestation of that modernity- both its failings and its innovative power- within which, despite everything, criticism and satire are able to maintain their essential meaning. Even more importantly, critical attention is given so that meaning is allowed to immerge in its integral truth, without neglecting the feelings of identification that we necessarily have out of fear of losing the characteristics of the twentieth century Chinese ‘ego’.