Liu Ding – Lecture at Accademia Albertina, Turin
31.01.2019 from 16:00 to 19:30
Salone d’Onore, Accademia Albertina delle Belle Arti, Torino
4 pm
The Castello di Rivoli Museo d’Arte Contemporanea organizes a lecture by the artist and curator Liu Ding (Changzhou, China, 1976), at the Albertina Academy of Fine Arts, on Thursday, January 31 at 4 pm. The event is organized in the context of the Convention stipulated between the Museum and the Academy to foster the encounter between internationally renowned contemporary artists and students.
Liu Ding’s artistic creation and curatorial practice bring attention to multiple viewpoints and modes of description in Chinese art history, exploring a trajectory of discursive thoughts that connect the contemporary and the historical. Continuously tracing the intellectual roots of contemporary Chinese art, Liu Ding weaves multiple threads in expanding the narrative of Chinese art subjectivity. His art benefits from his extensive researches in history and his interest in literature. Liu Ding has recognized the predicament that China’s art history is often legitimated only through its comparison with Western art history, and realized that the undiscerned discursive vocabulary formed within such a process of comparison restricts visions of researchers and creators. In his practice, he looks at the intellectual roots of contemporary Chinese art and studies the lasting legacy of Socialist Realism in China’s contemporary society. His artistic and curatorial work revisits the process of intellectual liberation since the end of the Cultural Revolution, rehearses a Chinese expression within a globalized context since the 1990s, and describes the ideological roots and logic of Chinese contemporary art and culture.
Free admission
This lecture is translated into Italian
Biography
He has participated in international biennials such as: Busan Biennale (2018), Yinchuan Biennale (2018), Istanbul Biennial (2015); Asia Pacific Triennial, Brisbane (2015); Shanghai Biennale (2014); Prospect 3 New Orleans (2014); Taipei Biennial, (2012); Chinese Pavilion, 53rd Venice Biennial (2009); Media City Seoul (2008); and Guangzhou Triennial (2005). His work has been shown at numerous major art institutions including Tate Modern, London (2012/2013); Turner Contemporary, Kent, Arnolfini, Bristol (2008); Kunsthalle Wien, Vienna (2007); Astrup Fearnley Museum of Modern Art, Oslo (2007); São Paulo Museum of Art, São Paulo (2008); ZKM, Karlsruhe (2011); Kunstmuseum Bern, Bern (2016); PasquArt,Biel (2008); Fondazione Sandretto Re Rebaudengo, Turin (2006); Seoul Museum of Art, Seoul (2006); Luggage Store Gallery, San Francisco (2006); Frye Art Museum, Seattle (2012/2016); 4A, Sydney (2017); Iberia Center for Contemporary Art, Beijing (2008); Museum of Contemporary Art Shanghai, Shanghai (2006); Times Museum, Guangzhou (2011/2012); Taipei Fine Arts Museum, Taipei (2012); Para Site, Hong Kong (2016); Red Brick Museum, Beijing (2016); Hiroshima City Museum of Contemporary Art, Hiroshima (2015); Guandu Museum of Art, Taipei (2016); and MOMA PS1, New York (2015). He co-curated Little Movements: Self-Practice in Contemporary Art at OCAT, Shenzhen (2011), which traveled to Museion in Bolzano, Italy (2013) and Asia Cultural Complex, Gwangju, (2015). Other curatorial projects include: Fine Art Practices from 1972 to 1982 in Profile – A Beijing Perspective, Inside-Out Art Museum, Beijing (2017); New Measurement Group and Qian Weikang, OCAT Shenzhen, Shenzhen (2015); From the Issue of Art to the Issue of Position: Echoes of Socialist Realism, OCAT Shenzhen, Shenzhen (2014); and the 7th Shenzhen Sculpture Biennale (Accidental Message: Art is Not a System, Not a World), Shenzhen (2012). His writing and editorial works include: Little Movements: Self-Practice in Contemporary Art(Guilin: Guangxi Normal University Press, 2011); Little Movements II: Self-Practice in Contemporary Art (Cologne: Walther König, 2013); Accidental Message: Art Is Not A System, Not A World(Guangzhou: Lingnan Art Publishing House, 2012); Individual Experience: Conversations and Narratives of Contemporary Art Practice in China from 1989 to 2000(Guangzhou: Lingnan Art Publishing House, 2013); and Reef: A Prequel(Bonnerfantenmuseum, Maastrict, Holland, 2016).