MadeIn Gallery is honoured to present a joint exhibition by three artists Liu Wa, Pu Yingwei and Su Yu-Xin opening on January 11, 2020 (until February 28th) and titled Moon Milk, China Capital and Almost No Memory respectively, showcasing these artists' latest works.
Liu Wa is an artist whose work encompasses installation, moving image and painting. Through the lens of anthropology and neuroscience, she explores the subjectivity and fluidity of human emotions and perception. Her interdisciplinary practices reimagine the concepts of agency and self-awareness in the context of post-humanism, reflecting on the power dynamics between humanity and technology.
Her latest project Moon Milk includes a single-channel video sharing the same title, and a series of unique sculptures. The video begins with a dream in an anesthesia state during a craniotomy to end into a satirical comment on the industrialisation development and the call for urban upgrading, all materialised into a series of sculptures appearing in the video work. The documentary on craniotomy surgery echoes with Italo Calvino's fantasy novel The Complete Cosmicomics; the process where doctors remove brain tumors also resemble a moon milk purification ritual in a factory within the dream. Borrowing from Italian and Chinese narratives, the protagonist in the video walks between dream and reality, transcending the boundaries between material and immaterial, and reimagining the multiple possibilities of human nature.
Pu Yingwei's work is based on the artist's personal observation of real situations. Through his practice, involving art creation, exhibition, writing, publishing, lecture and more, Pu revisits and parodies political historical texts, adding to narratives spanning over ethnic, national, linguistic, colonial issues and other grand topics his own non-fictional history writing.
China Capital runs through two main aspects of Pu's latest practice, one being the reflection on the national strategy in the current global context caused by the political question of personal identity, while the other consists of the historical analysis under socialist culture and traditional ethics in relation to personal life experience. China Capital is derived from a painting produced by the artist in 2019, its style responds to the 'political pop' movement appeared in the post-89 era. The two main tendances of this movement: 'politics' and the power, ideologies it relates to, and 'pop' together with the implicated capital and consumerism culture, still constitute the two main perspectives that dominate the current Chinese scene. The concept of China Capital is an intersection of numerous creative directions developed by the artist in recent years. Exhibited works include videos and paintings.
Su Yu-Xin's paintings and other media practice revolve around the capturing of connections between visual, language and neural perception. Her paintings often present unique colours, light, and visual perception, with combinations of still-life, landscapes, graphics, information fragments and memories, as well as multiple tracks, time zones, screen impressions.Seizing images and pictures through her paintings, Su's works excel in showing the flow of time in still images, and emphasize on the act of painting and its materiality, using handmade paint and the texture of the canvas to express the matter of the painting process itself.
The title Almost No Memory is adapted from a short story by Lydia David. When accumulated memory is not enough to operate; and that sober consciousness is triggered, the map of reflection is unfolded. In a certain sense, the transposed title reflects the artist's understanding on the act of painting, achieved one at a time they can neither be recalled nor reproduced. The dried marks and their meanings are reinvented through each viewing and the context in which they are viewed. The exhibited wood board painting series 'Everyday About This Time' depicts borrowed images of the surface of the sea, the landscape drifting in the clouds has been sectioned at the horizon and reassembled, to only become a slice; Almost No Memory translates the spatial distance from the plane canvas and the time invested in the painting process; two other large-scale works depict rivers and reflections with unusual perspectives, and poetic, continuous flowing images are progressively unveiled through the derived, refracted and reiterated act of painting.
Liu Wa (b.1994) is an artist who explores the subjectivity and limitation of human perception through interactive installation, moving image, and painting. She receives her BA in Anthropology and Art from Yale University in 2017 and currently works in Beijing and New York. Through technological approaches, neuroscience in particular, she creates visual pathways between the abstract emotions of the audience and the physical environment. In the current age of technology, her pluralistic practices seek to grapple with humanist topics, such as self-awareness and agency, exploring the interdependence between mentality and physicality. Liu's works have been globally exhibited and col-lected by prestigious museums and galleries. She was selected for the 'Forbes 30 Under 30 Asia list' in 2019. Recent solo exhibitions include: Solo project Moon Milk, ART021, Shanghai Exhibition Center, Shanghai, China, 2019; Glimpse, Asia Now, Paris, France, 2019; Glimpse: A Passing Look, Sabsay Gallery, Copenhagen, Denmark, 2018; Still, Arts First Festival, Harvard University, Cambridge, USA, 2017; Tree of Life, performance, Yale University, New Haven, USA, 2015. Selected group exhibitions include: The Variable and The Generating, MadeIn Gallery, Shanghai, 2019; Porsche Young Chinese Artist of the Year, Beijing Exhibition Centre, Beijing, China, 2019; The 6th Guangzhou Triennial—As We May Think, Feedforward, Guangdong Museum of Art, Guangzhou, China, 2018; After Sunset, Galerie Liusa Wang, Paris, France, 2018; Heart of the Tin Man, M Woods Museum, Beijing, China, 2017; I Do (Not) Want To Be Part Of Your Celebration, Qiao Space & Tank Project Space, Shanghai, China, 2017; Art Utopia, Ullens Center for Contemporary Art, Beijing, China, 2016; Fantastic Art China, Javits Convention Center, New York, USA, 2016.
Pu Yingwei, 1989 Born in Taiyuan, China. Lives and works in Lyon and Beijing, received his BFA from Sichuan Fine art Institute, DNSEP (MFA with Félicitation du jury) from École nationale supérieure des beaux-arts de Lyon. Pu Yingwei bases his work upon his personal investigation of realities, as he believes that the experience and memory of individuals are the cordial justification of the world's existence. The artist is revisiting and parodying political and historical text in a personal way through his practice of various forms, including exhibition, writing, publishing and lecturing, and working in his writing of a nonfictional autobiography the narratives that involve such broad topics as race, country, language and colonisation. Recent solo exhibitions/projects: Double Empire, Nouvel Institut Franco-Chinois, Lyon, 2018; If only it were true, Galerie Sator, Paris, 2018; Pu Yingwei and Jim Thompson Architects, J: GALLERY, Shanghai, 2017; Roman Nomade, Hive Center for Contemporary Art, Beijing, 2017; Recent group exhibitions: Dance With It, Taikang Space, Beijing, 2018; The Comfort Zone At A Distance, Taikang Space-Light Pavilion, Beijing, 2018; Frontier: Re-assessment of Post-Globalisational Politics, OCAT Shanghai/OCAT Institute, Shanghai/Beijing, 2017–2018; Fiction Art, OCAT Shenzhen, Shenzhen, 2018; I Do (not) Want To Be Part Of Your Celebration, Qiao Space & TANK Shanghai Project Space, Shanghai, 2017; Reciprocal Enlightenment, CAFA, Beijing, 2017. He won the John Moores Painting Prize (2012). HuaYu Youth Award (2018). His film Interview has been shortlisted for Caen Si Cinéma Festival (2018). Also, Pu Yingwei views the nomadic life he's lived in China and the West and the tide of globalisation as a type of contemporary exile, and tries to describe in his works the intertextuality and mutual clarification between China's domestic situations and other cultural contexts. In 2016, after 'post-truth' became the word of the year, Pu Yingwei began his fictional writing, His article Empire's Legacy On Pacing: A Journey of 70 years and its silences won the second prize of for the IAAC (International Awards for Art Criticism), in the belief that first-language writing and translating are the identity construction and contextual production as one among the 'others'. And such production is ushering in a new possible identity that is rid of any established ideologies.
Su Yu-Xin (b. 1991) was born in Taipei. She holds a MFA in Fine Arts from Slade School of Fine Art UCL, and works between Shanghai and Taipei. Her painting and other practices focuses on the relationships between visual language and other sensorial perceptions. Rather than painting from images or photography, Su's work often tends to explore the complexity of a moment or a vague perception in life. Su uses painting to construct a delicate alternation of horizons, which varying distances elicit different paces of observation. The colourful layered surface and multi-perspectives in her works generate a dynamic vision within each painting. Su's paintings study how different rhythms, and fundamentally, the fluidity of human experience can operate and be stored inside a still imagery. In her practice, landscape is an in-between place, a traditional frontality in painting, which allows the artist to switch between figuration and abstraction, investigating the concept of new landscape- a mixture of still-life, graphs, digital calendar, fragments of text and memory. The landscape she is depicting is a field of hybrid vision and a contemporary impressionism that was never seen before this age. Her recent exhibitions include: A Hue to Spell, KuanDu Museum of Fine Art, Taipei, 2019; hic sunt leones, 798 Art Centre, Beijing, 2019; Taiwan Biennial- Wild Rhizome, National Taiwan Museum of Fine Arts, Taichung, 2018; Building Code Violation III, Special Economic Zone, Long March Space, Beijing, 2018; A World in a Grain of Sand: Mapping Shapes and Sites for Social Deometries Atlantis Fosun Foundation, Sanya, 2018; Trembling Surfaces, Long March space, Beijing, 2016; Future Island, Saatchi Gallery, London, 2016; 2016 Slade Degree Show, UCL, London, 2016; Refuse: Refuge: Re-fuse, The Koppel Project, London, 2016; Small press project, University of College London, London, 2016; 2015 Slade Interim show, UCL, Slade School of Fine Art, London, 2015; etc.
Press release courtesy MadeIn Gallery.