Born in 1991, Liu Beining is a graduate of both the China Academy of Art (CAA, Hangzhou) and New York’s Pratt Institute’s Graduate School of Fine Art and is at present studying at Doctoral Level on the course of the CAA’s Institute of Contemporary Art and Social Thought. Liu Beijing’s work attends to the flow and decay of images of knowledge. In his practice he often takes painting as a point for departure and by way of text, photography and ready mades, along with a host of other means attempts to peel away the ephemeral layers of temporality to which objects are ascribed, thus arriving at a point of stillness that at the same time encompasses fluidity. His working process foregrounds materiality; “materials” in transition, each an “entity” within a process of subtle change, aiming to preserve the dual potentiality inherent in each one's attendant state. Forms including water, stone, dust, astral bodies, bones, landscapes, ruins, fragments and other images often appear in the artist’s work, combining to compose cohesive structures of mutual correspondence, taking this as a base from which to describe still and solemn, yet nevertheless richly abundant tableaux.
The five units composing the exhibition, “Sentences”, “Flow I”, “Flow II”, “World” and “Should things go on this way” between themselves present a gradually unfolding discourse: “Sentences” employs collaged and juxtaposed photographs, ready mades and texts, exploring the flow and decay of images of knowledge; “Flow” derives from the repeated transcription of primal notions of pattern, endeavoring to transcend the linguistic text to to display “live-ing states” and notions of time which provide their underpining — alike to the rippling movement of water’s surface in the night, waves in the darkness possessing both transience and endurance in motion; the discourse expressed in “World” takes it grounding in the landscape painting (Shan Shui Hua) of the Sui, Tang & Five Dynasties and intends to manifest a timeless, silently static notion of space; “Should things go on this way” on the contrary returns to the work itself as a means of conclusion, an intervention in time.
For the present project, Liu Beining has attempted to effect a balance between the roles adopted by artist and curator in the inner workings of exhibition, assuming the position both of architect and curator, organizing between these a space in which to “deploy” objects from wood carving collective Wood Mood Studio（Wu Mu Suo）. Indeveloping the design and production of the space he has enlisted also the support of Transwhite Studio founder designer Wu Qiongjie, taking her extensive experience participating in creative fixtures to undertake together in experiments exploring the mechanisms of design and display.
2021/6/6 - 2021/7/20
Inna Art Space, Liuhe Road No.139, Building 12
展具制作 Display Production：
物木所 WOOD MOOD STUDIO
平面设计 Graphic Design：
非白工作室 Transwhite Studio
空间策划 Space Curation：
常兰 Chang Lan