A Thousand Plateaus (千高原艺术空间)
2014.09.20 Sat - 2014.11.30 Sun
Opening Exhibitions
09/20/2014 15:00
3-5 Southern District, Tiexiang Temple Riverfront, 699 First Tianfu Street, High-Tech Development Zone, Chengdu 成都市高新区天府一街699号铁像寺水街南区3-5号(临盛邦街)
+86 (0)28-85126358 / (0)28-85158238
Opening Hours
Tuesday-Sunday 10:30 am - 18:30 pm
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Chen Qiulin Solo Exhibition: The Empty City
Liu Chuanhong Solo Exhibition: Memoir in Southern Anhui
Artist’s Portrait—Zhai Liang Individual Project

A Thousand Plateaus Art Space is pleased to announce the opening reception of three exhibitions: Chen Qiulin Solo Exhibition: The Empty City & Liu Chuanhong Solo Exhibition: Memoir in Southern Anhui & Artist’s Portrait—Zhai Liang Individual Project.

Chen Qiulin, “Marshals· Peng Dehuai”, Sculpture, Wastepaper Pulp, 22×120×74 cm, 2012
陈秋林,《元帅·彭德怀》,雕塑,废纸浆,22×120×74 cm,2012

Chen Qiulin, “The Empty City No.3”, 117.8×151 cm, 2012
陈秋林,《空的城》,117.8×151 cm,2012

Chen Qiulin, “14235”, installation, ceramics,size variable,2014, installation shot
陈秋林,《14235》,装置,陶瓷,22×120×74 cm,2014,现场图

Chen Qiulin Solo Exhibition: The Empty City on September 20th, we will present Chen Qiulin’s recent works between 2010-2014, mainly including one seven-screen video work The Empty City, as well as the related photographs, sculptures and installations. After Art Hong Kong 2012, Honolulu Museum of Art, Houston Contemporary Arts Museum and 4A Contemporary Asian Art Center, it’s the first official exhibition of The Empty City series in China. This is also the Chen Qiulin’s first solo exhibition in A Thousand Plateaus Art Space.

Chen Qiulin grew up in Wanzhou City, Chongqing. Most area of the city was submerged in the Yangtze River as the result of The Three Gorges Project in 2003. The torrential rivers in her childhood memory changed into calm lakes, where she had played were submerged under the water, instead, the crazily developing modern city came out… The Empty City is a work series created after Chen Qiulin went back to her hometown Wanzhou City. In the project, the seven videos consist of seven related and independent fragments, “about memory, about life, about city, about absurdity, about depression, about dream, about reality and the other me in my body. After so many year, it’s the first time I face the real myself, the messy and complicated myself” (Chen Qiulin). In the meantime, we will also present some video-related photographs and sculptures made from wastepaper (The wastepaper mainly came from: text books of the artist’s youth, newspapers, life and work wastepaper, partial textbooks collected from the stricken area of Wenchuan earthquake in 2008, wastepaper collected from the shooting site, etc.. The artist made pulp with the wastepaper, and reshaped the heroes in her memory). Her recent work is a series of triangle hexahedrons made of ceramics. Those white objects are with no emotional tendencies, but from the artist’s unconscious action—folding anything around into triangle hexahedrons.

Chen Qiulin (1975 born in Yichang City, Hubei Province) graduated from Sichuan Academy of Fine Arts, Print Department. She is an outstanding artist of China’s younger generation. Her works concern about the social impact from China’s political and economic reforms. Chen Qiulin constantly summarizes and visualizes the status quo and various conflicts arising from the challenges of modern life to the traditional value system, and put personal growth experience and memory into her works, which are expressed in sensitive artistic language, shifty media and materials. Chen Qiulin’s works include video, images, installations and sculptures, including a variety of media, her creation has always been in a constant state of development and promotion, in the frequently discussed issues new ideas and perspectives been introduced, and with a unique sensitivity to the social issues, and puts forward a strong doubt on the process and ambitions of social development.

In 2006, Asian Cultural Council (ACC) presented the annual grant, Chen Qiulin was the only Chinese artist who got the honor; In 2008, she and seven outstanding women from other different areas got JP Morgan First Asian World Women Forum Rising Talents Programme Nominee; In 2009, she received the award nominations by the French Consulate to give teaching in Nice contemporary Art Center College of the Arts; the same year, Chen Qiulin got the fourth AAC annual Art of China’s annual influence young artists nomination; Chen Qiulin was also invited by the China Institute (New York), Columbia University, Duke University, Na Shier Museum, University of Manchester, UK Whitworth Art Gallery, Asian Women’s Fund and other organizations to give speeches.

In recent years, Chen Qiulin has participated This is Not For You: Sculptural Discourses, T-BA21 Collection, The 7th Gwangju Biennale, APT6, Australia, China Power Station Part II, Ⅲ, Ⅳ, The Wall: Two Decades of Chinese Contemporary Art Exhibition and a series of important international and domestic exhibitions, including a number of influential solo exhibitions in Hammer Museum, Los Angeles; Max Protetch Gallery, Long March Space, Eli and Edythe Broad Art Museum and Honolulu Museum of Art. At the same time in the spring of 2009, she took part in video creative work in key projects of modern dance Rite of Spring in Sino-French cultural exchanges. Her works have been collected by many important art galleries, collections and private collectors in the United States and Europe.

Liu Chuanhong, “Memoir in Southern Anhui, Act 2, Scene 4”, oil on canvas,494×43 cm,2014
刘传宏,《皖南纪事,第二幕第四场》,布面油画,494×43 cm,2014

Liu Chuanhong, “Memoir in Southern Anhui, Act 2, Scene 4 No.2”, oil on canvas,85×43 cm,2014
刘传宏,《皖南纪事,第二幕第四场 2》,布面油画,85×43 cm,2014

Liu Chuanhong, “Memoir in Southern Anhui, Act 2, Scene 4 No.8”, oil on canvas,32x43cm,2014
刘传宏,《皖南纪事,第二幕第四场 8》,布面油画,32×43 cm,2014

Liu Chuanhong Solo Exhibition: Memoir in Southern Anhui is Liu Chuanhong’s second solo exhibition at A Thousand Plateaus Art Space. Memoir in Southern Anhui is a three-year huge project including paintings and text, it consists of 14 groups of works including 38 oil paintings, over 100 diaries, maps and attack plans.

Liu Chuanhong is an artist full of imagination. He is good at fabricating Liu Chuanhong’s own stories from his own experience, emotional memory and the complicated history. In Memoir in Southern Anhui, Liu Chuanhong fabricated “Mr. Liu” and his journey into the enemy-occupied area in Southern Anhui from 1940 to 1942. Mr. Liu is a marginal man with a dual nature of intellectual and bandit chieftain. He is an anarchist. He gets money from the attacks on China’s rural vigilantes and rich merchants, and seeks the inner peace from his journey and field trips. It makes Liu Chuanhong revive his boyhood fantasies about the life of lone rangers.

Liu Chuanhong (b. 1975, Changchun City, Jilin Province, currently living and working in Beijing, Changchun and Linxian County, He’nan Province) is more like a troubadour who is separated from contemporary life. Since 2002, he pertinaciously kept away from urban life, choosing to farm, paint and write in Taohuadong Village in the Taihang Mountains area of Linxian County, Henan Province. During his hermit years, the landscape and life in the mountain became his subject matter. Also, Liu is a master of writing stories, he always gets materials and inspiration from his own life. Accompany with his paintings, there are plenty of bogus documents bringing us into a real dreamland. However, he really lives in Peach-Blossom-Valley (Taohuadong Village, Taihang Mountains, Linxian County, Henan Province). “When he is not drunk, he would sit before the flowers; He would lie beneath them to spend his drunken hours.” In the fairy dream of Peach-blossom-valley, there’s not much difference between real and sham, or between false and true. His works also lead to the keywords below: mountain life, nature, humanity, nostalgia, Peach-Blossom-Valley, hermit, existence…

Poster of “Artist’s Portrait—Zhai Liang Individual Project”

Artist’s Portrait—Zhai Liang Individual project is a short-term on-site working project lasting one week. It’s some like a mural painting, with the background of the huge and brief mural painting, on which there are also some detailed paper works as foregrounds and details to echo with each other. It’s like a kind of interior monologue. The huge mural painting is a metaphor for the artist himself, while the detailed small works are his constant self-knowledge from all aspects. How to know myself is a simple exercise, an artist’s sketching of himself. This event is Zhai Liang’s first short-term on-site event in China after his residency event “New York is a Big Liar” in New York.