Li Jinghu

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Li Jinghu was born in Dongguan City in 1972, Guangdong (a coastal city in southern China, known as the ‘World’s Factory’ due to its developed processing and manufacturing industry). He currently lives and works. Li Jinghu works primarily with sculpture and installation, which presents an intertwining and ongoing personal ‘historiography’ of a landscape in flux – his poetically charged work frequently utilizes humble materials gathered from his everyday locale. His practice seeks to both capture and transcend the line between collectivity and personal forms of expression, through a constant rumination on society, industry, and capitalism.

Major solo exhibitions include: One World – Li Jinghu’s Art Exhibition, Shenzhen Art Museum, Guangdong (2022); Companionship, Magician Space, Beijing, CN (2019); The Reunion, Nodal Contemporary Art Space, Dongguan, CN (2018); Encounters, Art Basel in Hong Kong, Hong Kong, CN (2017); Time is Money, Magician Space, Beijing, CN (2014); Efficiency is Life, Magician Space, Beijing, CN (2014); Snowman, Arrow Factory, Beijing, CN (2010); Li Jinghu: Forest, Observation Society, Guangzhou, CN (2009).

Important group exhibitions include: Tales of the South, He Art Museum, Shunde, CN (2023); Super Fusion – 2021 Chengdu Biennale, Chengdu Art Museum, Chengdu, CN (2021); Cantonese Consumerism, Duende Art Museum, Foshan, CN (2021); Shenzhen Times: Shenzhen Contemporary Art Archive Exhibition, Museum of Contemporary Art & Planning Exhibition, Shenzhen, CN (2020); Duration: Chinese Art in Transformation, Beijing Minsheng Art Museum, Beijing, CN (2020); From the Mundane World: Launch Exhibition of He Art Museum, He Art Museum, Shunde, CN (2020); Phantone, HOW Art Museum, Wenzhou, CN (2019); Night Tour of the Pearl River, Guangdong Museum of Art, Guangzhou, CN (2019); Front International: Cleveland Triennial for Contemporary Art, The Akron Museum, Akron, USA (2018); lei-pā, ST PAUL St Gallery, Auckland, NZ (2017); 1st Yinchuan Biennale, MOCA Yinchuan, Yinchuan, CN (2016); 11th Gwangju Biennial, Gwangju, KR (2016); A Beautiful Disorder, Cass Sculpture Foundation, West Sussex, UK (2016); There has Been, and May be Again, Pare Site, Hong Kong, CN (2016); This Future of Ours, Red Brick ArtMuseum, Beijing, CN (2016); Digging a Hole in China, OCAT Shenzhen, CN (2016); Trace of Existence, UCCA, Beijing, CN (2016); THERMO MATTER, Shenzhen Art Museum, Shenzhen, CN (2015); The System of Objects, Minsheng Art Museum, Shanghai, CN (2015); Institution Production – Ecology Investigation of Contemporary Art of Young Guangzhou Artists, Guangdong Museum of Art, Guangzhou, CN (2015); You Can Only Think about Something if You Think of Something Else, Times Museum, Guangzhou, CN (2014); The 8th Shenzhen Sculpture Biennale, OCT Contemporary Art Terminal, Shenzhen, CN (2014); Positive Space, Times Museum, Guangzhou, CN (2014);  ON | OFF: China’s Young Artists in Concept and Practice, Ullens Center for Contemporary Art, UCCA, Beijing, CN (2013); PAINT (erly), BANK, Shanghai, CN (2013); Daily of concept: A Practice of Life – The 15th Shanghai Duolun Youth Art Exhibition, Duolun Museum of Modern Art, Shanghai, CN (2012); Pulse Reaction – An Exchange Project on Art Practice, Times Museum, Guangzhou, CN (2012).

Companionship, exhibition view

White Clouds, 2009, installation, white fluorescent tubes, fixtures, 1145 x 430 x 130cm

Rainbow, 2009, installation, sencond-hand objects, dimensions variable

Today’s Screening, 2014, video installation, showreel of found films, rhinestone, projection screen, sound, dimensions variable

Waterfall (201602), 2016, android phones, video, electric phone charger, metal, dimensions variable

Constellation, 2015, metal, wood, rhinestone, 200 x 200 x 87cm

Letter from Tobias, 2006, installation, biscuit

Lover, 2018, stainless steel, jewelry, dimensions variable

Interview | Li Jinghu X Billy Tang

“Things like our surroundings and the objects around us – they might be things you are familiar with but they initially might not really move you. But the moment you leave your surroundings or when they exist only in the past, the fragments of these forms reappear only in you mind, building up as a record to a certain atmosphere. It’s within the processes behind its re-emergence that the unique characteristics of an atmosphere can become pertinent and slowly refined – it then can turn into an enduring symbol in your memory. I think the idea of ‘flavor’ embodies a notion very similar to memory in relation to an era’s atmosphere.”