Liu Ding

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Liu Ding is an artist and curator, currently living in Beijing. His conceptual art-making and curatorial practice portrays contemporary history and reality of China from multiple perspectives. Underlined by methods and ideas derived from the intellectual history, his practice is deeply concerned with human existence, charged with a profound humanistic spirit. Since 2022, he has been appointed as the co-artistic director of the 8th Yokohama Triennial (opening in 2024).

He’s participated in biennales including Busan Biennale (2018), Yinchuan Biennale (2018), Istanbul Biennial (2015), Asia Pacific Triennial (2015), Prospect 3 New Orleans (2014), Shanghai Biennale (2014), Taipei Biennial (2012), Chinese Pavilion, 53rd Venice Biennial (2009), Media City Seoul (2008) and Guangzhou Triennale (2005).

His work has been shown at numerous major art institutions, including Castello di Rivoli, Turin (2020); MAK Austrian Museum of Applied Arts/Contemporary Art, Vienna (2019); The Haus der Kulturen der Welt (2018); Museum Fur Kunst und Gewerbe Hamburg (2018); 4A, Sydney (2017); Kunstmuseum Bern, Bern (2016); Guandu Museum of Art, Taipei (2016); Para Site, Hong Kong (2016); Red Brick Museum, Beijing (2016); Frye Art Museum, Seattle (2016/2012); Museum Bonnefanten, Maastricht (2015) ; MOMA PS1, New York (2015); Hiroshima City Museum of Contemporary Art, Hiroshima (2015); Tate Modern, London (2013/2012); Taipei Fine Arts Museum, Taipei (2012); Times Museum, Guangzhou (2012/2011); ZKM, Karlsruhe (2011); Iberia Center for Contemporary Art, Beijing (2008); PasquArt, Biel (2008); Arnolfini, Bristol (2008); Turner Contemporary, Kent (2008); São Paulo Muse­um of Art, São Paulo (2008); Kunsthalle Wien, Vienna (2007); Astrup Fearnley Museum of Modern Art, Oslo (2007); Museum of Contemporary Art Shanghai, Shanghai (2006); Luggage Store Gallery, San Francisco (2006); Seoul Museum of Art, Seoul (2006); Fondazione Sandretto Re Rebaudengo, Turin (2006), and so on.

In collaboration with Carol Yinghua Lu, he has co-curated Little Movements: Self-Practice in Contemporary Art at OCAT, Shenzhen (2011), which travelled to Museion in Bolzano, Italy (2013) and Asia Cultural Complex, Gwangju (2015). Other curatorial projects include: Notes: Artistic and Intellectual Voices from the End of the 20th Century, Sounds as Silence: Academic Value of Life (2021), Waves and Echoes: Postmodernism and the Global 1980s (2021), Waves and Echoes: A Process of Re-contemporarization in Chinese Art Circa 1987 Revisited (2020), Factories, Machines and the Poet’s Words: Echoes of the Realities in Art (2019), Salon Salon: Fine Art Practices from 1972 to 1982 in Profile – A Beijing Perspective (2017, 2020); New Measurement Group and Qian Weikang (2015); From the Issue of Art to the Issue of Position: Echoes of Socialist Realism (2014); and the 7th Shenzhen Sculpture Biennale (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); Reef: A Prequel (Bonnerfantenmuseum, Maastrict, Holland, 2016); Salon Salon: Fine Art Practices from 1972 to 1982 in Profile – A Beijing Perspective (The Chinese University of Hong Kong Press, 2019).

Let’s Say Goodbye!, exhibition view

Let’s Say Goodbye!, exhibition view

Let’s Say Goodbye!, exhibition view

Let’s Say Goodbye!, exhibition view

Extras B, 2015, oil on canvas, 250 x 500cm

Let’s Say Goodbye!, exhibition view

A Year · Marx, 2018, Silk, 153 x 116cm