| 刘诗园 | LIU SHIYUAN

 

 

 

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Works (click images or titles for more details)
CV
Contact
/ Isolated Above, Connected Down /
/ Almost Like Rebar /
/ Fuck It, I Love You /
/ Music Forbidden /
/ The Best Is Yet To Come /
/ Best Friends Forever /
/ It´s Nice to See You /
/ The Smallest Lobster /
/ Love Poem /
/ not titled /
/ Wonderland /
/ This Way or That Way /
/ From Happiness To Whatever /
/ OMG Welcome! /
/ Lost In Export /
/ Untitled /
/ Beyond The Pale /
/ We Were Never Alone Never Bored /
/ Someone Else, Somewhere Else /
/ As Simple As Clay /
/ Extreme Deep Field /
/ The Edge Of Vision, Or The Edge Of The Earth /
/ Re-en-act /
/ If It Wasn't /
/ A Conversation With Photography /
/ Too Many Words /
/ Hi~! /
/ Chair No.1 /
/ Evidence /

Isolated Above, Connected Down

February 2018

Single channel color video

21 minutes; 55 seconds / 2K / surround sound

Director: Liu Shiyuan / DOP: Liu Shiyuan & Balthazar Hertel / Editor: Liu Shiyuan & Anders Pedersen / Grading: Liu Shiyuan & Anders V. Christensen/ Mix: Kristian Mondrup /

Composer: Kristian Mondrup / Script: Kristian Mondrup / Mix: Kristian Mondrup / Costume and Make-up: Anna Holmgren / Gaffer: Michael Kreutzmann / Boom: Asbjørn Derdau /

Producer: Liu Shiyuan & Alexander Nielsen / Father: Anders Mossling / Mother: Lisa Carlehed

 

One of the key concepts in Liu’s work is to encourage the viewer to slow down and pause for a moment,

allowing the time to observe and the mental space to wander. For her solo presentation with us in 2018, the video work Isolated

Above, Connected Down is projected onto a massive screen in the first floor gallery, and the viewer is invited to sit or lie down

on the pillows scattered around the black-and-gray-plaid carpeted floor, as if lying on the grass and daydreaming while looking

at the sky. The video begins with a series of cloud scenes, which were shot with the camera pointing directly from the ground

up toward the sky. Mimicking a relaxing mind fading into vague memories and blissful visions, sweet, pristine views of nature

begin to appear: bright blossoms and lush plants, busy bees, creeks glistening under the summer sun, a tranquil pond rippling

gently as gold fish glide past lily pads and lotus flower. As the mind enters into a train of increasingly coherent thought, the video

transitions into strips of rolling images, speeding up as the thought process escalates. Among the shuffling images are found

pictures from the 1960s and 70s that reinforce conventional male and female roles, foreshadowing the main scene to follow.

A tense, substantial conversation takes place at a dinner table between a couple. The mother’s role is intuitive, emotional and

anxious, exhausted from taking care of her young child, who is now finally asleep. The father’s role is rational, logical and calm,

eager to discuss political and metaphysical topics during dinner. The two characters’ different personalities and dispositions

cause a succession of miscommunicated and misconceived ideas as the dialogue unfolds, revolving around foreign cultures,

commercial production, allegory, religion and so on. Meanwhile, imbedded in the dialogue are about 20 important contemporary

art exhibition titles, aesthetic philosophical quotes, as well as titles of books on economics theory. These otherwise ‘highly important

and charged’ titles and quotes in their respective fields are used here in an insignificant, if not pointless and petty, quarrel between

two people whose perspectives already misalign, showing how seemingly fixed meaning and value can fluctuate in altered contexts.

The work’s many layers of discursive appropriation and misplacement culminate in its symbolic ending, where a prolonged

closeup shot of a bee—a longstanding allegorical creature whose unwavering diligence enables perfectly functional collective

productivity much like that of the Capitalist ideal—reveals its hairy and spiky anatomical features, eating from one flower after

another until it dies from gluttony. We don’t know if a bee could really die from overeating, yet the overfed bee here is a fictional

fragment and its greedy nature a deliberate attribution by the artist, just as the hardworking bee and its wonderful diligent nature

was once born through an intentional design to set a certain model for us.

 

Exhibitions:

2018 Isolated Above, Connected DownTanya Bonakdar Gallery. New York, USA.

 

installation view at Tanya Bonakdar Gallery ↓

Copyright © Studio Liu Shiyuan, All rights reserved.