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Guangyun Liu [Videonale.11]

* 1962 in Jinan CHN, lives in Shanghai CHN and Mainz GER
Studied at the Central Academy of Fine Arts & Design, Beijing CHN


Exhibitions [selection]:


2012 Jetlag. Multimediale zeitgenössische Kunst Chinas, Kunsthalle Faust, Hannover GER
         RELIQUIE 2012, TUFA, Trier GER
         Galería Ignacio de Lassaletta, Barcelona ESP [S]

2011 New Chinese Art, Tianrenheyi Art Center, Hangzhou CHN

         Surface, Galerie Erhard Witzel, Wiesbaden GER [S]

2010 TimeX, Linda Gallery, Beijing CHN [S]

         11071.960 km, Fei Contemporary Art Centre, Shanghai CHN [S]

2009 Head and Body, Galerie von Braunbehrens, München GER

2008 Intrude 366, Zendai Museum Of Modern Art, Shanghai CHN

         Galeria N2, Madrid ESP [S]


Guangyun Liu x

Losing my face, 2005, 5:02 min., sound, colour [VIDEONALE.11]

The camera is witness to the process by which Losing My Face is created, and yet it is unable to penetrate the space and to break it up into frames. From a frog?s eye view, the camera focuses on the artist?s head as his hair is tied back and attached to a rope hanging from the ceiling. All of a sudden, the head seems to be swept into motion, swinging back and forth from the rope like an imaginary pendulum. With the constant blurring of the focus on the filmed image, the face becomes distorted, taking on a steady series of new and flowing forms and transitions. The somnambulant pictorial aesthetic allows us to optically experience movement in space and time. The rhythmic soundtrack underscores the association with a pendulum.

This temporal and spatial movement is not actually being performed by the person shown, however, but is produced solely by the camera. The transition from stasis to motion is accomplished by a machine. With the help of technology, the human puts his intentions into practice and sets the world flowing. The face of the artist, standing here for the individual, is however lost in the current of technologically shaped time. In the process of machine-assisted creation, the world is divested of its original tangibility. For a brief moment, even the grimace of death seems to shine out from the amorphous images.

Johannes Schmidt

Guangyun Liu