"Dimensional Dialogue" 

Curator: Zhuang Zirui

Art+ Shanghai Gallery is pleased to present Dialogue, a solo exhibition by Liu Gang. Through four thematic chapters, Dialogue unfolds an in-depth conversation between humans and objects, time and technology. In Liu Gang's hands, components that once played significant roles in the passage of time, yet were forgotten, are given new life. Whether electronic parts, everyday objects, or the cracks in porcelain, these elements not only serve as witnesses to the past but also as mediums for reflection on contemporary society. By deconstructing and reconstructing these objects, the exhibition explores the cultural metaphors, social emotions, and historical traces behind technological advancement, inviting the audience to participate in this dialogue that transcends time and space.

Chapter One: Mechanical Memories

Liu Gang’s latest series of works invites us to rediscover the abandoned industrial and electronic components. These small parts, once central to the world of technology, have been cast aside after fulfilling their original functions. Now, after the artist has removed their decayed outer shells, they reveal a complex and captivating beauty. These objects are not only witnesses to technological development but also footnotes to the history of the times. Through Liu Gang’s creations, these forgotten "technological memories" are brought back before us, rejuvenated.

This approach resonates with the "Readymade Art" of Dadaism. Dada artists, such as Marcel Duchamp, challenged and subverted traditional notions of art by turning ordinary everyday objects into art. Art at this time had shifted from "form" to "soul." Liu Gang further explores this realm by reassembling and transforming these electronic components. He not only gives new uses and meanings to these discarded objects but also deepens their significance, making works that were meant to end their life be reborn and become part of his narrative.

Sociologist Jean Baudrillard discussed in his works The Consumer Society and The System of Objects that in a consumer society, the symbolic meaning of objects becomes very important. Objects are not merely functional but carry symbolic meanings, becoming symbols of social identity and status. The abandoned industrial and electronic components in Liu Gang's works symbolize the rapid technological advancement and consumer culture in modern society. Liu Gang’s works make us realize that these once-important components are now forgotten in corners. Technological obsolescence refers to the phenomenon where certain technologies, devices, or skills are eliminated or forgotten in the rapid development and updating of technology. Liu Gang uses his art as a display medium to present these iterated, "valueless" objects, which in this context, highlight their artistic value.

Liu Gang’s creative process began with the collection and discovery of these overlooked objects. He presents these components in their original state in his works and incorporates interactive elements like three-dimensional objects, miniature mechanical devices, lighting, and Bluetooth features, transforming the works from two-dimensional art into multi-dimensional experiences. The artist brings a "familiar strangeness" to the audience, allowing them to feel the power of technology while being moved by its artistic expression.

In this era of rapid digital and technological advancement, these works serve as a wake-up call: as contemporary artists, we cannot remain indifferent to the developments of the times. Liu Gang discovers and redefines those overlooked sources of inspiration in the corners of the era, giving them new life and meaning.

Chapter Two: Safe Distance

In the "Face to Face" series, artist Liu Gang draws inspiration from the boundary of daily life, presenting the indispensable furniture—tables—through thickly applied paint. This seemingly simple piece of furniture is imbued with deeper meaning and internal tension in Liu Gang's creations.

From birth to schooling to work, if you break down these units of time, you will find that the most important yet least conspicuous object accompanying them is the table. The table is not only a tool in daily life but also a latent presence that provides support and stability during many key moments. As French philosopher Gaston Bachelard mentioned in The Poetics of Space, everyday objects often carry deeper psychological meanings in their spatial existence. The table is a "symbol of existence" in this daily space, creating a proper yet ambiguous safe distance that allows people to maintain intimacy while preserving necessary boundaries. Imagine a fierce negotiation where the table serves as the final line of defense in this invisible battle, providing space for breathing and reflection.

As a bearer of time, the table has a characteristic of continuity. In Liu Gang’s work, this characteristic is further amplified. Sociologist Henri Lefebvre's theory of "The Production of Space" posits that time is not only linear but also materialized through objects, space, and social relationships. Liu Gang preserves traces of time by collaging various antiques onto the table surface, making the table a concrete manifestation of time. For example, an old medal, seemingly left casually by a retired soldier upon returning home, still quietly rests there decades later, like a small stone in the river of time, carrying the sediment and past glory of history. Through the medium of the table, viewers are able to traverse the curtain of time and engage in a silent dialogue with the traces of the past, finding a connection that transcends time in modern life.

Liu Gang’s table is not only a physical piece of furniture but also a symbol that carries dialogues between people and between people and time. As discussed by Gilles Deleuze and Félix Guattari in A Thousand Plateaus, the relationship between objects and space involves not only material dimensions but also emotional, memory, and social dimensions. In Liu Gang’s works, the table becomes a symbol of this complex relationship, providing a safe distance while carrying the weight of time. In his works, the table is no longer a static object in daily life but becomes a bridge for communication and connection, bearing rich emotions and historical memories, guiding viewers through the modern and the past, experiencing moments that have been washed away by time but still shine.

Chapter Three: Cracks

The "Great Vessel" series by Liu Gang, exhibited this time, originates from his earlier "All Things" series. Therefore, understanding the "Great Vessel" series requires tracing back to its origins.

Liu Gang’s "All Things" series not only shows his keen observation of natural details but also forms a profound dialogue with modern art theory. In his creative process, Liu Gang used hyper-realistic techniques to delicately capture and reconstruct the beauty and value of natural objects. The inspiration for this series came from a chance discovery in his Yangpu studio yard—a dry twig falling from a tree with a few dry leaves, presenting a unique aesthetic. This detail in nature inspired his creative desire, and he decided to capture this moment with a pencil in extremely delicate strokes, eventually forming this series. After completing this series, Liu Gang further explored his use of art materials and forms, attempting to depict the fine cracks found on ancient porcelain with pencil, refining his narrative and expression. Deconstructionism emphasizes that any seemingly complete structure contains differences and cracks, which reveal the complexity and diversity hidden beneath the surface. Liu Gang's manual portrayal of cracks not only visually presents the details of objects but also expresses a deconstruction and reconstruction of traditional narrative systems.

The "Great Vessel" series by Liu Gang reflects Bruno Latour’s concept of the "sociality of objects." According to Latour, objects are not merely passive entities but play active roles in social relationships. In the "Great Vessel" series, ordinary objects like fruits and ancient porcelain jars are given new vitality and meaning through Liu Gang’s creative forms. They are not only objects of artistic expression but also mediators between the artist and nature, history, constructing a context that spans time and space.

As Liu Gang expanded the "Great Vessel" series, he began to explore more possibilities. He decided to add color elements to black-and-white pencil drawings and experiment with different materials and techniques. He chose an extremely thin white paper found at a scrap station, dyed it, and manually created a crack effect. This method not only injected new vitality into the works but also reflects Walter Benjamin's theory on "art in the age of mechanical reproduction." By using waste paper and dyed paper as materials, Liu Gang challenges traditional notions of material value in art and responds to Benjamin’s discussion on the relationship between originals and reproductions. By giving these discarded materials new artistic value, Liu Gang achieves an artistic reflection on the phenomenon of material excess and waste in modern industrial society.

The "Great Vessel" series by Liu Gang not only showcases hyper-realistic detail in technique but also innovates through materials and forms, creating a dialogue on material existence, traditional deconstruction, and reconstruction. Cracks are a product of nature, a gift of time, and a proof of existence. This series not only replicates natural objects but also represents Liu Gang’s exploration and dialogue on the established relationships between objects.

Chapter Four: Deformation

Liu Gang’s latest work, the "Unembellished Nature" series, explores the extension of cracks as a visual element, presenting multiple expressive possibilities of cracks through clever techniques and material combinations. This series not only continues his previous creative themes but also engages in a profound dialogue with contemporary art theory.

Liu Gang’s creative inspiration comes from observing traditional oil painting cracks. The natural cracking that occurs over years due to material aging imparts a unique sense of history to the work. This attention to the traces of time resonates with deconstructionist theory. Deconstructionism suggests that any seemingly complete structure contains differences and cracks, which reveal complexity and diversity hidden beneath the surface. Liu Gang experiments with acrylics, repeatedly adjusting materials and techniques to achieve the effect of natural cracks in a shorter time. This experimental creation challenges traditional notions of temporality in art and explores the potential of cracks as an expressive tool.

During the creative process, Liu Gang uses a steel chisel to carefully crack open the colored blocks on the surface after the work has dried, revealing the hidden colors beneath. This technique not only showcases the randomness of natural cracks but also demonstrates the artist's precise control over their form. This blend of the artificial and the natural seems to resonate with the concepts found in the works of German artist Anselm Kiefer. Kiefer often employs natural materials like soil and lead, deeply exploring history and memory to reveal the complex and weighty relationship between humanity and nature. Liu Gang's work echoes Kiefer's ideas, reconstructing the interaction between history and materials, memory and expression, through the natural phenomenon of cracks.

The "Unembellished Nature" series not only innovates in artistic creation through the visual element of cracks but also explores the complex relationships between nature and artificiality, tradition and modernity, time and materials within the framework of modern art theory. This is a dialogue between theory and practice, as well as Liu Gang’s inquiry into the diversity and nuances of expressive methods.

Dialogue weaves together time, space, and material to construct Liu Gang's unique reflection on memory in modern society. In this multidimensional dialogue, the artist redefines discarded objects, revealing the deep connections between things and people, between the past and the future. The exhibition not only prompts us to reflect on the objects swept aside by the tides of technological progress but also urges us to reconsider the seemingly insignificant yet symbolically rich elements of contemporary life. The conclusion of this dialogue is not an ending, but rather the beginning of a new path for the viewer to understand and explore.

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