Contemporary Artist Case Study Research

“OCAT 15th Anniversary” Series – 1342ºC: Works by Liu Jianhua

Exhibition Directors:Luan Qian、Bi Dasong

Curators:Feng Boyi、Wang Jing

 2019.12.8 – 2020.4.7


OCAT Shenzhen – Exhibition Halls A and B

12.7 – Opening Reception  (16:30-18:00)


开放时间:10:00 – 17:30(逢周一闭馆)


微信公众号:OCAT深圳馆(ID: OCATShenzhen)



Facebook:OCT Contemporary Art Terminal – OCAT Shenzhen

1342ºC is the highest temperature when firing ceramics. The exhibition title, 1342ºC is part of the series of case study research that has been undertaken by the OCAT Shenzhen, indicating how Liu Jianhua is working within and against the limits of “porcelain” as a medium, as well as the unpredictability of materials and firing process. This also invokes Liu Jianhua’s years of ongoing artistic experimentation with the process and results of “melting points” and relating to his active “igniting point” within the context of contemporary Chinese art.

In Liu Jianhua’s porcelains, the traditional and the contemporary, as well as the natural and everyday attitudes and feelings have been sedimented into the glazed background of these “objects.” His experimental method comprises a return to nature that allows him to present people and objects in a space that is simultaneously familiar and strange, revealing the slight but specific relationships between people and their objects in everyday life. In addition, the outside world achieves a new form for visual cognition, or rather, we pass through the dust of time to discover and rethink about the world as we know it.

Liu Jianhua – About the Artist

Liu Jianhua was born in 1962 in Ji’an, Jiangxi Province, China. In 1989, he graduated from Fine Art of Sculpture at the Jingdezhen Ceramics Institute. He taught in Department of Sculpture at Yunnan Academy of Arts in Kunming from July 1989 to July 2004, since when he has been teaching at Department of Sculpture in Shanghai Academy of Fine Arts, Shanghai University. The artist now lives and works in Shanghai, China.

Liu Jianhua is one of China’s best-known contemporary artists who experiments with comprehensive materials. After graduating from college in 1989, and within a contemporary context, he started his own experimental practices. Liu’s porcelain and mixed media works reflect the economic and social changes in China as well as the problems that follow suit. His Regular Fragile series, first shown at the Chinese Pavilion, Venice Biennale in 2003, is composed of porcelain replicas of daily that privilege appearance and symbolism over function. In 2008, he shifted his previous close and direct attention on the problems emerged in China from globalization and sharp social changes to “no meaning, no content”, which declared the fairly new exploration of his creation with works Untitled in 2008 and therefore has developed his own system of expression for contemporary art.

Liu Jianhua’s works have been exhibited at a tour exhibition at Los Angeles County Museum of Art in 2019, a solo exhibition at Fondazione Made in Cloister, Naples, Italy in 2018 and a Minimalist exhibition at National Gallery Singapore in 2018, Minimalism: Space.Light.Object at National Gallery Singapore, the international art exhibition VIVA ARTE VIVA of the 57th Venice Biennale 2017, The 1st Kiev Biennale of Contemporary Arts, 14th international Sculpture Biennale of Carrara, 17th Biennale of Sydney, Vancouver Biennale 2009-2011, The 3rd Nanjing Triennial, 2nd Moscow Biennale of Contemporary Art, The 1st Singapore Biennale, The 6thShanghai Biennale, Busan Biennale 2006, China Pavilion of the 50th Venice Biennale and exhibitions held by institutions including Tate Modern (London, UK), Center Pompidou (France), Asian Art Museum (San Francisco, USA), ARoS Aarhus Kunstmuseum (Aros , Denmark), Mori Art Museum (Tokyo, Japan), Tate Liverpool (Liverpool, UK), Ullens Center for Contemporary Art (Beijing, China), Power Station of Art (Shanghai, China), Kunstmuseum Bern (Bern, Switzerland), Today Art Museum (Beijing, China), Shanghai Art Museum (Shanghai, China), MoCA Shanghai (Shanghai, China), OCT Art and Design Gallery (Shenzhen, China), Staatliche Kunstsammlungen Dresden (Dresden, Germany), Shenzhen Art Museum (Shenzhen, China), Guangdong Museum of Art (Guangzhou, China), National Art Museum of China (Beijing, China), Groninger Museum (Groninger, The Netherlands), Museum Moderner Kunst Stiftung Ludwig Wien (Austria), Cobra Museum of Modern Art (The Netherlands), Kunst Der GegenwartSammlungEssl (Vienna, Austria), Hamburg Art Center (Hamburg, Germany), Irish Museum of Modern Art (Dublin, Ireland), Marseilles Museum of Contemporary Art (Marseilles, France), etc.

Liu Jianhua’s works have been collected by MOMA (New York, USA), Tate Modern (London, UK), Victoria&Albert Museum (London, UK), Asian Art Museum (San Francisco, USA), USC Pacific Asia Museum (Los Angeles, USA), White Rabbit Gallery (Sydney, Australia), Dior Paris Headquarter (Paris, France), LVMH Art Foundation (Paris, France), Salvatore Ferragamo Museum (Florence, Italy), K11 Art Foundation (Hong Kong, China), Bergen Art Museum (Bergen, Norway), M+ Sigg Collection (Hong Kong, China), YUZ Museum Shanghai (Shanghai, China), OCT Contemporary Art Terminal (Shanghai, China), Towada Art Center (Towada, Japan), Guggenheim Museum (New York, USA), The Art Gallery of New South Wales (Sydney, Australia), Shanghai World Expo National Organizing Committee (Shanghai, China), Shanghai Lujiazui World Financial Center (Shanghai, China), Santander Bank Art Center (Santander, Spain), Today Art Museum (Beijing, China), Shenzhen Art Museum (Shenzhen, China), Guangdong Museum of Art (Guangzhou, China), Queensland Art Gallery (Brisbane, Australia), Hara Museum of Contemporary Art (Tokyo, Japan), China Club (Hong Kong, China), He Xiangning Art Musem (Shenzhen, China), etc., and by private collections.


Feng Boyi – About the Curators

Feng Boyi is an independent curator and art critic. Currently he lives and works in Beijing, Shenzhen.

Since the late 1980s, Feng has been involved in Chinese contemporary art as a curator, critic and editor, focusing on experimental and critical contemporary art. He is particularly interested in marginal and alternative contemporary art groups, emerging artists and their artistic creation. He has written hundreds of thousands of words of articles, theses and essays.

He has curated many important exhibitions in China and abroad, including “Traces of Existence: 1998 Chinese Contemporary Art Study Exhibition ”(Beijing), “Fuck Off 1 and Fuck Off 2”(Shanghai and Groninger Museum, Netherlands), “Reinterpretation: The First Guangzhou Triennial” (Guangdong Museum of Art), “Right Hand, Left Hand: A Sino-German Exhibition of Contemporary Art” (798 Art District, Beijing), “China Now: Reincarnations of Chinese Contemporary Art”(Essl Collection of Contemporary Art, Austria and Cobra Museum of Modern Art, Netherlands), “The Chengdu Biennale” (Chengdu Exhibition Center), “A Miscellany of Art ”(Dimensions Gallery, 798 Art District, Beijing and Jinji Lake Art Museum, Suzhou), “A Vista of Perspectives: The Sixth Shenzhen Contemporary Sculpture Exhibition” (OCT Contemporary Art Terminal, Shenzhen), “Surreptitious Substitutions: Post-Modern Methods in Chinese Contemporary Art” (OCAT Art and Design Gallery), “My Bone, Flesh, and Skin” (Asian Contemporary Art Fair, USA), “Map Games: Dynamics of Change-International Visual Art and Architecture Project”(Today Art Museum, Beijing, Birmingham Art Museum, UK, Terni International Center for Contemporary Art, Italy),“The Fourth Cross-Strait Four-Regions Artistic Exchange Project” (He Xiangning Art Museum, Taipei Fine Arts Museum, Osage Gallery Kwan Tong, and Macau Museum of Art), “A Narrative of Actual Properties of Life: Chinese Contemporary Art” (Bergen Kunsthall, Norway), “CAFAM Future: Sub-Phenomena—Report on the State of Young Chinese Art” (CAFA Art Museum, Beijing), “A New Dynast-Created in China”(ARoS Aarhus Art Museum), and “Utopias/Heterotopia—Wuzhen International Contemporary Art Exhibition”(Wuzhen, China). Feng Boyi is one of the most active independent curators and critics in China.


Wang Jing – About the Curators

Wang Jing was born in 1982 and now living and working in Shenzhen. She was graduated from Fine Art Academy of Guangzhou and CCS(Center for Curatorial Studies) Bard College, New York.

She has curated many projects and exhibitions in different cities and spaces, including Xu Zhiqiang: My Tiled Space (Attract space, Shenzhen, 2019), Transition Agency (Attract space, Shenzhen, 2018),The Overall Situation: Double Solo Exhibition of Chen Tong and Tian Hui (OCAT Shenzhen OCT Harbour Exhibition Site- Boxes Art Space, 2018), Becoming (Cattle Depot Artist Village, Hong Kong, 2017), An Instance of Concentration: Reminiscence and Reconstruction (OCAT Shanghai Pujiang Exhibition Site, 2016 -2017), Twelve o’clock (Hessel Museum of Art, New York, 2015), Footnote (Hessel Museum of Art, New York, 2014), Marginalia (Hessel Museum of Art, New York, 2013), Go, the First Exhibition of OCAT Youth Project (OCT Contemporary Art Terminal, Shenzhen, 2010), Departure: Contemporary Art Exhibition of Guangzhou, Shenzhen, Hong Kong and Macao (He Xiangning Art Museum, Shenzhen, 2008-2009), Awake Asleep, solo exhibition of work by Daniel Knorr (FCAC, Shanghai; Libreria Borges Institute for Contemporary Art. Guangzhou; E6, Shenzhen; Manufatura, Wuhan. 2008),This is My Landscape, video works by Ellen Zweig (FCAC, Shanghai; Libreria Borges Institute for Contemporary Art. Guangzhou. 2008),Your Body is My Battleground (FCAC, Shanghai, 2007).

She has participated in editing publications including “Contemporary is Now History” Huang Zhuan and Us (Ling Nan Press, Guangzhou, 2016-2018), OCAT Library- Alexandre Kojève As a Sage, lecture by Boris Groys; OCAT Library- Rasheed Araeen in Shenzhen, Lecture by Rasheed Araeen; OCAT Library- History and Memory in Chris Marker’s Films, lecture by Hao Jingban. (OCAT Shenzhen, 2012-2013), Present Tense Biennial 2015 (Chinese Culture Center, San Francisco, 2015), Xu Tan: Keywords of Cowin Global (Vitamin Creative Space, Guangzhou, 2011), Vocabulary, Consciousness (yi shi), and Art- The “Keywords” Case Files from Xu Tan’s Visual Linguistic Experiments (Ling Nan Press, Guangzhou, 2011), State Legacy: Research in the Visualisation of Political History (Righton Press, Manchester, 2009), Artistic Working Manual of Zhang Peili (Ling Nan Press, Guangzhou, 2008).

Her writings and interviews have been published by Artforum, Gallery, Bomb Magazine, Architectural Worlds, The Bund.