Liu Liping

Text in English
Geboren 1962 in Peking. 1987 Studium an der Beijing Central Academy of Fine Arts (CAFA) Print. 1990 wurde Mitglied im Verband der Bildenden Künste und Mitglied der China Association Druckgrafik. Gegenwärtig ist Liu Liping Professorin im Bereich Print der CAFA.

Einzelausstellungen:
1992 Liping Lui, CAFA Galerie, Peking
2002 Pro Wedges Lotus - Liping Lui, Hamburg, Deutschland

Gruppenausstellungen:
1990 Ausstellung von Künstlerinnen, CIFA Galerie, Peking
1991 Contemporary Prints Exhibition, Osaka, Japan
1992 Das 20. Jahrhundert: China, NAGC
1995 „3th China“ Ölgemälde Jahresausstellung, NAGC
- Women’s Approach to Chinese Contemporary Art
- Capital Art Museum, Peking
- Chinese Contemporary Oil; Ausstellung: Vom Realismus bis zur Moderne,
Belgien
1996 Ausstellung der Werke von Chinese Contemporary Art
- Frauen Printmakers, Reed College, Portland, USA
- Chinesisch Modern Prints Ausstellung, Portland Art Museum, USA
- 1. Ausstellung der China Oil Painting Association, NAGC
- Reality, heute und morgen - China’96 Modern Art Exhibition, International Art Salon, Peking.
1997 zwischen Ego und Gesellschaft: Ausstellung zeitgenössischer Kunst
- Women Artists of China, Artemisia Gallery, Chicago, USA
- Zeitgenössische Kunst von den chinesischen Women Artists, University
of California, Berkeley, USA.
1998 Half of the Sky: Women Artists of China, Frauenmuseum, Bonn
- Century: Women’s Art Exhibition, NAGC
2001 Obertöne: Contemporary Chinese Art, Mosman Art Gallery, Sydney
- 1. Silk Prints Exhibition, Peking Ausstellungszentrum
2002 Die 7. National Kupferstiche, Stein Print, Silk Prints Exhibition, Hubei Museum
2003 Eine Öffnung des EFR China, National Museum of Fine Arts
- Peking im Visier: Red Gate Gallery Beijing
2004 Die 13. Internationale Seoul Space Print Biennale, Seoul Museum of Art
- Shui Hen Mo Ji, Senzhen Fine Art Institut, China
- Sound of moving, Galerie 99 Aschaffenburg, Deutschland.

Kollektionen:
National Art Gallery of China “, Ludwig Museum, Deutschland; Holzschnitte
Foundation, UK; China Association of Fine Arts, Peking;
Weltbank (Washington) USA, University of Sydney Gallery, Australien,
Taiwan Gallery, Hongkong Galerie und Sammler in den USA, England,
Deutschland, Schweden, Singapur und Australien.

Text in English
Liu Liping (Professor):
Profile
1962 Born in Beijing
1987 Graduated From the Central Academy of Fine Arts(CAFA)Print Department.
1990 Became a member of China Association of Fine Arts and a member of China Printmaking Association.
Present:Teacher in the print department,CAFA

Solo Exhibition
1992 Liu liping,CAFA Gallery,Beijing
2002 Per wedges Lotus-Liu liping,Hamburg,Germany

Group Exhibitions
1990 Exhibition of Women Artists,CIFA Gallery,Beijing
1991 Contemporary Prints Exhibition,Osaka,Japan
1992 20th Century:China,NAGC
1995 3rd China Oil Painting Annual Exhibition,NAGC
- Women’s Approach to Chinese Contemporary Art.
- Capital Art Museum,Beijing
- Chinese Contemporary Oils Exhibition:From Realism to the Modern Age,Belgium
1996 Exhibition of the Works of Chinese Contemporary
- Women Printmakers,Reed College,Portland,USA
- Chinese Modern Prints Exhibition,Portland Art Museum,USA
- 1th Exhibiton of the China Oil Painting Association,NAGC
- Really,Today&Tomorrow-China’96 Modern art Exhibition,Interational Art Salon,Beijing
1997 Between Ego&Society:Exhibition of Contemporary
- Women Artists of China,Artemisa Gallery,Chicago,USA
- Contemporary Art by Chinese Women Artists,University of California,Berkeley,USA
1998 Half of the Sky:Women Artists of China,Women’s Museum,Bonn
- Century:Women’s Art exhibition,NAGC
2001 Overtones:Contemporary Chinese Art,Mosman Art Gallery,Sydney
- 1st Silk Prints Exhibition,Beijing Exhibition Center
2002 The 7 th National Copperplates,Stone Print,Silk Prints exhibition,Hubei Museum
2003 An Opening Era China,National Museum of Fine Arts
- Beijing In Their Sights:Red Gate Gallery Beijing
2004 The 13 th International Seoul Space print Biennial,Seoul Museum of Art
- Shui Hen Mo Ji,Senzhen Fine Art Institute,China
- Sound of moving,Gallery 99 Aschaffenburg Germany.

Collection
National Art gallery of China; Ludwig Museum,Germany; Woodcut Prints Foundation,UK; China Association of Fine Arts, Beijing; World Bank(Washington); University of Sydney Gallery, Australia, Taiwan Gallery, Hong Kong Gallery and Collectors in the USA, England; Germany, Sweden, Singapore and Australia.

The "natural eloquence" of Liu Liping
By Jia Fangzhou
From the women artiste that emerged in the 90’s ,one of the most distinguishing features of their works was their separation away from the discourses their male Peers maintained towards that of the exploration of self-value. With their own individual perspectives and valued personal experiences, their sharp observation, their diverse sentiments, and using their innate instincts and adaptability to survive they went on to feel and express the reality of a more natural life, weather it be by expressing repressed feelings or a meaningful reality and in this way established an argument based on this self-search. the earliest attempts in this trend towards the exploration of the self started in a 1990 exhibition, 'The WORLD of Women Artists'. With fresh new perspectives, as opposed to those of male artists, and setting a distance from the works of an older generating of female artists, eight women artists fresh from art college used a distinctive vitality to expose the result of their exploration, Liu Liping amongst them. Her series of oil paintings 'Earth Friend' was part of this exhibition.

I saw Liu Liping’s paintings for the first time in this exhibition. Those paintings with "ground" as their main subject left a deep impression in me, not aroused by any sort of impact or visual provocation of the painting themselves. The paintings depicted earth surfaces with nothing that drew attention…muddy soil, an expanse of pure white snow, opened up wasteland or moist tiles with melting ice and snow…No sky nor depth of focus: no reminiscence of life being nurtured by the land, and no social beings to add the master touch. The artist only seeks to express the surface of the land, because in her view, that’s a rich world in itself. She portrays with genuine interest each and every insignificant detail, each in turn narrating the magnificence of life. A Small stone seems like a person, and a few waves comprise amusing detail. The tips of rocks and grass emerging from a snow capped land seem to narrate a harsh winter experience, and the pretty pattern of a tiles floor bids farewell to the snow that remains in the slits between the tiles…In our incredibly, materialistic society, who ever notices the small changes taking place in the land? who ever takes delight in pondering upon all the insignificant minor details? Only women, only women poets and artists notice the ordinary and trivial details of nature and perceive the unnoticeable changes in the natural world, as opposed to their male counterparts, who are mainly concerned on important social issues, big cultural missions…They are not used to the macro metaphysical thinking. Women artists approach art with a leasurely and tranquil state of mind, enjoying the repetiveness and order of things. They enjoy making issues out of little things which none of us would deem worthy if attention, multiplying and repeating little details. They remain close to nature, intimate with the land, showing us what trueborn "naturalists" they are.

This intimacy with nature already constitutes the basis of Liu Liuping’s art. In the works that followed this series, the main subjects are also nature: the series comprising of the paintings ’Winter Snow’, ’Autumn Lotus’, ’Winter Lotus’, ’Green Corn’ and a few woodcuts and sketches, again and again all express the uncommon intimacy she maintains with nature. In the attractive rhetoric and narration of her own experience of nature that her works portray, one can perceive all the passionate praise and elation she shows towards natural life; like in ’Autumn Lotus’ and ’Winter Lotus’, although what she expresses is the decay and the end of a life cycle, those close and numerous crisscrossing lotus flower pools can actually make the observer feel the gloriousness, richness and vigor of life, as well as the unlimited vitality contained, without the paintings giving out a dejected or hurt sentimental tone.

If we say that in the works 'Autumn Lotus', 'Winter Lotus' and others, the main form of the picture is the structure and organization of "threads", then in 'Green Corn' the distribution of "light spots" in fact constitute the main form of the painting.

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Mongolian Art

Liu Liping