LIU Chuang



  • 〈Bitcoin Mining and Field Recordings of Ethnic Minorities〉, 2018, 3 channel videos, 4k, 5.1 sound. 40min, Courtesy of the artist and Antenna Space
    Commissioned for Cosmopolis #1.5 : Enlarged Intelligence with the support of the Mao Jihong Arts Fo

  • 〈Bitcoin Mining and Field Recordings of Ethnic Minorities〉, 2018, 3 channel videos, 4k, 5.1 sound. 40min, Courtesy of the artist and Antenna Space
    Commissioned for Cosmopolis #1.5 : Enlarged Intelligence with the support of the Mao Jihong Arts Fo

Bitcoin Mining and Field Recordings of Ethnic Minorities

 

 This work takes as its starting point the building of early information networks, before weaving itself into other seemingly unrelated subjects: bitcoin mining and field recordings of ethnic minorities. The practice of field recording is the usage of modern recording and photographic technologies to construct knowledge systems in tandem with the development of modern nation states, while the bitcoin industry is an attempt to escape the centralized currency systems of these nation states. As repurposed archival footages give way to two renowned science-fiction films — Steven Spielberg’s Close Encounters of the Third Kind (1977) and Andrei Tarkovsky’s Solaris (1972),  the work analyzes the alien characters in these films, and reaches the conclusion that these were drawn from anthropological documentation of various ethnic minorities in the Zomia area. In Bitcoin Mining and Field Recordings, energy residing at the geological surface is regarded as the material memory of the earth, and the abstraction of virtual currency is seen  as an attempt to escape the reach of the modern nation state — together these perspectives culminate in the construction of yet another “Other”, one which is external to the earth — the alien.



About the Artist


 Born in 1978, Hubei, China. He graduated from the Hubei Institute of Fine Arts in 2001, and is currently based in Shanghai. Most of Liu’s works are ready-mades, installations, videos, or performances, integrated with critiques on society and the system to further examine and explore the current social status and urban life. Liu’s works are often a mixture of crisp humor, delicately poetic and sentimental qualities, cool observations, and have been showcased in fine art museums and art biennales across the world. Notable solo exhibitions include Qiao Space and Antenne Space Joint Solo Exhibition (Shanghai, 2019), Magician Space Solo Exhibition (Beijing, 2015), Kunsthall Stavanger (Stavanger, 2014), and Salon94 Freemans (New York, 2014). Group exhibitions include Foundation Louis Vuitton (Paris, 2016), Para Site (Hong Kong , 2016), Social Factory: 10th Shanghai Biennale (Shanghai, 2014), Burning Down the House: 10th Gwangju Biennale (Gwangju, 2014), Tampa Museum of Art (Tampa, 2014), Rubell Family Collection (Miami, 2013), UCCA Center for Contemporary Art (Beijing , 2013), Whitechapel Gallery (London, 2012), Minsheng Art Museum (Shanghai, 2011), Pinacoteca Giovannie Marella Agnelli (Turin, 2010), New Museum of Contemporary Art (New York, 2009), and Astrup Fearnley Museum of Modern Art (Oslo, 2007).