Liu Xiaodong's "Your City No. 3", 2018
"I just tangled with this society and couldn't figure it out together, so I went to the scene."
Almost a decade ago, when the painter Liu Xiaodong appeared on the cover of New Weekly magazine, he described his creative state in this way.
From the end of the twentieth century, he left the quiet and comfortable studio to sketch in all parts of China and all corners of the world, from the Golden City in the northeast of his hometown to the Golden Gate in the south of China, from the vast Taihu Lake in the east to the rugged Three Gorges Reservoir Area in the southwest, he painted the sides and moments of China's urbanization process.
"If future generations want to understand the living conditions of the Chinese at the end of the twentieth century from painting, his works are undoubtedly the most important window." Ten years ago, in an interview with New Weekly, scholar Wang Min'an compared Liu Xiaodong's work to the life history of contemporary Chinese.
"We see ourselves in Liu Xiaodong's paintings. These paintings are like mirrors, and when we look at the people in the paintings, we see ourselves: our own humility, our own mediocrity, our own triviality, our own habits, our own history. The man in the painting, without any noisy light or shadow of sin, is all of us mortals who are full of hardships and at the same time turn hardships into pleasure. ”
This was the main reason for New Weekly's interview with Liu Xiaodong in 2012, and the cover title of that issue was "Pain."
The cover of the 381 issue of New Weekly is a self-portrait of Liu Xiaodong.
Now that nearly ten years have passed, what is Liu Xiaodong painting, where has he gone to sketch, and how will he depict the cities and people of this era?
In the spring of 2020, Liu Xiaodong was stranded in the United States because of the epidemic, so he simply picked up a paintbrush and painted New York in the epidemic: empty streets and children's parks, citizens playing chess at sparsely populated intersections, diphtheria buntings moving on the city's pavement at will... As the pandemic of the century has led to a change in the way people think about cities.
Jia Zhangke said of Liu Xiaodong's work: "All contemporary Chinese artists who have a sense of life and perception may be very similar, because we live in such a change, as long as you still have perception of life, you can't not pay attention to this change, you can't feel it." ”
The pandemic is about to turn two years old, and social life is gradually opening up, but the future is still full of variables. During Liu Xiaodong's solo exhibition "Your Friends" at UCCA Edge in Shanghai, we talked to Liu Xiaodong again about his latest creations, as well as the cities and people in the paintings.
Journalist/Felicia
Editor/Shaw Bong
Gray tone people
Liu Xiaodong's paintings are always gray and misty, and there is rarely a clear and spacious feeling. The people in the painting are also wrinkled, and the ugliness and beauty are mixed together. The flesh he paints is not the delicate, rounded flesh of the Greek sculpture, but the rough and raw. Men and women have taut muscles, crumpled fat, mixed with the smell of blood, sweat and hormones.
Liu Xiaodong almost always paints in a gray environment, he uses gray dots to dye the people living in the paintings, and the body is the refreshing creation of his paintings, which grows under his pen and is also arranged by nature. Liu Xiaodong loved to paint these young and strong bodies, and once he used God to paint them for about ten hours, "these young and strong bodies will not be beautiful because of the specific dirty smell", and the magnificent landscape of these bodies will not become unspectful because of the dirty smell of specific life," he wrote in his creative diary.
This is Liu Xiaodong's aesthetic: no beauty can exist independently of ugliness. The life force of those primitive brachia seems to be isolated in the dull and decaying environment, but it is the unique color of this land.
Liu Xiaodong sketched in the Three Gorges, and the model was Han Sanming, who starred in "The Good Man of the Three Gorges". /Documentary "East"
In the documentary "East", he also looks gray, the same as the tone of his paintings. 16 years ago, Jia Zhangke and Liu Xiaodong took over a project, the investor let them go to the Three Gorges to engage in some realistic creation, Liu Xiaodong painted, Jia Zhangke made it into a documentary, and later made a drama film. Liu Xiaodong, who is painted in the documentary, is dressed like a local, naked, with the big sun, with mountains and rivers as the background, sweating like rain. Compared to the locals, his complexion was two degrees lighter.
Jia Zhangke's feature films have swept through many international film festivals, and Liu Xiaodong's series of paintings in the Three Gorges has also become one of his masterpieces. The auction turnover of "Three Gorges New Immigrants" in 2006 was 22 million yuan, which set a new auction record for contemporary art in the mainland at that time, and some people called it "auction miracle". Over the years, Liu Xiaodong's auction record has been repeatedly refreshed.
Compared with the red-hot auction record, a large number of gray tones exist in Liu Xiaodong's decades of creation. The auction house and the concrete life he painted point to two worlds.
He was not accustomed to painting things that were excessively brilliant, and the environment he created was often chaotic, with damaged attics and abandoned factories. "The tall Berlin Wall, the banquet hall, the clubhouse, all without paintings, are too far away from my childhood life," Mr. Liu told me on the phone. Liu Xiaodong is a rare "neo-realist" painter after the new wave of art in the 1985s.
He insisted on painting and figurative painting on the spot, and he felt that talent was the magic in creation. He turned every trip into an event. He went to the mines in Hotan, Xinjiang, to paint the workers digging jade, to the young men leading horses on the side of the Qinghai-Tibet Railway, to the small towns where the industry was withering, the workers playing cards in front of the wreckage of dilapidated airplanes, people playing in the ruins, grinning and grinning — everyone is a small history.
Liu Xiaodong's Jincheng Airport, 2010
Liu Xiaodong's gray tones are reminiscent of his hometown, Jincheng, a small town on the edge of Panjin in Liaoning. In recent years, with the rise of northeast literature, people have once again focused on this land and repeatedly described the magic of northeast China. Liu Xiaodong has been away from Jincheng for 40 years, he knows that his hometown has carved him, and everywhere he goes, he naturally compares Jincheng, and when he eats, walks, and paints, he habitually thinks of it, "Where life grows up is the biggest impact on him, and I feel unable to get rid of it." ”
In the years that followed, the trajectory of Liu Xiaodong's paintings had already crossed the border, and according to his words, although it was not the same as the content conveyed by his hometown, he always looked for a place with traces of life to paint. "All my work revolves around migration, its changes, the splendor that surrounds the uncertainty of life, and no example is left with this."
The world is condensed into a personal landing in Liu Xiaodong's painting. Refugees living on the beaches of Greece, families on the U.S.-Mexico border. No matter where they come from, what color they have, or what their habits of life, these people consciously or unconsciously bear the thickness of the world.
Liu Xiaodong's work "Things Would Have Been Worse" depicts a group of immigrants gathered in front of a station in Milan, Italy.
The magical commonality is that no matter where he paints or who he paints, most of his paintings are gray. Industrial transformation, human labor, people's instinct to fight collective asthma, human society is different and similar.
Gray is the color of the base, a mixture of the world. Liu Xiaodong added some surreal elements to the inside, such as red and blue, some transcendent colors, which are the colors of life.
A few years ago, he went to Bangladesh to paint the workers of the shipbreaking factory, which relied on manual shipbreaking to recycle steel resources. These abandoned steel machinery, which once traveled across the oceans, are now crippled and retired, and workers dismantle them to support their families. Liu Xiaodong drew the silence of the workers when they lifted the steel plate, "Aren't they all earning money to support the family?" Earning hard money, life is not always like this. ”
Liu Xiaodong's "Steel Plate 1", 2016
Urban ants
Liu Xiaodong lives in Beijing every day, and when he does not go out to paint in his free days, he will also paint some pictures of Beijing. The city's night is hazy, and the sun is surrounded by noise.
"Your City" is the life that Liu Xiaodong witnessed when he walked in beijing's fourth ring road. In beijing, where traffic is busy, anonymous workers carry heavy printed mattresses and walk step by step to the overpass. One can guess his story: drifting north, looking for a cost-effective place to stay in Beijing. The man's face is obscured, and the viewer can only see the gesture of his labor for life, and the spine and limbs are very hard.
Liu Xiaodong observes Beijing on the main road: the changes in the urban-rural interface on the outskirts of Beijing, the changes within the city, and the crowds drifting north here. Liu Xiaodong has also experienced several moves, and most of the people who live in Beijing have to move several times. If you have a little spare money, find a moving company, if you work, just like the people in the painting, this scene happens every day. This world-class metropolis operates automatically, shuffles, and maintains a relative balance between people and land and architecture.
Liu Xiaodong's Drawer, 2018
In the past 25 years, the people in Liu Xiaodong's paintings have changed with the city. He felt that this generation was good-looking and generally taller, which was different from their generation. Cities are also getting bigger. In the past, it was possible to distinguish at a glance which was an urban person and which was a rural person, but now the appearance can no longer explain the answer. Liu Xiaodong also paints subtle changes hidden in the city. He drew drawers of city people, stuffed with various types of pills, and benchmarked various ailments. On the dresser for girls, there are cosmetics printed with the logos of various luxury brands.
When Liu Xiaodong graduated from college, he drew a circle of friends around him, crooked in the east and west, his hair was messy, and they were all drifting north. At that time, people called the North Drift "blind stream", a bit of a pejorative color, the artists of the North Drift at that time, life was a ride without a ride, eating without landing. After 25 years, the word "blind stream" is gone, and the streets of Beijing are full of north drift, they are the new Beijingers.
Liu Xiaodong's "Youth Story".
Liu Xiaodong painted more modern cities. In the past, the background of his paintings was mostly the countryside, mountains and rivers. He feels that this is what is happening, the big social background is the process of rapid urbanization, and the landscape and water will be affected or occupied by urbanization. "We see the expansion of urbanization, the nearby countryside is constantly shrinking, we can take the train and see the surrounding fields slowly filled with buildings, this is the situation we are facing today, I am facing such a situation, I also have to paint your city, your landscape." 」
Liu Xiaodong has always had a certain anti-current romance: he paints "outdated" figurative paintings, painting live like an ancient painter. The other side of the countercurrent is his fascination and attachment to the countryside, and he often paints the scenery that is passing away.
His paintings document the process of the city covering the countryside, tibetan youth leading horses, the background is the stretch of ancient landscape, the hay of the Gobi, the large chimney of the alkali factory is interspersed with thick white smoke, and a train crosses it. For Liu Xiaodong, the real hometown has changed. But his hometown is mobile, and the places with the characteristics of agricultural civilization are his hometown. But he is also very clear, "I love the agricultural society and enjoy the convenience and comfort of the industrial society." These were the words in his diary.
Liu Xiaodong's painting is a silent pause and questioning. The people in the field are completely facing the city and running to a new life, and everyone wants to be happy and get rich. But what seeds can the history of the countryside sow in the hearts of people, and what kind of cities will be cultivated?
In the spring of 2020, Liu Xiaodong created a series of watercolor works in New York and launched an online exhibition "New York Spring" last year.
A few years ago, Liu Xiaodong ran to Ordos to paint a donkey in a daze at the newly built commodity real estate, and a nomadic herder riding a horse in an empty city. The Empty City is the most magical of all his series. The city, which grew up with coal mining, declined rapidly at the turn of the century and became a "ghost town" by word of mouth. Then came the East Wind, which is planned to become a large city carrying a million people.
For Liu Xiaodong, the temperament of Ordos has not changed, or the huge open-pit coal mine. A number of cities will become spectacular and great cities as planned, but in terms of aesthetics and the specific life of people, Liu Xiaodong still likes the old city, likes the city that is not man-made, and likes the city that is naturally formed.
"The cities I like are walkable cities, cities that can connect with agricultural societies, and cities with the right proportion of people. Nowadays, the city is full of high-rise buildings, and it is all a building with tens of thousands of people, which is very scary, isn't it? ”
"I'm scared to death to go there, it's all high-income cities, it's not a city for people to walk (consider), it's for the convenience of transportation, for people to be more like ants, you can get to your job quickly." 」 Therefore, in cities with larger and larger capacity, people are also more powerless. ”
"For today's cities, urbanization, I have no ability to judge and have no ability to express, I just like cities that can walk, cities with multiple centers."
When I asked him, how to understand today's hot word "inner volume"? Liu Xiaodong described the "inner volume" as "a world that cannot be opened", "after the metropolitan relationship is very complicated, it can only be rolled inward, and the inner volume is not a good direction." As a society, it should be more international, and the inner volume is formed by various factors in today's society. This is not the ideal direction. ”
Ordos in Liu Xiaodong's work "Empty City Count 03".
Go back to your hometown
The rapid Beijing is in stark contrast to the sluggish Golden City.
Liu Xiaodong returned to the northeast last October. Going back again is a re-examination of "The Golden City Kid" from ten years ago, and it is also a few more paintings for Shanghai UCCAEdge's new exhibition "Your Friends" and put them in the sequence of "Returning to Home Again".
One of the big paintings is called "Changing Lights.". Obviously, it only needs to be changed, but a group of people are there to watch. One with a broom was there watching, and three or two were responsible for watching and nagging. The speed of the northeast always seems to be in a similar condensation, and the people who gather are not sensitive to the passage of time. Returning to the northeast from Beijing, Liu Xiaodong used his paintbrush to capture the frozen time.
The daily life of the Northeast is cut by winter. In the long winter days, people are used to visiting the door and bragging about the day. Liu Xiaodong feels that the artistry of the northeast comes from these long times: winter days when they can't work, everyone gets together and nags, and everyone always loves to do it in their blood. Nonsense is a regional culture, a kind of performance, and has become an industry. Later, everyone was popular to make small videos, and Liu Xiaodong felt that it was quite interesting.
Liu Xiaodong's work "Changing Lights"
On the side of the condensation is the fading. In recent years, northeast novels have repeatedly mourned the aging or collapse of their hometown, the atmosphere is mostly gloomy, and the northeast in the literary sense is a hotbed for the birth of various homicide cases and an integrator of various gloomy emotions. Liu Xiaodong, who always shows the true wounds of people, is soft when painting Jincheng, aging and nostalgia are the background colors, and there are also some grotesque, playful, eccentric, and golden poetry.
Ten years ago, Liu Xiaodong's "Golden City Kid" series was the memory of his first direct face to Jincheng. Confronting one's origins and one's roots is the most eternal theme of painters and writers, demanding sincerity and confession, unpretentiousness, and the artists in vanity fair centres to lower their masks. Liu Xiaodong spent three months in Jincheng, just three seasons across, and this is the first time he has stayed in his hometown for so long since he left home in the 1980s.
Liu Xiaodong in the documentary "The Golden City Boy", walking the streets and alleys, visiting old friends for many years, gradually connecting the after-chapters of childhood: which person opened a restaurant, which person is in his forties and has a son. "Ribs Bent" is a painting of old friends Li Wu and Asahiko standing on the edge of the river, two and a half hundred people watching their X-rays, studying their own bodies, and repeatedly confirming their aging through modern medical equipment.
Liu Xiaodong's Ribs Bent, 2010
The figure of Xuzi often appears in Liu Xiaodong's paintings, with a large flower arm painted on the arm, but only half of it. Because the tattoo was so painful, he only gave up after only half of it, and this half of the flower arm seemed to be his most clear personal mark.
When he was young, Liu Xiaodong knew Xuzi, who was reckless, aggressive, liked to fight, and was a jerk. Later, he and his flower arm have a similar fate: because of the real itch of life, Asahi lowers her ambitions and goes to work in a factory. But he was laid off very early, and Liu Xiaodong didn't know whether he was unwilling to do it or whether the factory wouldn't let him do it. Asahi went to work all over China, helping others to build roads and bridges, and her salary could not be paid. Later, Liu Xiaodong invited him to be a model and took him to many places. Asahiko has seen more, her personality has changed, she knows how to be considerate, and she has begun to know that others are not easy.
Last year, back in the northeast, Liu Xiaodong went to see him, and Xuzi had a grandson and was older. Asahiko is a sample of Kanagi's fate. Living in a small place, with no big ideals, receiving very little money every month, doing odd jobs, and taking care of the family. Asahiko, who is moving toward middle-aged and elderly people, takes care of happy events, weddings of friends and children, and further education; while dealing with funerals, funerals of friends and parents; and handles the chores of the rivers and lakes between them. But Liu Xiaodong felt that Xuzi was still the same as before, optimistic and amused.
Liu Xiaodong's "Asahiko at Home", 2010
The aging of the small town cannot be stopped. Liu Xiaodong watched as the group of workers in his hometown was scattered, and the structure of commuting to work was loose. The younger generation leaves their hometowns to earn a living in areas where individual economies are doing well. The rest of the people who can't walk, like his generation, don't break into the world, and help bring the second and third generations at home.
Those who stayed behind lived a similar life in the northeast, and if they had a job guarding the gate, it would be almost good. Young people go to the city to study, try their best to buy a house in the city, and the death of the hometown is the trend of the times. People who can stay in their hometown also have their own set of philosophies to cope with life in Liu Xiaodong's paintings. They are the concrete people who live in the gray golden city.
When I asked Liu Xiaodong, do northeasterners who grow up in such a background have any commonalities? They seem amused and pessimistic, but Liu Xiaodong doesn't think it should be defined that way. The northeast is still a humane society, with its own laws of operation, living in it, can not bring trouble to others, can not make people annoying, otherwise life can not continue. "It is not a contract society, the northeast still has a strong agricultural society of interpersonal relations, life is maintained by interpersonal relations, rely on your emotional intelligence, words and deeds to obtain your living space." The environment in which they live has created this habit. ”
The amusement of the northeast is a habit, brute force is a habit, and living hard is also a habit. There are so many instincts in his paintings to fight against pseudo-modern barbarians.
Liu Xiaodong was very disgusted with the use of the word "small people" to describe the people in his paintings, and he repeatedly stressed that no one in his paintings was a small person. "They are all people who stand up to the heavens and the earth, and they all bear the bitterness of life—the joys and sorrows that life gives them. The process of urbanization classifies a group of people as vulnerable, but in front of a painter, everyone is a great life. Don't put on the title of a small person, I feel that in front of my eyes are all the people I respect who carry the burden of life, and no one is a small person. ”
The aging Jincheng, the dry and gray Jincheng in Liu Xiaodong's memory, looks moist and poetic in the lens of the documentary. Director Yao Hongyi told New Weekly many years ago that he did not want to shoot the "collapse of his hometown", and his deepest impression of Jincheng was not the appearance of the town, but the warm greetings of Xiaodong's family and brothers, as well as delicious Northeast cuisine. Both Yao Hongyi and Liu Xiaodong have a rather romantic attachment to the idea of the countryside, and they are both doing the same thing — they re-examine the countryside, examine the changes that full-speed modernization has made to people and landscapes.
Liu Xiaodong's work "Li Wu on the Night Shift Can't Sleep During the Day" was completed, and he took a group photo with the model.
Towards middle-aged and elderly people
Jincheng once had a large paper mill, and the town centered on the paper mill was home to thousands of workers and their families, as well as nearby farmers. Liu Xiaodong's mother was a powerful paper picker and circle worker in the factory. Later, I had to take the child, and my mother stopped working and sold popsicles in the street. Liu Xiaodong's tuition fees were saved by relying on popsicle money. When Liu Xiaodong was young, he wanted face and was always ashamed to talk about his mother's livelihood.
When Liu Xiaodong entered middle age, the tone of writing about his mother was different, and the brushstrokes of painting his mother also changed.
Ten years ago, back in Jincheng, Liu Xiaodong was lying on the kang of his hometown, the old mother with gray hair was also lying together, and the old father with weak hearing was sitting on the side, absent-mindedly watching TV, and the documentary "Jincheng Boy" recorded this. Just like a ritual, when he returned to Jincheng last year, Liu Xiaodong slept on the same kang with his mother.
He quietly wrote a diary under the kang, and he remembered that forty years ago, when his mother slept, he hid under the kang to paint. It's just that he has been away from sleeping forty years, and his teenage years are too far away, "My mother didn't know that I coughed before going to bed, and I didn't know that my mother was so quiet before going to bed."
Her mother has the bitter fate of the previous generation, and Liu Xiaodong used to "always easily paint her mother too bitter and vengeful", and could not paint her soft and amiable appearance. Now that Liu Xiaodong is about to enter the end of middle age, the mother in his painting has changed—the mother stands in the garden, standing in the slow river of time. The strong mother, who has supported the family life with most of her life's labor, is calm and quiet in the center of the painting, and even the wrinkles of the skin are self-satisfied.
Liu Xiaodong's "Old Mother", 2020
Liu Xiaodong's solo exhibition "Your Friends", which is being held at UCCA Edge in Shanghai, connects Liu Xiaodong's life after leaving Jincheng. He observed the city in Beijing, he observed the migration of people around the world, he returned to his artistic hometown of New York, he returned to Jincheng, he recorded Jincheng, and his mother's painting was also exhibited. When Liu Xiaodong just graduated, he often used his friends as models. Years later, he once again turned his brush to the people around him: relatives, good friends, and his wife Yu Hong, and his daughter "Red Child".
"Your friend" comes from the mantra of his friend Zhang Yuan, and Liu Xiaodong used it with his hand. Liu Xiaodong is a little worried that southern audiences will not be able to understand this northern expression of emotion, "your friend" is about decades of continuous friendship.
He rarely made his private life public. In public, Liu Xiaodong did not explain too much about "your friend". At the opening ceremony of the new exhibition, he could not go to the exhibition site because of the epidemic, and said to the media through video: I said too much, it is easy to appear greasy, and it also occupies media resources, which is not good. He felt that it was better for a painter to talk less and paint more.
If it were not for his creative diary, we may not be able to see Liu Xiaodong's more open side, "My theme is 'towards middle-aged and elderly', I want to draw a group of my friends, friends who have been in contact for more than thirty years, friends who have become fat and enter middle age." "He knew that time would not listen to him, and in the second half of his life, he would have decreased physical fitness, atrophy of the cerebellum, and dizziness in both eyes. These are coming. And he needs to paint now, to paint the people around him for decades.
Liu Xiaodong painted his wife Yu Hong. As a well-known couple in the art world, the two agreed, almost never talking about family life in public, nor commenting on each other's works. If he encounters curious viewers gossiping about his married life, Liu Xiaodong always refuses: family affairs will not be said. But in the diary, he wrote a moving love story to Yu Hong.
"In my eyes, she did not have youth, because I was in my youth, and I didn't realize that it was youth. She also doesn't age, because every day together, her eyelids are blinking out of cocoons, and she doesn't notice the wrinkles in the corners of her eyes. In fact, there really isn't. If there is any change in the life in front of me, it is that in the past she always loved to correct me in this and such a way, and I don't know when she stopped being so critical of me, maybe she completely lost her enthusiasm for transformation, and I completely understood that this was tolerance. She had a child, and I let her grow up like a child, but she didn't admit it, and always threw out a sentence: I don't have such an ugly child. ”
Liu Xiaodong's "Yu Hong and Red Children in the West Village, New York", 2020
He painted and wrote about his old friends of decades— Ah Cheng, Wang Xiaoshuai, and Zhang Yuan. They all have their own temperaments and wonders. Acheng Shan wrote, always saying that mental workers consume too much and have to compensate with fat meat. Wang Xiaoshuai made independent films, and his mouth was like a hanging river talent. Zhang Yuan engages in documentaries, likes coffee with whiskey, logically jumps in the sky and the north of the South China Sea, and everyone is called a friend. Liu Xiaodong painted friends, he has not seen them for several years, like he only saw yesterday, "friends have no time barrier."
Middle-aged men who have achieved fame often have such old problems - they always feel that they are an opinion leader, but Liu Xiaodong does not. He doesn't like to define others, "I can't generalize anything, not even my family." My generation is even less able to encapsulate the next generation. He always said that he was a painter, mainly painting, "at least my attitude is sincere, that's all." ”
Liu Xiaodong, who paints the pain of reality, Liu Xiaodong, who paints a vigorous and vigorous life, and Liu Xiaodong, who is amused and soft when painting the people around him, are the same person.
Liu Xiaodong is still continuing an ancient thing: insisting on figurative painting, painting concrete and visible people, and painting real scenes that can match reality. His creation is like making a documentary, going to reality. We can still perceive Liu Xiaodong's sharpness and sensitivity from this ancient art, and he can immediately spread the tension of the story. If Liu Xiaodong's illumination is missing, the life we have experienced will be less clear and powerful evidence.
Liu Xiaodong's "Migrant Workers Playing Mahjong", 1997
Liu Xiaodong's painting is a rather self-denying film, he paints forgotten stories, never avoiding the climax of sensationalism: how people survive and migrate, how time flows, how the world quietly changes its face. People go to the city to work and study, study abroad, do business, survive, or forced to leave because of changes in maternal culture. All people are facing active and passive migration, looking for a better job and life.
The energy of his paintings hit the iron plate of power, still full of light. He buried the metaphors of painting in the faces of people, their postures, their colors and silhouettes of light and shadow, and the landscape in which they lived. Liu Xiaodong's fierce impact also comes from these abstract and condensed truths.
The art world is busy defining, busy embedding itself in the glorious process of art history, busy expressing, busy taking seats, busy sublimating their works. Liu Xiaodong is still painting sincerely, wary of greasy and self-exporting views. Liu Xiaodong is still like himself in the "Pastoral Pastoral" he painted more than thirty years ago, primitive and romantic, he records life and life in a way that has "ebbed off" in art history. In this regard, he has not changed.
Liu Xiaodong's work "Pastoral Pastoral" depicts Liu Xiaodong himself and his wife Yu Hong, who are in front of a small railway station in their hometown in northeast China.
✎ Planning | New Weekly New Media
✎ Reporter | Felicia
✎ Edit | Xiao Feng
✎ Proofreading | Yang Chao
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