LI RAN-recent works-PPT

LIRAN,李然部分近作2012-2014LIRANSELECTEDRECENTWORKSupdate:11.2014,EnglishHuasderKulturenderWelt(HKW),Berlin;TheJewishMuseum,NewYork;ContemporaryArtsMuseumHouston(CAMH),Houston;MusedartcontemporaindeMontral,Montreal;TheMuseumofMoscow,Moscow;CentredArtContemporainGenve,Geneva;CCAWattisInstituteforContemporaryArts,SanFrancisco;OCTContemporaryArtTerminal(OCAT),ShenzhenandShanghai;UllensCenterforContemporaryArt(UCCA),Beijing;CAFAMuseum(CAFAM),Beijing;andothervenues.HisworkshavealsobeenfeaturedinMontrealBiennale(2014),BiennaleOfMovingImages2014(2014),4thMoscowInternationalBiennaleforYoungArt(2014),2ndCAFAMBiennial(2014),4thFormerWestProject(2013),9thGwangjuBiennial(2012),7thShenzhenSculptureBiennale(2012).,BIOGRAPHICAL,李然1986年出生于湖北2008年创办并加入公司/Company现工作、生活于北京教育2009年毕业于四川美术学院油画系，获学士学位，中国重庆获奖最佳艺术家奖，莫斯科国际青年艺术双年展，莫斯科美术馆，俄罗斯莫斯科个展2014“孤身一夜”，卡迪斯特艺术基金会，美国旧金山“档案23：李然”，录像局，中国北京2012“我想和你谈谈，但不是你们”，歌德学院开放空间，中国上海“漂亮的知识”，艾可画廊，中国上海“圣维克多山”，魔金石空间，中国北京部分群展2014“正如金钱不过纸造，展厅也就是几间房”，奥沙上海，中国上海“期待”，蒙特利尔双年展，蒙特利尔当代美术馆，加拿大蒙特利尔“动态影像双年展”，日内瓦当代艺术中心，瑞士日内瓦“视野与声音：全球电影与录像”，犹太美术馆，美国纽约“梦想时分”莫斯科国际青年艺术双年展，莫斯科美术馆，俄罗斯莫斯科“八种可能的途径：在北京的艺术”，Uferhallen，德国柏林“多个场合的同一时刻”，加州艺术学院（CCA）Wattis当代艺术中心，美国旧金山“无形的手：策展作为立场第二届CAFAM双年展”，中央美术学院美术馆，中国北京2013“第？代”，OCT当代艺术中心，中国上海,“中华廿八人”，鲁贝尔家族美术馆，美国迈阿密“半自动方式”，香格纳画廊，中国北京“差异引擎”，魔金石空间，中国北京“阅读”，LeoXuProject，中国上海“前西：来自柏林的笔记”，BAK艺术中心（BAK），荷兰乌德勒支“坐落于阴暗处”，大田画廊，日本东京“不确定的过程中意大利与中国之间的一段叙述”，斯坦普利亚基金会，意大利威尼斯“前西：文献，星群，前景，世界文化宫（HKW），德国柏林“来自四川美术学院油画系20年的实验与实践”，苏州美术馆，中国苏州“我不在美学的进程里：再谈行为”，星空间七棵树创意园C5空间，中国北京“惯例下的狂欢以OCAT为案例”，OCT当代艺术中心（OCAT），中国深圳“ON|OFF：中国年轻艺术家的观念与实践”，尤伦斯当代艺术中心（UCCA），中国北京2012“圆桌”，第九届光州双年展，韩国光州“未完成的国度：来自中国的新录像”，休斯敦当代美术馆，美国休斯敦“中产阶级拘谨的魅力”，Yiintheothervideo,Iwasplaystheroleofthisseerandre-enactshispredictionswithanimitationFrench,mimickinghisFrenchintonationandbodylanguage.,漂亮的知识2012/双通道彩色有声录像装置/6分27秒/尺寸可变PrettyKnowledge(stills)2012,Sound&ColorDual-ChannelVideoInstallation,6min27sec,Variablesize,LookingForward,MontrealBiennale,2014,Exhibitionview,PhotobyPaulLitherlandandMuseedartcontemporaindeMontreal,PrettyKnowledge(Dual-channelvideoinstallation)1st-channel:,ONLINEVIEW,Thisisthelowqualityvideofile.Soformysuggest,pleasechecktheonlinelink(sendthepassword).,我想和你谈谈，但不是你们IWantToTalkToYou,ButNotToAllofYou,IWanttoTalktoYou,ButNotAllofYou,IWantToTalkToYou,ButNotToAllofYou2012,Dual-channelHDVideoInstallation&ColorPrintPhotos,04min08sec&33min09sec,VariableSize,IWantToTalkToYou,ButNotToAllofYou,LiRansoloprojectexhibitionview,2012,Goethe-InstitutOpenSpace,Shanghai,China,我们对于创作的绝大部分的对话和交流，始终再一个相互错位的语言环境中进行，难以相互分享彼此的工作，使得我们的创作不断的被简单化和去内容化，强制的搬进了一种极端定义的表述之中。题目“我想和你谈谈，但不是你们”正是我在创作工作中所感受到的现实。我在策展人比例安娜所策划的“惯例下的狂欢”中，与策展人比利安娜进行了一次私人的对话，在这个对话过程中，我们彼此分享着我们在展览呈现中各自所使用的文献、照片并其中的内容，并艰难的分享着我们在工作中的各自的困境。我用摄像机记录下了对话的过程，我利用这部分真实的对话，重新加工编辑了另一个简化愉悦录像作品，并将其制作成一个有精神问题困扰的人与一位用医学术语解惑的心理医生之间的对话。在重新加工编辑的录像中，不断出现的关于谈论“幽灵”或者“幻觉”，“真实”或“幻象”等诸如此类台词。,我想和你谈谈，但不是你们2012/双频双通道高清录像装置&彩色照片/4分08秒&33分09秒/尺寸可变,IWantToTalkToYou,ButNotToAllofYou2012,Dual-channelHDVideoInstallation&ColorPrintPhotos,04min08sec&33min09sec,VariableSize,Icometorealizethatmostconversationandcommunicationconcerningartcreationareconductedinasomewhatdisconnectedanddislocatedcontext.Effectivesharingandcommunicationcanhardlybeachieved.Asaresult,ourcreationhastoundergoconstantsimplificationand“de-content”forcingusintoaextremeexpression.Thetitleofmywork,“IWanttoTalktoYou,ButNottoAllofYou”,shedslightonmyfeelingsandperceptionoftherealityofthisindustry.IhadaprivatedialoguewithBiljanaCiric,curatorofAlternativestoRitual,whilepreparingthisworkfortheexhibition.Duringthedialogue,weshowedeachotherthephotosanddocumentsweweregoingtopresentintheexhibition,andshared,despiteallthedifficulties,thedilemmawefaceduringourwork.Ivideorecordedthisconversation.Iexcerptedapartofit,didsomere-editing,makingitintoasimplifiedversionfeaturingaconversationbetweenamanwithmentalproblemsandhispsychiatristwhotendstosolvehisproblemsthroughabunchofmedicalterms.Inthisre-editedversion,wordssuchas“spirit”,“hallucination”,“reality”and“fantasy”areconstantlymentioned.,IWantToTalkToYou,ButNotAllOfYou1stchannel:password:copyrightbyliran,ONLINEVIEW,Thisisthelowqualityvideofile.Soformysuggest,pleasechecktheonlinelink(sendthepassword).,Thisisthelowqualityvideofile.Soformysuggest,pleasechecktheonlinelink(sendthepassword).,另一个“他者的故事”Another“TheOtherStory”,Another“TheOtherStory”(documenttable)2013,SingerChannelVideoandDocumentsInstallation,Oilpaintings,Video(705”),DocumentTable&PhotosArchive,SlideProjector&Slide,VariableSize,Another“TheOtherStory”,Another“TheOtherStory”-AnotherModernArtist(still)2013,SingerChannelSoundHDVideo,7min05sec(DocumentsInstallation,Oilpaintings,DocumentTable&PhotosArchive,SlideProjector&Slide,VariableSize),“他者的故事”取自批评家拉希德阿莱茵于1989年在海沃画廊所策划的的展览“他者的故事：战后英国亚非艺术家展”即在指出“现代主义艺术史中非西方艺术家的缺席。“另一个他者的故事”主要分为三个部分，录像部分是由我所扮演一位“现代”画家，并模仿三、四十年代黑白电影；文献部分是由我父亲70-90年代的风格多样绘画作品的照片档案，我将这些图片和我一系列文本结合摆置在一个档案桌上，这写铜牌文本的内容一部分来自于我父亲在传授我绘画技巧时，我能够回忆起的某些片段，也有一部分来自于我对父亲青年时代的想象，这些文字片段源自我对那个时代的个人想象。第三部分是我父亲80、90年代的两件绘画作品。在这件创作题目上，我用“另一个”为前缀，包括录像部分的题目“另一个现代艺术家”，以此来编纂了一个我脑海中的“现代艺术家”，这些想象一方面来自于我对我父亲的，另一方面来自于当下对于所谓的“现代艺术”破碎和娱情的认知。,Titlesource:In1989,thecriticRasheedAraeencuratedashowentitled“TheOtherStory:Afro-AsianArtistsinPostwarBritain”atHaywardGallery,whichpointedtothe“absenceofnon-Westernartistsinthehistoryofmodernart.”,另一个“他者的故事”2013/单通道录像文献装置/油画，文献柜&照片文档，幻灯机&幻灯片，尺寸可变,KizilMaikofromLiMin(ArtistLiRansfather),Oiloncanvas,5060cm,1988,Another“TheOtherStory”-AnotherModernArtist(stills),“TheOtherStory”isderivedfromashowentitled“TheOtherStory:Afro-AsianArtistsinPostwarBritain”curatedbythecriticRasheedAraeenatHaywardGalleryin1989,whichpointedtothe“absenceofnon-Westernartistsinthehistoryofmodernart.”Another“TheOtherStory”consistsofthreeparts:inthevideopart,Iplayeda“modern”artist,andthewholevideoimitatedstyleoftheblack-and-whitefilmsinthe30sandthe40s.Thedocumentpartembodiesaphotoarchiveofmyfatherspaintingscreatedinvariousstylesfromthe70stothe90s.Iarrangedtheseimageswithaseriesoftextsonadocumenttable.AportionofthetextscomesfromfragmentsofmemorythatIcouldstillrecollectaboutmyfatherteachingmepaintingtechniques,orfrommyimaginationaboutmyfathersyouth.Thesetextsoriginatefrommypersonalimaginationofthatera.Thethirdpartincludestwopaintingsofmyfatherdoneinthe80sandthe90s.Iused“Another”asaprefixtothetitle,justlikethetitleofthevideo“AnotherModernArtist”,tomakeupa“modernartist”withinmymind.Partofthisimaginationcomesfrommyknowledgeaboutmyfather,andpartofwhichcomesfrommyperceptionofthefragmentationorentertainingnatureof“modernart”.,Thisisthelowqualityvideofile.Soformysuggest,pleasechecktheonlinelink(sendthepassword).,Another“TheOtherStory”-AnotherModernArtist52527164,ONLINEVIEW,放纵之前，自由之后BeforeIndulgence,AfterFreedom,BeforeIndulgence,AfterFreedom(stills)2013,Archivalinkjetprint,102cm134cm,“BeforeIndulgence,AfterFreedom”,thethemeisadescriptionoftheGreyareaduringmycreation.Ithinkwehavetofacethenormalcythatthereissomethingbeyonddescriptionduringtheprocessofartproduction.Likethebrokenlanguages,theun-shareableknowledgeandexperiences,theperformanceoutofstate,etc.,insteadofcritique,theyareanotherrealityindeed.Suchkindofsituationislikeaninterestingveilwhichmakesitdifficulttotellfromworksofeachother,oritcouldbeinterpretbutoutofcontext.Therefore,weareindulgedinanuntouchablestatus.Iwanttoshowatipoficebergofthecreationbythisvideo,whichrevealsavarietyofcomponents,asthewords,confession,repentance,retrospection,declaration,deduction,etc.areallincludedintothisfragmentary,broken,andpartialset.Alltheexpressionsseemtobelackofobjects,responses,andmutualspirit.Somewhatembarrassingly,timeaftertime,weexperiencethesocialeventsthathavealreadybeenputintothemateriallibraryandmixthemwiththeexpressionoftheemotionswhichisconsistentostensiblybutdiscontinuesactually.,BeforeIndulgence,AfterFreedom(stills)2013,Color&Sound,SingerChannelHDvideo,15min50sec,“放纵之前，自由之后”这个题目是我对于创作中处于某种“灰色”地带的描述，我相信难以表述正是创作中及需要正视的常态。已然割裂的语境，无法达成共识的知识经验，不在状态的表演等等；这并非一种批判，而是另一种现实，这种现实像一层似乎极为志趣的面纱，让我们各自对彼此的创作难以描述，或者可以描述却断章取义，使得我们沉溺在这种不可触碰的状态中。这件作品仅仅是我希望对于创作本身所撕开的一个截面，这个截面中呈现的是各样的零部件，其中的言语、表白、忏悔、追忆、申诉、演绎等等，通通被列入了这个零碎的、片段的、局部的布景中。一切的表达似乎都没有对象，没有关照，没有相互呼应的精神性，于是尴尬的是，我们又正共处于这个看似开诚布公的舞台之上，一次次重复演绎着成为素材库的社会事件，再将此混入看似一致却无法连贯的情绪表达中。,放纵之前,自由之后（录像截图）2013/彩色有声高清录像/15分50秒,BeforeIndulgence,AfterFreedom,ONLINEVIEW,Thisisthelowqualityvideofile.Soformysuggest,pleasechecktheonlinelink(sendthepassword).,续写一则在展厅中的故事ContinuetoWriteAStoryInTheExhibitionHall,ContinuetoWriteAStoryInTheExhibitionHall,Exhibitionview,2014,CourtesyCCAWattisInstitute,SanFrancisco,USA,ContinuetoWriteAStoryInTheExhibitionHall2014,LivePerformance&VideoInstallation,Monitor,Bench,MusicStand,Microphone,LoudspeakerBox,VariableSize,ContinuetoWriteAStoryInTheExhibitionHall(liveperformancevideostill)2014,LivePerformance&VideoInstallation,Monitor,Bench,MusicStand,Microphone,LoudspeakerBox,18mins45sec,VariableSize,“LiRansmostrecentprojectconsistsofacommissionfortheexhibitionentitledTheParliamentofThings:anExhibitionthatLosesItself,curatedbyXiaoyuWengaspartoftheCAFAMBiennial,Beijing,China(2014).Forthisexhibition,LiRantakeasapointofdepartureaseniorartistspersonalstoryofhisfirsttraveltoEurope.Thereheencounteredforthefirsttimemodernartinamuseumand,surprisedandintrigued,feltcompelledtocomebackandobservetheexhibitedartworkswheneverhehadtime.Theserepeatedvisitsweretheartistsattempttomakesenseofwhathewasseeing:“ThefirstyearsIwasinEurope,Icouldntunderstandtheartworksinthemodernartmuseum.IcouldntevenspeakawordofEnglish,but,wheneverIhadtimeduringthesethreeyears,Isatthereandgazedattheworks.SuddenlyIunderstoodeverything,Ibelieveitwastheenlightenment.”TheOralStorywasArtistLiRanheardfromCuratorCarloYinghuaLuandArtistLiuDingFortheCAFAMBiennial,LiRancreatesaninstallationthatjuxtaposes10artworksborrowedfromCAFAArtMuseumscollectionandcoloredandtransparentpanels(seesketchesbelow).Inadditiontothisinstallation,LiRanwilldoaperformanceduringwhichhewillplaytheroleoftheolderartistwhenhefirstcametoEuropeanddiscoveredmodernartworksinamuseum.”TextsummarizedbyMarieMartraire,ContinuetoWriteAStoryInTheExhibitionHall(slidestill),ContinuetoWriteAStoryInTheExhibitionHall(liveperformancevideo),ONLINEVIEW,逃离场景EscapefromtheScene,Exhibitionview,2014,BiennaleofMovieImage,CentredArtContemporainGenve,Geneva,Switzerland,EscapefromtheScene2014,SoundandColor,Multi-channelVideoInstallation,Monitors,Archive&Ready-made,600cmx500cm(maximumsize),逃离场景2014，有声彩色，多频道录像装置，监视器、文献&现成品，600cmx500cm（最大尺寸）,这件作品分别用5通道的录像与文献及现成物组成，作品基于对真人“密室逃脱（RoomEscape）”游戏现场、“乐队排练室”、“野生鸟类公园”等特定环境的拍摄。在其中几频录像中，艺术家基于真人“密室逃脱”游戏和“乐队排练室”的影像记录，呈现了从真实记录到虚拟素材的截取、混淆、切换、再编辑、重组着各种多样性的描述，从真实记录到对受邀者的采访录音，一边拼接着各种网络来源的视频频段进行心理暗示，一边罗列着可见性的物证置放在展览现场；在“野生鸟类公园”这一频中，艺术家用人声配音虚构了各种野生鸟类在笼中对话、沉默、思考、打趣儿等场景，这些暗含的表述中有许多都是针对艺术家在创作实践过程中所面临的层层迷雾，更是在各种变化不定的现实语境中期待着逃离和穿越；在另一频的录像中，艺术家在自己居住的公寓楼中穿梭着拍摄，例如在楼道的尽头垃圾桶旁张望窗外的另一户人家，并把无数真实或者虚构的想象呈现置放其中，而当叙述正要开始的时候又迅速的跳离了原本的想象。在展览现场艺术家用各种文献和现成品伴随着这些录像，其中一部分展示的文本资料也反映着艺术家在创作实践中所遭遇的问题，其中一段这样说道：“我的作品常常被放进的一个可有可无、可东可西、立场混淆、变化不定的展示现场，打眼望去似乎这些东西和我毫无干系。”,EscapefromtheScene(videostills)2014,SoundandColor,5-channelVideoInstallation,Monitors,Headphones,Tables,Chairs,Document&Ready-made,600cmx500cm(maximumsize)Consistingofa5-channelvideo,somearchivaldocumentsandready-mades,theworkwasshotbasedonsite-specificenvironmentssuchas“roomescape”,“gameshow”,“bandrehearsalroom”and“wildbirdspark”.Inthevideosbasedon“roomescape”,“gameshow”and“bandrehearsalroom”,amixtureofrealrecordingandvirtualimageswasmadethroughcutting,blending,switching,re-editingandre-combinating.Voicesofintervieweesandvideoclipsdownloadedfromonlineweremixedtogethertogiveoutpsychologicalhint.Andvisiblephysicalevidencewasplacedontheexhibitionsite.Inthevideofeaturing“wildbirdspark”,theartistusedhumanvoiceovertomimicwildbirdsspeaking,contemplation,thinkingandplayingincage.Suchimplicitexpressiontargetedattheheavymisthewasfacedwithduringhispractice.Moreover,italsoindicatedthedesirestoescapeandtranscendthecontextofrealitywhichwasteemingwithchanges.Inanotherchannelofvideo,theartistshotwhilewalkingabouttheflatbuildinghelivedin.Forinstance,hestoodbesidethedustbinattheendofthecorridorandpeepedatanotherfamilythroughthewindow.Realrecordingandfictionalimaginationweremixedtogether.Whenitseemedthenarrativewasabouttostart,itabruptlybrokedownthepreviousimagination.Attheexhibitionsite,besidesthevideostheartistalsoputondisplayvariousarchivaldocumentsandready-mades,revealingsomeoftheproblemstheartistencounteredduringhiscreationprocess.Oneofthetextsread:“Myworkisoftenputintoanexhibitionsitethatisnotessential,notfixed,changingandwithaconfusedstance.Atfirstsight,thesethingsmayseemtohaveabsolutelynothingtodowithme.”,Thematerialsontable:1.VERDIII.Trovatore.(musicscore)2.10piecesofpostcard.(Zhuhaicityin90s)3.Batspecimen.4.Apieceofchrometext,Lab-1stchannel,Lab-1stchannel(18mins50sec),ONLINEVIEW,Thematerialsontable：1.Abook“TheDistractedPreacher”,ThomasHardy.2.Threepiecesofpostcard.3.Twopiecesofchrometext.,TheLandofMystery-2ndchannel(11mins25sec),TheLandofMystery-2ndchannel,ONLINEVIEW,Thematerialsontable：1.AComicbookfromJunjiIto.2.Fourpiecesoftattoophotos.3.Threepiecesofchrometext.,MULTI-EGO-3rdchannel(10mins26sec),MULTI-EGO-3rdchannel,ONLINEVIEW,Thematerialsontable：1.Abottleofdryflowers.2.Apieceofchrometext.,BirdParadise-4thChannel(5mins40sec),BirdParadise-4thChannel,ONLINEVIEW,Untitled-5thchannel(2mins14sec),Thematerialsontable：1.Twopiecesofchrometext.,Untitled-5thchannel,ONLINEVIEW,无题湖底之歌Untitled-SongofTheLakebed,Untitled-SongofTheLakebed(stills)2014,SingerChannelVideo,ColorandSound,7mins10sec,WhenItravelinGeneva,IcaughtsightofaswanbyLakeGeneva.Theswandippeditsheadintothelakeoverandoveragaininsearchoffood,andawhilelaterraiseduptoinspectitssurroundings.Thissceneremindedmeofarepetitivemovementduringmycreation.Therefore,Iintentionallyprojectedtheswanseachplungeintothelakebedontothisfilm,andmixeditwithvideoandaudiomaterialsIhavecollectedwhiletravelindifferentplaces.Itmightbeatune(“Mr.Sandman”)playedonaloopinanelevatoratacertainartmuseum,ascenetakenatabarinLosAngelesChinatown,aseagulldivingunderneaththeSanFranciscoBridge,thewindowsceneryIshotwhileridingShinkansenfromTokyotoAtami,ortheviewandsoundtakenattheCentralParkofChiangmaiMoat.Thus,Ihaveprojectedontothisswanasanartist,thecaptureofrawmaterials,therepeatedtestofmyinspiration,aswellasmythinking,gesture,andposture.LikewhatIwroteforthebeginningofthefilm,“Themomentisagainandagain/Raisetheheadandlook/Orexploreandsilence.”,当我在日内瓦旅行时，在莱芒湖边看到一只天鹅，它频频的将头扎进湖水中搜寻捕食，之后又翘首观望，这个画面让我联想到了在创作中一种重复性的动作姿态，于是我将这只天鹅每一次扎入湖底的探索蓄意投射在这部影片中，并混入了我在不同地区旅行时的拍摄的影音素材，例如，一段来自瑞士某个美术馆的升降电梯中反复的播放的曲子（“MrSandman”）、在洛杉矶唐人街一个酒吧里的场景，或者是旧金山大桥下飞翔而过的海鸥、从东京乘坐新干线时拍摄的沿途的风景、清迈老城的中央公园等等的影像与声音素材。我将艺术家在工作中对于捕捉素材、测试灵感，并思考与行为上的动作和姿态投射在这只天鹅身上。就像影片开头出现的一段文字，“这是一个频频翘首与沉默探寻的时刻”。,Untitled-SongofTheLakebed(stills)2014,SingerChannelVideo,ColorandSound,7mins10sec无题湖底之歌（视频截图）2014，单通道有声彩色录像，7分10秒,Untitled-SongoftheLakebed,ONLINEVIEW,部分参考书目SELECTEDBIBLIOGRAPHY,SELECTEDONLINETEXT,MimicryandReturnBySUWEIOnlineview,ThePost-RepetitionEgoBySUWEIOnlineview,LiRan,ByHoRuiAn,Onlineview,MountainClimbingByEdwardSandersonOnlineview,EnglishPart.,Monographs&GroupExhibitionsCatalogues(Selected)SuWei.(Editedby).(2013).ImNotInvolvedInAestheticProgress:ARethinkingofPerformance,PublishedbyStarGallery,Beijing,China.pp.27-31.BAK,basisvooractuelekunst.(2013).FOMERWEST:Documents,Constellations,Prospects,ajointundertakingbyBAK,basisvooractuelekunst(Utrecht)andHausderkulturenderWelt(HKW)(Berlin),pp.104-105.KarenSmith.(2013).AsSeen2-NotableArtworksbyChineseArtists,PostWavePublishingConsulting(Beijing)Co.,Ltd.pp.28-35.IBSN:978-7-5100-5833-2.BiljanaCiric.(Editedby).(2013).AlternativestoRitualcaseofOCAT,PublishedbyOCTContemporaryArtTerminal,Shenzhen,China.pp.23-28.BaoDong,SunDongdong,PhilipTinari.(2013).ON|OFF:ChinasYoungArtistinConcept&Practice,PostWavePublishingConsulting(Beijing)Co.,Ltd.pp.127-132.ISBN:978-7-5100-5619-2.DavideQuadrio,RudyTseng,JennyLee.(2012).TheDiscreetCharmofBourgeoisie-ContemporaryVisionsonChina,Taibei,Taiwan.PublishedbyYisFurniture&ProjectConsultingCo.,Ltd.pp.48-51.GwangjuBiennalePress,(2012).ROUNDTABLE-GwangjuBiennale2012,PublishedbyGwangjuBiennaleFoundation(Gwangju,SouthKorea),pp.416-419,ISBN:978-89-87719-20-703600.LiuDing,CarolYinghuaLu,SuWei.(2012).TheSeventhShenzhenSculptureBiennale-AccidentalMessage:ArtisnotaSystem,notaWorld.LingNanArtPublishingHouse,Guangzhou,China.pp.202-205.ISBN:978-7-5362-4923-3.XuBing.(Editedby).(2012).TheFirst“CAFAMFuture”ExhibitionSub-Phenomena:ReportontheStateofChineseYoungArtNomination.GuangxiNormalUniversityPress,Guilin,China.ISBN:978-7-5495-2469-3.JamesElaine.(Editedby).(2011).InAPerfectWorld.,PublishedbyMeulensteenGallery,NewYork,USA.pp.40-50.SelectedBibliographyHoRuiAn.(2013).“LIRAN”KALEIDOSCOPEIssue19(Fall2013)Asiaspecialedition.pp.8-13VenusLau.(2013).LIRAN,ArtPapersMagazine,September2013.pp.54-55.SuWei.(2013).PERFORMANCE/ART,LEEP.Jun.2013.Issue146.pp.84-93.chickhereEdwardSanderson.(2013).InterviewwithLiRan.Artslant(rackroom),chickhereEdwardSanderson.(2013).ImNotInvolvedInAestheticProgress:ARethinkingofPerformance.Art-agenda,chickhere,GwenParry.(2013