While on the grassland in Inner Mongolia, I bough a traditional Mongolian costume to go with the blue Western suit I took with me. Dressed in two different styles, I did several impromptu works. Before I left, I folded the Mongolian costume and left it on the grassland to conclude my work.
刘成瑞 MONGOLIA 3，高清彩色视频，10分47秒，2016；Liu Chengrui,MONGOLIA 3, color HD video, 10'47'', 2016
Dressed in the blue suit and the traditional Mongolian costume in turn, I did the two action works by the Hulun Lake, showing my effort to sew up the boundary between the lake and the land with stones and concrete posts.
Called “Далайн нуур” among the local herdsmen, Hulun Lake, located in New Barag Right Banner in the west of Hulunbuir Grassland, is the largest lake in Inner Mongolia.
刘成瑞 MONGOLIA 2，
Liu Chengrui, MONGOLIA 2,
color HD video, 1'22'', 2016
In the traditional Mongolian costume, I managed to make a square in the river with my footprints and followed it again and again.
color HD video, 2'35'', 2016
I did a performance with some bones used for sacrifice in Mongolia, with two friends Zhang Zhenyu and Yan Bing accompanying me with impromptu Khoomei.
Liu Chengrui, A man from long ago,
performance, photograph, 120X150cm, Lingshan Mountain in Beijing, photograph by Hu Yinping, 2013
刘成瑞《一个很久以前的人》，行为，去波兰期间所带的全部物品：青稞面、酒杯、邀请函等，2013；Liu Chengrui, A man from long ago, performance, All items brought during the trip to Poland: barley noodles, wine glasses, invitations, etc, 2013 在去波兰的整个旅途中我把自己想象成很久以前的人，并像很久以前的人那样行动，对话。身着藏袍是因为我有藏族血统，我的先辈过着游牧生活。 My ancestors were living nomadically. I will meet you as a member of them during this trip to Europe. In Poland, I will dress traditional Tibetan clothes, without any luggage. I want to go out for a walk like in the prairie in my motherland.
By Liu Chengrui
Since ancient times, prairie folks have followed a mobile way of life called nomadism. They do not graze in fixed places but rove about seeking water and grass for their herds. This way of life is not only for their own livelihood but also for the sustainability of pastures. In such a wild expanse like the prairie, what man needs is more than survival_as he has to find for his humility and pride a right place in the universe which can juxtapose with both natural and social space but is more cohesive and lighter, a place built by man and the divine force on the basis of awe, blessings, humbleness, and rituals. Like a vast empire, it provides a sanctuary for our soul that has been wandering on the grassland, and at the same time allows it to beam with human glory. By “divine force”, I do not make a special reference to religion, as there is also a philosophical dimension here, a philosophy of life born of thousands of nomadic years. A group can gather on special occasions like a festival or an anniversary to communicate with the divine force, and in this case any individual can feel the divine existence with open arms or bowed head. The nomads become full and no longer feel lonely, therefore linking up extensively and closely with the “divine force” though rituals, costumes, songs, dances, poems, etc. I thus look on nomadism as more a state of mind than a mere life style. In cities we do have nomads, but they are mostly sad because cities are nothing but orderly, fragmented spaces, where order is founded on politics and capital, leaving little room for a divine force, and man and nature cannot stay in harmony, both corned at a disadvantage.
“Shuanggeda” (2013-2021) three parts: The first part shows my new work this year “Burning Stone”. It is my response to urban life and ancestry as a nomadic descendant on the city fringe. I was wearing riding breeches, riding boots and tailored red silk shirt, just like an equestrian. As the equestrian sport gains in popularity in cities, horses are no longer considered family members, means of transportation, or comrades-in-arms on the battlefield. Silent stones are burning in the recess of our memory, never going out. The second part is called “Mongolia”, a series of impromptu works I after I joined in a road trip project “Wilderness” curated by Wang Che. Through action and performance, I aimed to reconstruct Mongolia in the past, in imagination and in the future. I switched between a blue Western suit and a green traditional Mongolian costume in that work. Before I left, I folded the Mongolian costume and left it on the grassland as a conclusion of my work. The third part is about my journey across Eastern Europe in 2013 as a “man from old times”. It’s an action aimed to bring together an accelerated time and space and a slow but intact time and space. I was dressed in black traditional Tibetan costume, to mark my identity as a member of ethnic minorities that has been hidden under my Han name.
I was born in shuanggeda, a village by the eastern part of Kunlun Mountain. I took it as the center, from where I left and return, carrying different marks of my identity. I don’t rely on “ancestry” or origin to belong to a certain group. Rather, amid the contemporary uniformity, I, as an individual, extended from me another full and rich room of imagination, and sustain it with warmth and strength.
Rivers roar in the Morinhor box
ready to freeze.
In the cosy delivery room on the snow-covered land
all are awaiting.
The earth knows everything
but keeps silence and burns.
We could have
lifted this burning stone
as a herder or a bard,
but in the broken time and space
we were put under the burning stone
aflame and silent.
The rivers, boiling hot,
carry no news.
The burning stones,inside and on the shoulders,
merge into one,
joining the land,
silent and aflame
May 24, 2021
刘成瑞《燃石》，行为，摄影，80X120cm，北京，摄影：柴堃，2021；Liu Chengrui, Burning stone, performance art, photograph, 80X120cm, Beijing, photograph by Chai Kun, 2021 刘成瑞《燃石》，行为，摄影，80X120cm，北京，摄影：李生辉，2021；Liu Chengrui, Burning stone, performance art, photograph, 80X120cm, Beijing, photograph by Li Shenghui, 2021 刘成瑞 MONGOLIA 3，行为，摄影，80x120cm×4，摄影：韓五洲，2016；Liu Chengrui,MONGOLIA 3, performance art, photograph, 80X120cm×4, photograph by Han Wuzhou, 2016
Liu Chengrui, of Han ethnicity, was born in Qinghai province in 1983 andis now based in Beijing. His creation is centered on the body. Through action, performance, painting and writing, he shows the persistence and transcendence of the will of life. “Decade”, a project he launched in 2006, is a moderate cornerstone of his creation. The project is expected to use appointment as a bond with many participants to reshape each other’s life scene and social personalities over a long period of time. He has held exhibitions (projects) or given performance in Xie Zilong Photography(Changsha), MadeIn Gallery(Shanghai), Shanghai ART(Shanghai), Minsheng Art Museum(Beijing), Vitamin Creative Space(Beijing), Institution for Provocation (Beijing), Labirgnt (Lublin), CAFA Art Museum (Beijing), A4 Art Museum (Chengdu), NIPAF (Nagano, Japan), Busan gallery (Busan),Liberia Center For Contemporary Art (Beijing), etc.
Awards: Excellence Award, YoungArtists Promotion Plan funded by China National Arts Fund, 2015; First Prize, Circle Art Youth Award, 2015;Merit Award, “Exhibition of Documents of Chinese Performance Arts 2008”, Macau Museum of Art,2008;
Poetry: "Lancangjiang Art Project", HYUNDAI MOTORSTUDIO,2018, “So The River”, A4 CAC, 2013, “Grief”,Thrudesign Space, 2017, “Which Way to the East”,Qinghai Normal University, 2004.
Initiator: Qin Ga (Chyanga) Time: June 2020 - June 2021 Site: Anywhere Host organizer: Rhizomic Space Nomadism involves political structures and living mechanisms nomads formed over years in their production and life. Along with the evolution of human history and civilization, this pattern of culture has offered the world a different cultural perspective. With a dynamic structure, it is in an ongoing process of changing or crossing the established boundary. The contemporary aspect of nomadism, in the overwhelming context of globalization, has penetrated our daily life and led to structures with differentiated values, which may help to restructure the world.
To an individual, mobile physical experience and sense-based perception are very important in breaking the conventional cognitive pattern. The contemporary practice in nomadism covers a wide range, from history and culture to nature and life style, in which field, everyone has unique experience and understanding. This art project brings different individual events together to show the possible values of the contemporary nomadic structure. The artists to be invited will choose freely when and where to carry out this “Nomad” project. Any medium is acceptable, including but not limited to painting, sculpture, installation, performance, video, sound, music, dance, etc. The place can be everywhere, no matter it is a prairie, a desert, a mountainous region, a city, or even the cyberspace. “Go Nomadic Together” is intended as an open “nomadic” art experiment and a collection of individual cases as well . Poster Designer: ShiruneeLogo Designer: Chai Jiaqi Translator: Lucy Li
About Rhizomic Space Rhizomic Space, with no bricks or motar, is founded as a nomadic space by Qin Ga (Chyanga) at the end of 2011. Working through different channels and in different forms, it chooses social public spaces with mobility to launch and organize experimental art projects to explore the extension of contemporary art in social public places, the contingent aspect of space production, temporary structures, sustainable force, and the sculpture of transmigrated life. It has completed a series of projects, including “Packing Case Project”, “One Dream Project”, “Read Flag Primary School”, “Make Waves”,“Fly Together: Shijiezi Village Art PracticeProject”,“VolunteeringProject:People’sKindergarten”,"NomadRelays Project", "Go Nomadic Together Project "is currently on show. 官方微博 : 造空间RhizomicSpace 微信公众号：RhizomicSpaceFacebook : RhizomicSpaceInstagram : rhizomicspaceE-mail : firstname.lastname@example.org