DIS­AP­PEAR­ING ACT

Known as The In­vis­i­ble Man, in­ter­na­tion­ally renowned Bei­jing-based artist Liu Bolin brings his mas­tery of the art of cam­ou­flage to Ruinart in a newly launched col­lab­o­ra­tion.

Robb Report Singapore - - Art & Design - By DIONNE BEL

Liu Bolin, 45, first be­came in­vis­i­ble in 2005 as a sign of silent protest when the Bei­jing artists’ vil­lage where he worked was razed as part of re­struc­tur­ing for the 2008 Olympics. He faded into the ru­ins by cam­ou­flag­ing him­self us­ing acrylic paints, pos­ing mo­tion­less for hours, then im­mor­talised the per­for­mance through pho­tog­ra­phy, which be­came the first of his Hid­ing in the City se­ries. Since then, he has painstak­ingly painted him­self into su­per­mar­ket shelves, news stands, a wall of Com­mu­nist Party pro­pa­ganda slo­gans, a por­trait of Mao, the Great Wall of China and the Lou­vre Pyra­mid with French artist JR. He also ap­pro­pri­ated da Vinci’s Mona Lisa and Pi­casso’s Guer­nica us­ing mul­ti­ple hu­man sub­jects as his can­vas that were then posted on­line in tar­geted Google im­age search re­sults as his way of hack­ing the art world. He has cre­ated fu­tur­is­tic heads made from elec­tronic cir­cuits and cop­per wires con­ceal­ing video cam­eras, live-streamed Bei­jing’s smog from 24 mo­bile phones at­tached to an orange life­jacket he wore, and cre­ated a gi­ant iron fist sculp­ture fac­ing down­wards in op­po­si­tion to the rev­o­lu­tion­ary sym­bol of the fist raised to­wards the sky, as part of the po­lit­i­cal and so­cial com­men­tary that per­vades his art, tack­ling is­sues like con­sumerism, fi­nan­cial power and pol­lu­tion.

Now the artist from Binzhou, Shan­dong prov­ince, who made his own toys as a child, stud­ied sculp­ture at art school and whose cre­ations are closely in­ter­twined with a rapidly mod­ernising China, turns his at­ten­tion to Ruinart in its lat­est an­nual artist col­lab­o­ra­tion that con­tin­ues the long­stand­ing re­la­tion­ship be­tween the Reims-based cham­pagne house and the art world. Af­ter a 10-day res­i­dency at Mai­son Ruinart last Au­gust, he car­ried out eight photo-per­for­mances, care­fully se­lect­ing the dif­fer­ent sites, the Ruinart em­ploy­ees who would van­ish into his pho­tos, the light­ing,

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