Liu Ding

Liu Ding's work has been shown at numerous major art institutions, including Castello di Rivoli, Turin (2020); MAK Austrian Museum of Applied Arts/Contemporary Art, Vienna (2019); The Haus der Kulturen der Welt (2018); Museum Fur Kunst und Gewerbe Hamburg (2018); 4A, Sydney (2017); Kunstmuseum Bern, Bern (2016); Guandu Museum of Art, Taipei (2016); Para Site, Hong Kong (2016); Red Brick Museum, Beijing (2016); Frye Art Museum, Seattle (2016/2012); Museum Bonnefanten, Maastricht (2015) ; MOMA PS1, New York (2015); Hiroshima City Museum of Contemporary Art, Hiroshima (2015); Tate Modern, London (2013/2012); Taipei Fine Arts Museum, Taipei (2012); Times Museum, Guangzhou (2012/2011); ZKM, Karlsruhe (2011); Iberia Center for Contemporary Art, Beijing (2008); PasquArt, Biel (2008); Arnolfini, Bristol (2008); Turner Contemporary, Kent (2008); São Paulo Museum of Art, São Paulo (2008); Kunsthalle Wien, Vienna (2007); Astrup Fearnley Museum of Modern Art, Oslo (2007); Museum of Contemporary Art Shanghai, Shanghai (2006); Luggage Store Gallery, San Francisco (2006); Seoul Museum of Art, Seoul (2006); Fondazione Sandretto Re Rebaudengo, Turin (2006), and so on.

In recent years, his works have been collected by such institutions as Castello di Rivoli Museo d'Arte Contemporanea, Museion, Bonnefantenmuseum, Astrup Fearnley Museet, Frye Art Museum, Museum für Kunst und Gewerbe Hamburg, M+, Guangdong Museum of Art, Daimler Contemporary, and the White Rabbit Collection. 

In collaboration with Carol Yinghua Lu, he has co-curated Little Movements: Self-Practice in Contemporary Art at OCAT, Shenzhen (2011), which travelled to Museion in Bolzano, Italy (2013) and Asia Cultural Complex, Gwangju, (2015). Other curatorial projects include: Notes: Artistic and Intellectual Voices from the End of the 20th Century, Sounds as Silence: Academic Value of Life (2021), Waves and Echoes: Postmodernism and the Global 1980s (2021), Waves and Echoes: A Process of Re-contemporarization in Chinese Art Circa 1987 Revisited (2020), Factories, Machines and the Poet’s Words: Echoes of the Realities in Art (2019), Salon Salon: Fine Art Practices from 1972 to 1982 in Profile - A Beijing Perspective (2017, 2020); New Measurement Group and Qian Weikang (2015); From the Issue of Art to the Issue of Position: Echoes of Socialist Realism (2014); and the 7th Shenzhen Sculpture Biennale (2012).

His writing and editorial works include: Little Movements: Self-Practice in Contemporary Art (Guilin: Guangxi Normal University Press, 2011); Little Movements II: Self-Practice in Contemporary Art (Cologne: Walther König, 2013); Accidental Message: Art Is Not A System, Not A World (Guangzhou: Lingnan Art Publishing House, 2012); Individual Experience: Conversations and Narratives of Contemporary Art Practice in China from 1989 to 2000 (Guangzhou: Lingnan Art Publishing House, 2013); Reef: A Prequel (Bonnerfantenmuseum, Maastrict, Holland, 2016); Salon Salon: Fine Art Practices from 1972 to 1982 in Profile - A Beijing Perspective (The Chinese University of Hong Kong Press, 2019).