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THE BEACH, A FANTASY 海滩，幻想⼀种
The Koh Larn Island No.1 柯兰岛 No.1
The Koh Larn Island No.1 ，Archival Inkjet Print ，120 x 120 cm，2017
柯兰岛 No.1，收藏级喷墨打印，120 x 120 cm，2017
Exhibition Description 展览阐述 ：
THE KOHLARN ISLAND (2017), shot recently in Thailand, andrepresents Liu’s greatest degree of authorial control. It reveals playful experimentation and heavy pathos as Liu stages mobile scenes with a local, masked drifter as he tows a giant inflatable swan behind a motorcycle. The protagonist’s voiceover in English gives an account of downward spiral and unfortunate descent into vagrancy. He navigates the contours of beaches in uncertainty and disillusionment, and the swan becomes a fantastical element that remains present but rather humorously unacknowledged as a narrative device. Like the beach itself as a boundary between the flux of the ocean and the fixity of a continental landmass, the swan comes to embody a phantasmagorical tableau between a semi-staged fiction and an elusive reality.
—Text from Article < On The Beach> by Benny Shaffer
刘⾬佳近期在泰国拍摄完成的《柯兰岛》（2017），展现了艺术家作为影像作者所具有的强⼤控制⼒。整件作品既是⼀场戏谑的实验，又弥漫着沉重的悲悯。刘⾬佳在当地拍摄了⼀位流动的、戴⾯罩的流浪者，他的摩托车背后拖着⼀只巨⼤的充⽓天鹅。主⼈公⽤英⽂画外⾳，讲述了⾃⼰如螺旋般下沉的命运和不幸变成流浪者的经历。他的骑⾏在不确定和幻灭感中勾勒出海滩的轮廓，⽽天鹅则化为当下现实中的奇幻元素，在不经意间以幽默的⽅式转化为⼀种叙事⼿段。正像海滩本⾝就是海洋的持续变化与陆地的固定性之间的界限，这只充⽓天鹅也在半-编排的虚构性与那难以捕捉的现实之间，撑起了⼀个有如幻影的舞台场⾯。
——夏本明 Benny Shaffer，节选⾃⽂章《海滩》
The Beach, A Fantasy, Liu Yujia Solo Exhibition.
Tang Contemporary Art Center , Beijing. 2017. Exhibition View.
海滩: 刘雨佳个展，当代唐人艺术中心北京主空间展览现场
The Exhibition History of The Koh Larn Island :
－Liu Yujia｜Never Been There，Vol.18 Digital Archive 2021, Center for Experimental Film, 2021
－Sino-Wharf: from Chinatown to Red Internationalism, OCAT Shenzhen，Shenzhen，2020；
－Sino-Wharf: from Chinatown to Red Internationalism, Centre for Experimental Film, 2020 ;
－Liu Yujia Solo Exhibition: The Beach，A Fantasy, Tang Contemporary Art Center, Beijing, 2017
－The Film Sector, Art Basel HK, Hong Kong, 2018
－Frontier：Re－assessment of Post－Globalisational Politics, OCAT，Shanghai, 2017
《柯兰岛》展览历史：
－《专题：刘⾬佳｜⽆法抵达》，CEF实验影像中⼼，2021
－《华⽂码头：从唐⼈街到红⾊国际主义》，OCAT深圳馆，深圳，2020；
－《华⽂码头：从唐⼈街到红⾊国际主义》，CEF实验影像中⼼，2020；
－ “刘⾬佳个展:海滩”, 当代唐⼈艺术中⼼北京主空间，北京, 2017；
－《光映现场》,⾹港巴塞尔艺术展,⾹港，2018;
－《疆域—地缘的拓扑》，OCAT上海馆，上海，2017；
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Sino-Wharf: from Chinatown to Red Internationalism, OCAT Shenzhen，2020. Exhibition View.
华文码头：从唐人街到红色国际主义，OCAT深圳馆展览现场
The Koh Larn Island ，Single Channel HD Video ，Color，Sound，14’47”，2017，Ed.5+1AP
柯兰岛，单频⾼清录像， 彩⾊，有声，14分47秒，2017，Ed.5+1AP
Life Wasn’t Meant to be Easy, This Is Making Things Hard
⽣活并不意味着安逸, 这是在让事情更难办
Life wasn’t meant to be easy，This is making things hard，
Four Channel GIF Animation Installation，Color，Silent，Loop，2017，Ed.5+1AP
⽣活并不意味着安逸，这是在让事情更难办，
四频GIF动画装置，彩⾊，⽆声，循环，2017，Ed.5+1AP
LIFE WASN’T MEANT TO BE EASY, THIS IS MAKING THINGS HARD (2017) is a four-channel GIF animation installation, and the image comes from the “Reading the Beach” chapter of Reading the Popular by American scholar John Fiske. This book describes and analyzes the key places and texts, such as beaches, Madonna, rock music, and TV news, that people confront when they produce their own culture. The four images cited here come from cards purchased at Australia’s Cottesloe Beach in the 1990s, depicting three behaviors that had been banned by the local government, including 1. Topless sunbathing and performance for the male gaze (Figure a. “produces a meaning of the beach as a site for male sexuality”); 2. Performances of promiscuity with “connotations of a Roman orgy and/or a sultan’s harem” (Figure c. “Wonder what the poor people are doing” and Figure b. “Life wasn’t meant to be easy. This is making things hard”); 3. Beach bums (Figure d.) We cannot know for sure if the original cards were official announcements, or the result of a well-meaning satirist poking fun at these prohibitions. Interestingly, these images nominally represent prohibitions, but they actually show a seemingly unfettered state of leisure for the bored bourgeoisie.
The original images in Fiske’s book were poorly printed black-and-white pictures. Liu used the style of American Pop artist Roy Lichtenstein, translating it into a series of high-definition GIFs that look like advertisements for a beach holiday. She chose Lichtenstein’s style because Pop is a part of popular culture, and as Thomas Crow once said, its surfaces actually conceal a deep compassion for its times. She has chosen GIFs because they originated from Instagram, Facebook, and other modern social media, where they are often used to express emotion. These images stand as prohibitions, linked to now-ubiquitous internet censorship and information removal.
—Text from< The Allegory of the Beach> by LU Mingjun
《⽣活并不意味着安逸，这是在让事情更难办》是⼀部四频GIF 动画装置，图像母题源⾃美国学者约翰·费斯克（John Fiske）著作《解读⼤众⽂化》中的⼀章“海滩解读”。援引⾄此的四幅原始图像源于上世纪90 年代的澳⼤利亚考茨罗海滩，描绘的是当地政府所规定的三条海滩禁令，包括：1，禁⽌袒胸露乳的、针对男性观看的刻意表演（图a，海滩作为⼀种窥淫的性活动场所）；2，禁⽌古罗⻢、苏丹式的妻妾成群的淫乱⽣活⽅式的刻意表演（图c，“我想知道穷⼈们在⼲什么”；图b，“⽣活并不意味着安逸，这是在让事情更难办”）；3，禁⽌流浪汉（图d）。⽆法确知这些图像到底是官⽅发布的禁令通告，还
是好事的漫画家对于禁令的嘲讽，有趣就在于，名义上是禁令，但图像所提供的信息却是百⽆聊赖的中产阶级貌似毫⽆禁忌的有闲状态。原图是⼀组印质粗劣的⿊⽩图⽚，艺术家⽤美国波普艺术家利希滕斯坦（Roy Lichtenstein）的风格将其转译为⼀组⾼清的像海滩度假⼴告⼀样的GIF 彩⾊动图。选择利希滕斯坦的风格，⾃是因为波普本⾝就是⼤众⽂化的⼀部分，若按托马斯·克洛（Thomas Crow）的说法，其表征的背后事实上还掩藏着⼀重深刻的时代悲悯；⽽之所以选择GIF 动图，则是因为这样的⽅式原本也是因应Instagram、Facebook等现代社交媒介的产物，⽐如我们常⽤的符号表情，便常常使⽤这样的动图。当然，作为禁令的这些图像，似乎也可引申为当下⽆处不在的⽹络审查和信息锁闭。
—鲁明军，节选⾃⽂章《海滩的寓⾔》
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Life wasn’t meant to be easy，This is making things hard, still image, 2019
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The Exhibition History of< Life wasn’t meant to be easy，This is making things hard >:
－Liu Yujia Solo Exhibition: The beach，a fantasy, Tang Contemporary Art Center, Beijing, 2017
－Material and charting，Art Museum of Nanjing University of the Arts，Nanjing, 2018
－Screen Refreshing／Labor，Art Museum of Nanjing University of the Arts，Nanjing, 2018
－Relaxing－The secret garden of cartoon fantasy，MOCA Yinchuan，Yinchuan，2018 ;
－Video XINTIANDI,WESTBUND, Shanghai,2020
《⽣活并不意味着安逸，这是在让事情更难办》展览历史：
－“刘⾬佳个展:海滩”, 当代唐⼈艺术中⼼北京主空间，北京, 2017；
－《物质与制图》，南京艺术学院美术馆，南京，2018；
－《刷屏／劳作》，南京艺术学院美术馆，南京，2018；
－《放轻松—动漫谬想的秘密花园》，银川当代美术馆，银川，2018
－《VIDEO新天地》，西岸艺术与设计博览会，上海，2020
The Beach, A Fantasy, Liu Yujia Solo exhibition. Tang Contemporary Art Center, Beijing. 2017. Exhibition View.海滩: 刘雨佳个展，当代唐人艺术中心北京主空间展览现场
We Have Just Thrown Our Bonus Money Into The Pacific.
我们把钱都扔进了太平洋
We Have Just Thrown Our Bonus Money into The Pacific. 我们把钱都扔进了太平洋
Neon Tubing with Clear Glass Tubing，Suspension Frame 霓虹灯灯管装置
Size variable 尺⼨可变
2017
The Exhibition History of < We Have Just Thrown Our Bonus Money into The Pacific>：
－Liu Yujia Solo Exhibition: The Beach，A Fantasy, Tang Contemporary Art Center, Beijing, 2017
《我们把钱都扔进了太平洋》展览历史：
－“刘⾬佳个展:海滩”, 当代唐⼈艺术中⼼北京主空间，北京, 2017；
The Beach, A Fantasy, Liu Yujia Solo exhibition. Tang Contemporary Art Center Beijing. 2017. Exhibition View.
海滩: 刘雨佳个展，当代唐人艺术中心北京主空间展览现场