ARTIST
AN TE LIU



An Te Liu (born 1967, Tainan, Taiwan) lives and works in Toronto. His work has been exhibited nationally and internationally at venues including the Witte de With Center for Contemporary Art (Rotterdam), the Louisiana Museum of Modern Art (Copenhagen), the Kunsthalle Wien (Vienna) and the Contemporary Art Gallery (Vancouver). Liu's works are included in the permanent collections of the San Francisco Museum of Modern Art, the National Gallery of Canada, the Art Gallery of Ontario, and the Art Institute of Chicago. Recent and ongoing exhibitions include In Absentia at the Southern Alberta Art Gallery, the Kitchener-Waterloo Art Gallery and the Art Gallery of Grande Prairie, and Shine a Light–-Canadian Biennial 2014 at the National Gallery of Canada. A forthcoming monograph on the artist’s work will be released in fall 2015 by Black Dog Publishing (London, UK).


PAST EXHIBITION I 2019
LA DURÉE >
MONTREAL
Feb 6 - May 4

PAST EXHIBITION I 2018
LA DURÉE >
TORONTO
Oct 26 - Dec 22

PAST EXHIBITION I 2015
DES BRIBES ET DES MORCEAUX >
MONTREAL
May 9 - July 15


*This content is only available in its original language.

*This content is only available in its original language.

2019 I REVIEW
TORONTO - AN TE LIU
by Dan Adler - Artforum | Mar

Recently, An Te Liu has been mining his dilapidated Honda Civic for material. One procedure yielded two elongated and pointed plastic forms from a headlight’s housing, which the artist cast with a concoction of polycarbonate, epoxy clay, wax, and granules of quartz. Hanging by a wire from the ceiling, Surfacing (all works cited, 2018) resembles a duo of motor blades (with holes for screws), and yet the forms have been modified and grafted to each other in ways that suggested organic tissue, perhaps a pair of wings taken from a creature of unknown origin.    Read More→

Recently, An Te Liu has been mining his dilapidated Honda Civic for material. One procedure yielded two elongated and pointed plastic forms from a headlight’s housing, which the artist cast with a concoction of polycarbonate, epoxy clay, wax, and granules of quartz. Hanging by a wire from the ceiling, Surfacing (all works cited, 2018) resembles a duo of motor blades (with holes for screws), and yet the forms have been modified and grafted to each other in ways that suggested organic tissue, perhaps a pair of wings taken from a creature of unknown origin.

Read More→

2019 I REVIEW
LA SCULPTURE EN QUESTION À LA GALERIE DIVISION
Le Devoir | Feb 16

La sculpture moderne est indissociable de la remise en question du socle, ce piédestal qui permet à l’oeuvre de dominer le spectateur. Il sacralise les sujets représentés — comme le sacrifice à la guerre — ainsi qu’un certain type de sculpture — le monument. Mais vint Rodin qui, avec Les bourgeois de Calais, osa placer ses héros au ras du sol. Vint ensuite Brancusi qui ne se libéra pas totalement du socle, mais qui lui nia tout de même sa fonction convenue, en en faisant un élément de sa réflexion, ne le gardant que s’il faisait partie logiquement de la sculpture.    Read More→

La sculpture moderne est indissociable de la remise en question du socle, ce piédestal qui permet à l’oeuvre de dominer le spectateur. Il sacralise les sujets représentés — comme le sacrifice à la guerre — ainsi qu’un certain type de sculpture — le monument. Mais vint Rodin qui, avec Les bourgeois de Calais, osa placer ses héros au ras du sol. Vint ensuite Brancusi qui ne se libéra pas totalement du socle, mais qui lui nia tout de même sa fonction convenue, en en faisant un élément de sa réflexion, ne le gardant que s’il faisait partie logiquement de la sculpture.

Read More→