“I decided to blend in with the environment. Some will say that I disappear in the landscape; I would say for my part that it is the environment that seizes me’’ (Liu Bolin)
While the photographs in which Liu Bolin blends into his background until he becomes invisible are now internationally known, the story behind the "Hiding in the City'' project and the Chinese artist's status as an activist are less so. The founding image was made in 2005 in front of Liu Bolin's destroyed studio, a metaphor for the silence to which artists were reduced when faced with the destruction of their studios in Suojia (Beijing) by the Chinese authorities. In his first performances and photographs (2005-2006), the artist is "swallowed" in front of communist propaganda slogans or in iconic places such as Tiananmen Square. From 2010, the series " Hiding in the City '' has evolved into a frontal critique of the social, patrimonial and environmental consequences of the globalized economy and financial power.
Little Yellow Bicycles' Grave (2018) features the artist in front of one of the "bicycle graveyards" that appeared in China following the bankruptcy of several bike-sharing start-ups, too many of which abandoned their inventories there. A striking image, but above all a lucid denunciation of the environmental consequences of our contemporary "start-up nations".
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