“The Boxes of Slums” was born of richly irregular structural languages. It considers how “independent structures” and “community constructs” can be present at the same time, can even implicate one another, while continuing to progress without influencing one another. The work abandons neighborhood memorial architecture, but the local environment and history are represented in a language of highly abstract symbols and fiercely jarring colors.
Shanghai POPPPER is, in truth, a commercially branded activity. How can public art break free from a “decorative” function? Or rather, how can artists cleverly use a commercial collaboration opportunity to make public art? It’s now possible for contemporary art to do away with art history and the creative context and become a commodity displayed in consumer entertainment centers. Brand name artists use trademarks like so many luxury brands and join the shelves of commercial products for supermarket-style consumption. From start to finish, Liu Yi was determined to make this project into a public artwork. By changing the work multiple times, he strove not to make it a decorative object in the consumer landscape. Ultimately commercial brand activities were introduced into each of the shipping containers, giving the city residents a new feel of the street and shopping experience.
All copyright belongs to Shanghai Academy of Fine Arts, Shanghai University.