ShanghART Gallery 香格纳画廊
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b. 1945, works and lives in Tiantai, Zhejiang Province
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The Temple (PSA edition)
2013 ~ 2021
barbed wires, silk, cocoons, acrylic sheet
for diaplay 10(H)*11.8*30m | Largest pyramid 340*168*168cm | longest acrylic sheet 900.4*90cm

Current And Upcoming Exhibitions:
The First Beijing Art & Technology Biennale: Synthetic Ecology, 798 CUBE, Beijing, 10.28, 2022 - 02.28, 2023
The Exhibition of Annual of Contemporary Art of China 2021, 798 Art Center, Archives of Contemporary Art in China, Beijing; Duolun Museum of Modern Art, Shanghai; Xiamen, 12.17, 2022 - 02.26, 2023
+ One Work | Liang Shaoji: Drunken Sun, Will be closed from Jan. 21 to Feb. 6, 2023 for Chinese New Year, ShanghART Beijing, Beijing, 12.27, 2022 - 02.08, 2023
Start, Inaugural Exhibition, Start Museum, Shanghai, 12.30, 2022 - 05.21, 2023
The First Beijing Biennial, National Base for International Cultural Trade, Beijing Friendship Store; M Woods Museum (Qianliang Hutong), Beijing, 12.31, 2022 - 03.12, 2023
The 9th edition Bi-City Biennale of Urbanism\Architecture: Urban Cosmologies, Dalang Fashion Town, Shenzhen, 01.07, 2023 - 03.30, 2023
Symphony of All the Changes: The 7th Guangzhou Triennial, Guangdong Museum of Art, Guangzhou, 01.10, 2023 - 04.10, 2023
Harmonious Symbiosis - The 3rd Xinjiang International Arts Biennale, Xinjiang Art Museum, Urumqi, 01.10, 2023 - 02.25, 2023
Othe View - Contemporary Art Exhibition, Haishang Art, Nanjing, 01.15, 2023 - 03.10, 2023


Liang Shaoji was born in Shanghai, 1945. From 1986 to 1989, Liang Shaoji studied soft sculpture from Maryn Varbanov at China Academy of Art who was one of the world's leading tapestries. In the late 1980s, Liang started experimenting with silkworms. For more than thirty years, he has been indulged in the interdisciplinary creation in terms of art and biology, installation and sculpture, new media and textile. His Nature Series sees the life process of silkworms as creation medium, the interaction in natural world as his artistic language, time and life as the essential idea. His works are fulfilled with a sense of meditation, philosophy and poetry while illustrating the inherent beauty of silk.

Selected exhibitions: Liang Shaoji: A Silky Entanglement, Power Station of Art, Shanghai (2021-2022); The Allure of Matter: Material Art from China, Los Angeles County Museum of Art (Los Angeles), Smart Museum of Art (Chicago), U.S.A. (2019-2020); Liang Shaoji: As If, M Woods Museum, Beijing (2018); The Curitiba International Biennale, Oscar Niemeyer Museum, Curitiba, Brazil (2017); Liang Shaoji: Cloud Above Cloud, Museum of China Academy of Art, Hangzhou (2016); What About the Art? Contemporary Art from China, Al Riwaq, Doha (2016); Liang Shaoji: Back to Origin, ShanghART Gallery, Shanghai (2015); Art of Change, Hayward Gallery, London (2012); The 3rd Shanghai Biennale, Shanghai Art Museum, Shanghai (2000); The 5th Biennale d'Art Contemporain de Lyon, Lyon (2000); The 48th International Art Exhibition Venice Biennale, Venice (1999); The 6th International Istanbul Biennial, Istanbul (1999); China/Avant-Garde Art Exhibition, National Art Museum of China, Beijing (1989) etc.

Liang was awarded the Chinese Contemporary Art Awards (CCAA) in 2002 and the Dutch Prince Claus Awards in 2009.

“Some say that the ultimate goal of art is for the artist to express their life experiences and emotions. Then what we see here is the life of a silkworm, first as an egg like a black dot, then as a tiny creature, feeble and writhing, and then as a white larva greedily nibbling away at mulberry leaves. What follows is a mysterious transformation: the silkworm gradually turns transparent and produces a pure silver thread. To the rhythm of its rocking head, it wraps itself into a cocoon or glosses the surface of any object it rests on. In the end, after “the silk is all spun,” it leaves behind a black pupa. We can imagine the struggle, pain, and sublimation of a life in transformation that makes up the emotional and philosophical underpinnings of Liang’s work.” (Wu Hung)

“Truly believing in the spiritual and material power of an intimate merging and exchange between the work of nature and the human imagination-in Liang’s case, an imagination profoundly rooted in Chinese culture and view of the cosmos-and turning this into contemporary forms of creation, he has endowed such a world with harmony, often considered as registered in the realm of the eternal, and rendered it freshly alive and firmly contemporary. His work is an enlightening remind of something crucially significant in our lives, our relation with nature, something that has been too often overlooked and excluded in the dominant system’s cult of a one-dimensional modernity.” “Unlike conventional scientific experiments, Liang’s work, through various artistic processes driven by imagination and poetry, has been turned into the embodiment of the ontological significance of life. It is about true meaning of living in the world: constant negotiations and struggles between life and death, endurance and fate, pleasure and pain…” (Hou Hanru)

“But even while referring to Chinese tradition and associative philosophy, Liang targets the here and now, transforming those well-known references into thoroughly contemporary installations and performances.” “Demanding unusual expertise and extraordinary techniques, his works are slow in the making and difficult to interpret. His installations don't easily submit to commodification—they should be treated as the residue of actions and thought processes, indeed, as markers of a chosen path of life, rather than mere objects.” (Marianne Brouwer)


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