Home > Kunstenaars

Maia Liu

video, installatie, film, Experimenteel, Documentair, Conceptueel, Audiovisueel, Artistiek onderzoek

In mijn werk onderzoek ik de wisselwerking tussen identiteit en relationaliteit. Centraal staat de vraag: hoe vrij ben je in het vormen van je eigen identiteit, en in hoeverre wordt deze begrensd of zelfs gedefinieerd door anderen? Ik bevraag de westerse koppeling van vrijheid aan individualiteit en vraag me af of vrijheid ook los van het individu geconceptualiseerd kan worden.

Een belangrijke ontdekking in mijn onderzoek is dat vrijheid en vriendschap dezelfde wortels delen in het Oud-Germaanse woord frî, dat zowel ‘vrij’, ‘geliefd’ als ‘gelijk aan’ betekent. Deze etymologische verwevenheid benadrukt vrijheid als een vorm van verbondenheid—een idee dat ik in mijn werk tastbaar tracht te maken.

Film beschouw ik als een ‘praktijk van compassie’: een middel om de grenzen tussen zelf en ander te verkennen. Door observatie en zelfreflectie te combineren, fungeert de camera niet alleen als waarnemer, maar als een actief, betrokken personage dat zowel afstand creëert als de blik van de maker uitdaagt.

Mijn focus ligt op de routines en handelingen van mensen. Deze dagelijkse gebaren en interacties vormen de context waarin de camera zich beweegt, als een personage dat de spanning tussen zelf en ander zichtbaar maakt. In deze benadering ontstaat een gelaagd portret van de relatie tussen het persoonlijke en het collectieve.

Terugkerende thema’s in mijn werk zijn (onzekere) identiteit, migratie, vriendschap, en ethische dilemma’s rondom manipulatie en integriteit. Ook de spanning tussen het eigene en het gedeelde speelt een belangrijke rol, evenals de vragen die opkomen bij de grenzen van verbondenheid en autonomie.

The Bodhi Tree in Bosch’s Garden
The Bodhi Tree in Bosch’s Garden - ‘The Bodhi Tree in Bosch’s Garden’ is a film tracing the artist’s exploration of her father’s art archive made during the ‘90s. In her attempt to grasp the meaning of his notes and works, Maia relied on the cultural mediation of her best friend Yezi. Throughout their exploration, they encounter a series of peculiar absurdities. Yezi deeply resonates with both the work and the life story of Maia’s father, whom Maia herself barely knows. This triggers a complex interplay of appropriation, projection, intimidation, and admiration among the three characters — the father’s artworks, the daughter, and the friend. Their interactions form a composition, continually shifting by their perceptions of one another and the inherent gaps that emerge. Within this dynamic, the camera plays a crucial role as a fourth character, intensifying frictions between life and art, identity, migration and its disillusionments, anarchist dreams and institutional structures. in collaboration with Yezi Lin and the archive of Leopold Liu 40 min. (2024)
The Bodhi Tree in Bosch’s Garden
The Bodhi Tree in Bosch’s Garden - ‘The Bodhi Tree in Bosch’s Garden’ is a film tracing the artist’s exploration of her father’s art archive made during the ‘90s. In her attempt to grasp the meaning of his notes and works, Maia relied on the cultural mediation of her best friend Yezi. Throughout their exploration, they encounter a series of peculiar absurdities. Yezi deeply resonates with both the work and the life story of Maia’s father, whom Maia herself barely knows. This triggers a complex interplay of appropriation, projection, intimidation, and admiration among the three characters — the father’s artworks, the daughter, and the friend. Their interactions form a composition, continually shifting by their perceptions of one another and the inherent gaps that emerge. Within this dynamic, the camera plays a crucial role as a fourth character, intensifying frictions between life and art, identity, migration and its disillusionments, anarchist dreams and institutional structures. 40 min. (2024 ) in collaboration with Yezi Lin and the archive of Leopold Liu
The Bodhi Tree in Bosch’s Garden
The Bodhi Tree in Bosch’s Garden - ‘The Bodhi Tree in Bosch’s Garden’ is a film tracing the artist’s exploration of her father’s art archive made during the ‘90s. In her attempt to grasp the meaning of his notes and works, Maia relied on the cultural mediation of her best friend Yezi. Throughout their exploration, they encounter a series of peculiar absurdities. Yezi deeply resonates with both the work and the life story of Maia’s father, whom Maia herself barely knows. This triggers a complex interplay of appropriation, projection, intimidation, and admiration among the three characters — the father’s artworks, the daughter, and the friend. Their interactions form a composition, continually shifting by their perceptions of one another and the inherent gaps that emerge. Within this dynamic, the camera plays a crucial role as a fourth character, intensifying frictions between life and art, identity, migration and its disillusionments, anarchist dreams and institutional structures. 40 min. (2024) in collaboration with Yezi Lin and the archive of Leopold Liu
The Bodhi Tree in Bosch’s Garden
The Bodhi Tree in Bosch’s Garden - ‘The Bodhi Tree in Bosch’s Garden’ is a film tracing the artist’s exploration of her father’s art archive made during the ‘90s. In her attempt to grasp the meaning of his notes and works, Maia relied on the cultural mediation of her best friend Yezi. Throughout their exploration, they encounter a series of peculiar absurdities. Yezi deeply resonates with both the work and the life story of Maia’s father, whom Maia herself barely knows. This triggers a complex interplay of appropriation, projection, intimidation, and admiration among the three characters — the father’s artworks, the daughter, and the friend. Their interactions form a composition, continually shifting by their perceptions of one another and the inherent gaps that emerge. Within this dynamic, the camera plays a crucial role as a fourth character, intensifying frictions between life and art, identity, migration and its disillusionments, anarchist dreams and institutional structures. 40 min. (2024) in collaboration with Yezi Lin and the archive of Leopold Liu
The Bodhi Tree in Bosch’s Garden
The Bodhi Tree in Bosch’s Garden - ‘The Bodhi Tree in Bosch’s Garden’ is a film tracing the artist’s exploration of her father’s art archive made during the ‘90s. In her attempt to grasp the meaning of his notes and works, Maia relied on the cultural mediation of her best friend Yezi. Throughout their exploration, they encounter a series of peculiar absurdities. Yezi deeply resonates with both the work and the life story of Maia’s father, whom Maia herself barely knows. This triggers a complex interplay of appropriation, projection, intimidation, and admiration among the three characters — the father’s artworks, the daughter, and the friend. Their interactions form a composition, continually shifting by their perceptions of one another and the inherent gaps that emerge. Within this dynamic, the camera plays a crucial role as a fourth character, intensifying frictions between life and art, identity, migration and its disillusionments, anarchist dreams and institutional structures. 40 min. (2024 ) in collaboration with Yezi Lin and the archive of Leopold Liu
The Bodhi Tree in Bosch’s Garden
The Bodhi Tree in Bosch’s Garden - ‘The Bodhi Tree in Bosch’s Garden’ is a film tracing the artist’s exploration of her father’s art archive made during the ‘90s. In her attempt to grasp the meaning of his notes and works, Maia relied on the cultural mediation of her best friend Yezi. Throughout their exploration, they encounter a series of peculiar absurdities. Yezi deeply resonates with both the work and the life story of Maia’s father, whom Maia herself barely knows. This triggers a complex interplay of appropriation, projection, intimidation, and admiration among the three characters — the father’s artworks, the daughter, and the friend. Their interactions form a composition, continually shifting by their perceptions of one another and the inherent gaps that emerge. Within this dynamic, the camera plays a crucial role as a fourth character, intensifying frictions between life and art, identity, migration and its disillusionments, anarchist dreams and institutional structures. 40 min. (2024) in collaboration with Yezi Lin and the archive of Leopold Liu
The Bodhi Tree in Bosch’s Garden
The Bodhi Tree in Bosch’s Garden - ‘The Bodhi Tree in Bosch’s Garden’ is a film tracing the artist’s exploration of her father’s art archive made during the ‘90s. In her attempt to grasp the meaning of his notes and works, Maia relied on the cultural mediation of her best friend Yezi. Throughout their exploration, they encounter a series of peculiar absurdities. Yezi deeply resonates with both the work and the life story of Maia’s father, whom Maia herself barely knows. This triggers a complex interplay of appropriation, projection, intimidation, and admiration among the three characters — the father’s artworks, the daughter, and the friend. Their interactions form a composition, continually shifting by their perceptions of one another and the inherent gaps that emerge. Within this dynamic, the camera plays a crucial role as a fourth character, intensifying frictions between life and art, identity, migration and its disillusionments, anarchist dreams and institutional structures. 40 min. (2024) in collaboration with Yezi Lin and the archive of Leopold Liu
The Bodhi Tree in Bosch’s Garden
The Bodhi Tree in Bosch’s Garden - ‘The Bodhi Tree in Bosch’s Garden’ is a film tracing the artist’s exploration of her father’s art archive made during the ‘90s. In her attempt to grasp the meaning of his notes and works, Maia relied on the cultural mediation of her best friend Yezi. Throughout their exploration, they encounter a series of peculiar absurdities. Yezi deeply resonates with both the work and the life story of Maia’s father, whom Maia herself barely knows. This triggers a complex interplay of appropriation, projection, intimidation, and admiration among the three characters — the father’s artworks, the daughter, and the friend. Their interactions form a composition, continually shifting by their perceptions of one another and the inherent gaps that emerge. Within this dynamic, the camera plays a crucial role as a fourth character, intensifying frictions between life and art, identity, migration and its disillusionments, anarchist dreams and institutional structures. 40 min. (2024) in collaboration with Yezi Lin and the archive of Leopold Liu
The Bodhi Tree in Bosch’s Garden
The Bodhi Tree in Bosch’s Garden - ‘The Bodhi Tree in Bosch’s Garden’ is a film tracing the artist’s exploration of her father’s art archive made during the ‘90s. In her attempt to grasp the meaning of his notes and works, Maia relied on the cultural mediation of her best friend Yezi. Throughout their exploration, they encounter a series of peculiar absurdities. Yezi deeply resonates with both the work and the life story of Maia’s father, whom Maia herself barely knows. This triggers a complex interplay of appropriation, projection, intimidation, and admiration among the three characters — the father’s artworks, the daughter, and the friend. Their interactions form a composition, continually shifting by their perceptions of one another and the inherent gaps that emerge. Within this dynamic, the camera plays a crucial role as a fourth character, intensifying frictions between life and art, identity, migration and its disillusionments, anarchist dreams and institutional structures. 40 min. (2024) in collaboration with Yezi Lin and the archive of Leopold Liu
The Bodhi Tree in Bosch’s Garden
The Bodhi Tree in Bosch’s Garden - ‘The Bodhi Tree in Bosch’s Garden’ is a film tracing the artist’s exploration of her father’s art archive made during the ‘90s. In her attempt to grasp the meaning of his notes and works, Maia relied on the cultural mediation of her best friend Yezi. Throughout their exploration, they encounter a series of peculiar absurdities. Yezi deeply resonates with both the work and the life story of Maia’s father, whom Maia herself barely knows. This triggers a complex interplay of appropriation, projection, intimidation, and admiration among the three characters — the father’s artworks, the daughter, and the friend. Their interactions form a composition, continually shifting by their perceptions of one another and the inherent gaps that emerge. Within this dynamic, the camera plays a crucial role as a fourth character, intensifying frictions between life and art, identity, migration and its disillusionments, anarchist dreams and institutional structures. 40 min. (2024) in collaboration with Yezi Lin and the archive of Leopold Liu
The Bodhi Tree in Bosch’s Garden
The Bodhi Tree in Bosch’s Garden - ‘The Bodhi Tree in Bosch’s Garden’ is a film tracing the artist’s exploration of her father’s art archive made during the ‘90s. In her attempt to grasp the meaning of his notes and works, Maia relied on the cultural mediation of her best friend Yezi. Throughout their exploration, they encounter a series of peculiar absurdities. Yezi deeply resonates with both the work and the life story of Maia’s father, whom Maia herself barely knows. This triggers a complex interplay of appropriation, projection, intimidation, and admiration among the three characters — the father’s artworks, the daughter, and the friend. Their interactions form a composition, continually shifting by their perceptions of one another and the inherent gaps that emerge. Within this dynamic, the camera plays a crucial role as a fourth character, intensifying frictions between life and art, identity, migration and its disillusionments, anarchist dreams and institutional structures. 40 min. (2024) in collaboration with Yezi Lin and the archive of Leopold Liu
The Bodhi Tree in Bosch’s Garden
The Bodhi Tree in Bosch’s Garden - ‘The Bodhi Tree in Bosch’s Garden’ is a film tracing the artist’s exploration of her father’s art archive made during the ‘90s. In her attempt to grasp the meaning of his notes and works, Maia relied on the cultural mediation of her best friend Yezi. Throughout their exploration, they encounter a series of peculiar absurdities. Yezi deeply resonates with both the work and the life story of Maia’s father, whom Maia herself barely knows. This triggers a complex interplay of appropriation, projection, intimidation, and admiration among the three characters — the father’s artworks, the daughter, and the friend. Their interactions form a composition, continually shifting by their perceptions of one another and the inherent gaps that emerge. Within this dynamic, the camera plays a crucial role as a fourth character, intensifying frictions between life and art, identity, migration and its disillusionments, anarchist dreams and institutional structures. 40 min. (2024) in collaboration with Yezi Lin and the archive of Leopold Liu
Do You Need to Combine Yourself?
Do You Need to Combine Yourself? - An installation of sculptural works in which everyday objects and the human body are used to explore and deconstruct the tension between ‘sameness’ and ‘similarity.’ Installation at KIOSK, Ghent (2022)
Do You Need to Combine Yourself?
Do You Need to Combine Yourself? - An installation of sculptural works in which everyday objects and the human body are used to explore and deconstruct the tension between ‘sameness’ and ‘similarity.’ Installation at KIOSK, Ghent (2022)
(Do You Need to Combine Yourself) Nike Air Force 1
(Do You Need to Combine Yourself?) Nike Air Force 1 - A pair of shoes where the upperside has been peeled off and folded over the toe. (2022) 49x11x14cm and 49x11x14cm (variable arrangement) Photo by Lukas Neven
(Do You Need to Combine Yourself) Untitled
(Do You Need to Combine Yourself?) Untitled - A fork and a knife worked toward resemblance. (2021) Metal 21x2x0,5cm and 21x2x1cm (variable arrangement) Photo by Lukas Neven
(Do You Need to Combine Yourself) Not One Pair
(Do You Need to Combine Yourself?) Not One Pair - Two shoes of two different pairs, one from my pair (the right one) and the other found in the streets (the left one), painted toward resemblance. (2021) Acryl and oilpaint on shoes 27x11x10cm and 26x11,5x10cm (variable arrangement) Photo by Lukas Neven
(Do You Need to Combine Yourself) Untitled
(Do You Need to Combine Yourself?) Untitled - Wooden shelves from IKEA Ivar closet cut length wise so as to reveal the closet inside-out. (2022) Wood and hinges Photo by Lukas Neven
(Do You Need to Combine Yourself) Untitled
(Do You Need to Combine Yourself?) Untitled - A smaller spoon shape cut out from a spoon. Untitled (2022) 19 x 13 x 4 cm Photo by Yezi Lin
(Do You Need to Combine Yourself) Cross Eyed Sights
(Do You Need to Combine Yourself?) Cross Eyed Sights - Two camera’s moving cross-eyedly over three still lives cut in half and put back together with the wrong half. 2min 55sec (2022) Photo by Charlotte Danielse
(Do You Need to Combine Yourself) How Not to Circulate Matter Together
(Do You Need to Combine Yourself?) How Not to Circulate Matter Together - An attempt to eat a sweet potato (with a fork and a knife that have been worked on to re- semble one another) with two hands simultaneously. Rather than work together, the hands mirror one another. Filmed with two camera’s, one connected to each arm. 3 min 15 sec (2021) Photo by Jordi Coppers
(Do You Need to Combine Yourself) Untitled
(Do You Need to Combine Yourself?) Untitled - Drawings of the same object drawn with two hands simultaneously. (2020) Pencil on paper Photo by Lennert De Lathauwer
(Do You Need to Combine) Echopraxie
(Do You Need to Combine Yourself?) Echopraxie - Two people having a conversation about a shown artwork (a pair of shoes where the upperside has been pee- led off and folded over the toe). Two different people mimicking the first two people having a conversation about a shown artwork (a pair of shoes where the upperside has been peeled off and folded over the toe). 1 min 48 sec (2022) In situ work as part of the exhibition ‘Two steps too far’ in the Glazen Gang, KASK, Gent Photo by Kristof Thomas

The Bodhi Tree in Bosch's Garden (film)

Datum:

‘The Bodhi Tree in Bosch’s Garden’ is a film tracing the artist’s exploration of her father’s art archive made during the ‘90s. In her attempt to grasp the meaning of his notes and works, Maia relied on the cultural mediation of her best friend Yezi. Throughout their exploration, they encounter a series of peculiar absurdities. Yezi deeply resonates with both the work and the life story of Maia’s father, whom Maia herself barely knows...

Deze kunstenaar heeft nog geen toekenningen.