Interview: Entung Liu
Luca Curci talks with Entung Liu during VISIONS, the third appointment of CANVAS INTERNATIONAL ART FAIR 2024 at Palazzo Albrizzi-Capello in Venice.

LIU ENTUNG was born in 1995 in Taipei, Taiwan. As an interdisciplinary artist, ENTUNG’s works explore the intersection of multiple fields: visual art, performance, and technology with various methods like paintings, photography, performances, installations, videos, and sounds. She received a BFA in Multimedia Art at Taipei National University of the Arts in 2018 and an MPS in Interactive Telecommunications Program at New York University in 2022. ENTUNG’s work is a transparent mirror, that reveals the absurd moments of daily life, and its reflection overlays the invisible issues under the new technology fantasy.

Her creative process often begins with observing and feeling, and then she will build an intensive connection between the body and space. With both visual art and performance background, LIU cares about how body gestures influence the angle of eyesight and how it affects people’s awareness. Besides one-person performances, she is also exploring participatory theater. The artist believes ‘Daily life is a theater, and the theater is life.’ Participation is a compelling method to unfold static social structure and reimage the existing world. Through her art practice, LIU hopes to show the relationships between identification, technology, nature, and life through her works.

Luca Curci – Which subject are you working on?
Entung Liu – The subjects I work on are usually at the intersection of visual art, performance, and technology. Recently, I explored subjects including the transformation of identification in the use of technologies, the contemporary relationship between body and nature, the absurdity of daily life as a participatory theater, and so on. I usually describe my work as a transparent mirror, that reveals the absurd moments of daily life, and its reflection overlays the invisible issues under the new technology fantasy. My creative process often begins with observing and feeling; then I will build an intensive connection between the body and space. I care about how body gestures influence the angle of eyesight and how the process affects people’s awareness. I am also exploring participatory theater since I believe ‘Daily life is a theater, and the theater is life.’ Participation is a compelling method to unfold static social structure and reimage the existing world.

LC – When has your practice been founded?
EL – My interdisciplinary art practice has been an evolving journey rather than a moment of founding. It began with a foundation in classic painting and dancing during my childhood, and over the years, it has expanded to incorporate contemporary art theories, emerging technologies, and diverse mediums such as installations, photography, video, and performance art. This ongoing process reflects my curiosity about the intersections of tradition and innovation, as well as my desire to address global issues through art. I’ve had the privilege of working across different cultural contexts, which has shaped my perspective and enriched my work. I like to describe this journey as driving a car, where the four wheels—learning, thinking, experiencing, and creating -keep the practice moving forward. As the driver, I constantly balance these elements, set new directions, and embrace the dynamic landscapes I encounter along the way.
By integrating new methodologies and fresh perspectives into my art, I aim to create work that resonates across cultures and sparks meaningful dialogue.

LC – How is being an artist nowadays?
EL – Being an artist today is both challenging and deeply fulfilling. I often reflect on the definition of art and the evolving role of artists in modern society. I began my journey with classical painting education over 15 years ago, and now we have countless AI image generators at our disposal. While these technologies have replaced certain practical functions of painting, many people still love to paint. Why? For me, it’s about the creation process itself. The process of making art is complex – it engages the body and mind, blending emotional expression with logical thinking. It requires time, effort, and resources, often testing your patience and resilience. At times, it can be painful and exhausting, but the sense of fulfillment when a piece is complete is incomparable. Despite the shifting roles of artists brought about by social and technological advancements, the act of creating remains invaluable. It offers new perspectives, fuels imagination, and enriches the cultural fabric of the world. In this sense, being an artist is as meaningful now as it has ever been.

LC – What are the three hashtags essential to define your poetics that you could not give up?
EL – Sharp, Engaging, and Thought-provoking. These three words reflect the core of my artistic practice. My work aims to be sharp in its critique of societal and cultural phenomena, engaging by capturing the viewer’s attention through interactive or immersive experiences, and thought-provoking by encouraging audiences to reflect deeply on the underlying issues I explore. Together, they define my approach to creating art that resonates and sparks dialogue.

LC – What is the most challenging part about creating your artworks?
EL – The most challenging part is creating work that truly resonates with people and inspires meaningful change or action in the world. Art’s liberating and imaginative qualities are what make it so appealing, but they can also present a dilemma. In The Republic, Plato argues that art imitates the objects and events of ordinary life, making it an even greater illusion than ordinary experience. He questions the artist’s role and views art as less significant and serious compared to other fields. To some extent, I agree that art can be seen as an “imitation” of ordinary life, as inspiration often stems from the world around us and our experiences. However, I believe that great artwork transcends mere imitation – it condenses the essence of the world and uncovers the underlying issues. For example, Tehching Hsieh’s One Year Performance 1980–1981 (Time Clock Piece), where the artist punched a time clock every hour for an entire year, is not just a reflection of body alienation in modern labor environments. It was his life, merging life time with “art time.” When artists take action and inspire others to do the same, the imitation of the world evolves into the world itself.

LC – Where do you find your inspiration?
EL – I find inspiration by observing the world around me – whether it’s my daily environment, social issues, or major global events. I merge societal problems with my personal experiences, and this intersection sparks much of my creativity. I’ve also been influenced by the concept of the Flâneur, a figure of urban affluence and modernity, known for wandering the city detached from society to find entertainment and inspiration through observation. That said, the traditional image of the Flâneur – male, white, and wealthy – is the complete opposite of who I am. I enjoy redefining this term to fit my reality. For me, the contemporary Flâneur is a resilient figure: someone who, after an eight-hour workday, still refuses to give up on observing the world, detaching from rigid societal structures, and imagining a brighter future through creative solutions and a touch of dark humor.

LC – How would you describe your style?
EL – My style, like my interdisciplinary art practice, is constantly evolving. I don’t confine myself to a particular style; instead, I choose the approach that best suits the concept I want to express. I resonate with Marshall McLuhan’s idea that “the medium is the message.” The way people view and interact with an artwork significantly shapes the message it conveys. For instance, my work I Am Where I Am explores the definition of existence in the new media era and highlights how technology has become integral to our daily lives. I created the series entirely in my home and shared it on Instagram over sixteen weeks, with each week focusing on a theme from daily life, such as food, the bathroom, or sleeping. By mimicking the way people constantly share their lives on social media, I aimed to amplify the concept I wanted to communicate.

LC – Did you enjoy cooperating with us?
EL – Yes! I’ve really enjoyed working with you. Even though we’ve collaborated remotely and asynchronously, everything has gone smoothly. You’ve been responsive, precise, professional, and thoughtful throughout the process, and I’d be more than happy to work with you again in the future.

LC – What do you think about the ITSLIQUID Platform?
EL – The platform provides art news, information, and inspiration with a clear and modern design. I am also happy to find artists with similar experiences and ideas, which make it a warm online community for artists around the world.