Ming Lu credit Irina Rusinovich
I r i n a R u s i n o v i c h
Where do you come from, where and when were you born?
I was born in 93 in a seaside city in China.
Please tell us your artistic vita in a few sentences.
After graduating from Royal College of Art, I did an artist residency in Berlin and moved here afterwards. Berlin has been a very welcoming city for me, I was lucky enough to find my galleries. Meanwhile I also participated in various group shows at both non-commercial organisations and commercial galleries, including König Galerie, Centre Francais de Berlin, Museum of London etc.
How would you describe your creative process?
I work closely with the centuries-old handicrafts that rooted in my culture. As Made-in-China mass production being a global industrial phenomenon, I turn the slow and labor-consuming craftsmanship into conceptual contemporary art with the visual languages that I’m trying to build these years. I work across different mediums, including sculpture, embroidery, porcelain, installation etc. Concept is more important to me compared to a specific medium, and humour is a vital elements throughout my works.
Dialogue – reason
My Favourite Little Soul
What was the key influence that led to the development of your process and style?
It was the moment I realized that the languages I learnt and used to create was very westernised (it still is now). It hit me and I started to reflect and self-criticise, then I started to look more into history.
What does art mean to you personally? Is there a goal you’re trying to accomplish?
With the mixture of cultures, I create work playfully with explorations of self-identity, collective memories and personal narratives, both in its content and in its visual languages.
Do you have a life philosophy? Does your creative practice fit in with this philosophy?
I might have different life philosophies in different stages of my life.
What is your favourite museum or art gallery and why?
I enjoy wondering in all museums with ancient Egyptian, African, and east Asian collections, however most of these museums have a colonial history.
Who would you most like to collaborate with and why?
I would like to collaborate with kids the most. The way small kids draw a line and shape before any art training always fascinates me, there is almost a primitive sense in it.
How has covid affected you and your art?
Covid started shortly after I moved to Berlin. At the beginning of this pandemic many art activities were cancelled, it isolated me but also gave me a lot of quiet time to create and reflect.
What’s next for you?
I’m working towards a solo show at Haze Gallery in September this year, in the meantime I’m working on a porcelain project, a series of bronze sculptures and an installation.