1994 Born in Changde, Hunan Province

2022 Graduated from the School of Intermedia Art of Guangzhou Academy of Fine Arts with a master’s degree in Experimental Art

Currently works and lives in Guangzhou

SOLO EXHIBITION

2016

Art Text - Liu Yalan, The Dust of Time, Taipingli, Changsha

2015

My Art Text, Art Museum of ChangSha Normal University, Changsha

GROUP EXHIBITION

2022

Guangzhou Academy of Fine Arts Art Museum Graduate Works Exhibition, GAFA Art Museum, Guangzhou

2021

"Da Nanpo Children's Aesthetic Education" Spring Course Exhibition, Da Nanpo, China

"Your Song, I'll Draw" in Nanpo Qiuxingzhong, Da Nanpo, Jiaozuo

"Yuan·Narrative" Modern Dance Theater Stage Installation Design and Production, Shanghai TRI Third Space, Shanghai, China

Nanpo Qiuxing "Your Song, I'll Paint" Da Nanpo Children and Xiaohe, Wutiao People (planning) Da Nanpo Village, Jiaozuo, China

The 6th National Youth Printmaking Exhibition, Qingdao Art Museum/ML Art Museum/Guanlan Printmaking Center, Qingdao/Changsha/Shenzhen, China

The 5th Youth Printmaking Exhibition, ML Art Museum, Changsha, China

2019

Liu Yalan, Zhou Jiansheng, Li Wei Trio Exhibition, Duoshao Art Spaces, Changsha, China

2016

2016 Art Nova 100, China Agricultural Exhibition Center, Beijing

2014

Contemporary Chinese Printmaking - Exhibition of Hunan Printmaking Artists' Works to the UK, Art Museum of Aberystwyth University, Aberystwyth, UK

During the one-year in-depth rural aesthetic education practice, Liu Yalan gradually developed her own understanding and problem awareness, and developed it into sustainable writing, video recording and material visual weaving. Her creative process and working methods, especially her strong local communication skills, are timely transformed into the practice of aesthetic education courses, bringing us real feedback on rural aesthetic education practice under the current grand theme of rural revitalization. Let’s think about it: Under the situation that daily practice and local display are mutually embedded, how can the non-templated dynamic working method remain sustainable in the process of rural aesthetic education, and how can the current performance and communication methods respond to local voices?

When you feel that the villagers, children, and every flower and grass in the village are indispensable in this work, you may find a way to approach the answer.