“The Other Story” is derived from a show entitled “The Other Story: Afro-Asian Artists in Postwar Britain” curated by the critic Rasheed Araeen at Hayward Gallery in 1989, which pointed to the “absence of non-Western artists in the history of modern art.”

Another “The Other Story” consists of three parts: in the video part, I played a “modern” artist, and the whole video imitated style of the black-and-white films in the 30s and the 40s. The document part embodies a photo archive of my father’s paintings created in various styles from the 70s to the 90s. I arranged these images with a series of texts on a document table. A portion of the texts comes from fragments of memory that I could still recollect about my father teaching me painting techniques, or from my imagination about my father’s youth. These texts originate from my personal imagination of that era. The third part includes two paintings of my father done in the 80s and the 90s. I used “Another” as a prefix to the title, just like the title of the video – “Another Modern Artist”, to make up a “modern artist” within my mind. Part of this imagination comes from my knowledge about my father, and part of which comes from my perception of the fragmentation or entertaining nature of “modern art”.

“他者的故事”取自批評家拉希德·阿萊茵於1989年在海沃畫廊所策劃的的展覽“他者的故事：戰後英國亞非藝術家展”即在指出“現代主義藝術史中非西方藝術家的缺席。
“另一個’他者的故事’”主要分為三個部分，錄像部分是由我所扮演一位“現代”畫家，並模仿三、四十年代黑白電影；文獻部分是由我父親70-90年代的風格多樣繪畫作品的照片檔案，我將這些圖片和我一系列文本結合擺置在一個檔案桌上，這寫銅牌文本的內容一部分來自於我父親在傳授我繪畫時，我能夠回憶起的片段，也有一部分來自於我對父親青年時代的想像，這些想像源自我對那個時代的部分經驗。第三部分是我父親80、90年代的兩件繪畫作品，這兩件作品是我個人認為父親在他困惑徘徊時所表達出的“現代”或是“傳統”的某種相互交織。
在這件創作題目上，我用“另一個”為前綴，包括錄像部分的題目“另一個現代藝術家”，以此來臆造了一個我腦海中的“現代藝術家”，這些想像一方面來自於我對於作為美術工作者的父親，另一方面來自於當下對於所謂的“現代藝術”破碎和娛情的認知。

1986 Born in Hubei. He moved from Beijing to Shanghai in 2018. His work involves multiple media such as video, performance, painting, installation and writing, etc. In recent years, he embarked on a journey surveying the antagonist roles in theatre, stage art, make-up design, the production of imported films and espionage films since 1950s in China. The artist often writes images through collections of photo documents, character scenes, and dubbed monologues. Meanwhile, he also expands the more complex and personalized time and space of this writing in painting, sound, and installation.

Li Ran has exhibited at the Center Pompidou, Pairs; basis door actuele kunst (BAK), Utrecht; Huas der Kulturen der Welt (HKW), Berlin; Contemporary Arts Museum Houston (CAMH), Houston; Musée d’art contemporain de Montréal, Montreal; The Museum of Moscow, Moscow; Centre d’Art Contemporain Genève, Geneva; CCA Wattis Institute for Contemporary Arts, San Francisco; NTU Center For Contemporary Art Singapore (CCA), Singapore; Museum of Contemporary Art and Design (MCAD), Manila; HOW Museum, Shanghai, Sifang Museum, Nanjing; OCT Contemporary Art Terminal (OCAT), Shenzhen, Shanghai and Xi’an; Ullens Center for Contemporary Art
(UCCA), Beijing; CAFA Museum (CAFAM), Beijing; and other venues, He has held solo exhibition at OCT Contemporary Art Terminal (OCAT), Xi’an (2015); His single-channel video work also screening in Institute of Contemporary Arts (ICA), London; The Jewish Museum, New York and other venues; His works have also been featured in Montreal Biennale (2014), Biennale Of Moving Images 2014 (2014 In Geneva), 4th Moscow International Biennale for Young Art (2014), 2nd CAFAM Biennial (2014), 4th “Former West” Project (2013, In Berlin), 9th Gwangju Biennial (2012), 7th Shenzhen Sculpture Biennale (2012). He won the “Best Artist Award” at the 2014 Moscow International Youth Art Biennial and was nominated for the “Future Generation Award” by the Pinchuk Arts Center in 2017.