 i Xingjian spent 30,000 renminbi, or about $4,000, on the renovation of his studio, which is in a 160 square meter Beijing winery. Before settling down in Beijing in 2005, he was in France for 14 years. In his earlier years, a Chun mei graduate, Li Xinjian held a post in the Tibet revolution gallery.
His life experiences are both romantic and a legend. In 1982, Li Xinjian left the Sichuan Academy of Fine Arts, and worked voluntarily as a curator in Lhasa, Tibet. During this time, he copied and drew murals, climbed the Himalayan Mountains and the so called Lake of God, and immersed himself in artistic activities. In 1991, Li Xinjian flew to Germany; in 1994, he graduated from the Academy of Fine Arts and finally after another11 years, he settled in Beijing.
Li Xinjian’s studio is a typical form of loft structure. In order to increase the entry of sunlight into his studio, he expanded the size of the windows, making them stretch from ceiling to floor. Next to his kitchen is a combined set of an office table and a dining table, specially designed by him. The dark red pinewood has added warmth to the space. The studio is made up of two floors: the upper level is a lounge, and the lower level is a work and design studio. The side table next to the ceiling-to-floor windows is Li Xinjian’s continuation of art “multi-word symbols” pieces.
 In an article regarding Li Xinjian, Ye Yongqing wrote, “Xinjian spent a decade’s worth of time travelling around the world - from Europe to North America, India, Egypt and Greece, where he visited the origins of civilization. After much organization and editing, I’ve reviewed over and over again his heavily worded and illustrated book; wood, metal and stone sampled monuments only exist in the computer’s virtual modeling and with nine used in the file “non-symbolic design,” the concept of programs and ideas are presented. All these pieces of work express the artist’s intent: Ultimately, people with a variety of established concepts would emerge, and culture itself is the process of constant integration. An in-depth investigation and open-minded attitude towards culture is the key to modernization.”
Now, Li Xinjian has returned to reality. In the past, the voices and smiling faces of him and his friends did not exist; the ice-cold space of the loft is like the expansion to the urban lifestyle. However, the words “multi-words symbols” on the studio’s wall is like a constant reminder to the audience that Li Xinjian’s dreams are still on the go.
Li Xinjian in his studio
Li Xinjian in his studio, working
Li Xinjian's Studio
Li Xinjian(right) in his studio with Professor Ke Mengde
Li Xinjian(right) in his studio with Professor Christophe Comentale, discussing projects
Li Xinjian and Megan McShane,PhD
(Left) Li Xinjian and Wang Lin in Beijing, 2001
(Right) Li Xinjian and Hou Hanru
Li Xinjian in Sculpture Space Inc, Utica NY
(left)Li Xinjian`s Performance in 1995 with Wu Wenguang, Li Xianting, Ga Helin and Ma Yixi
(right)Li Xinjian`s Performance in 1995 withWu Wenguang, Li Xianting and Ma Yixi
Li Xinjian and Li Xianting in 1995
(left)Li Xinjian and Wang Chuan in Beijing, 1989
(middle)Li Xinjian in the Centre Culturel de la Maugerie, France, 1994
(right)Li Xinjian in the Centre Culturel de la Maugerie, France with
From Left to Right: Liao Wen, Zhang Xiaogang, Li Xinjian and Ye Yongqing in Beijing, 1989
Li Xinjian and Ye Yongqing in Beijing, 1989
Li Xinjian in the ancient Guge Kingdom, 1988
Li Xinjian in the ancient Guge Kingdom, cooking, 1988
Li Xinjian and Rauschenberg in Lhasa, 1985
Li Xinjian in Zhebang Temple, Lhasa, 1984
Li Xinjian in celestial burial platform, Lhasa, 1983
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