“For A Bigger Picture ”
/ Ling Yun& Yang Fudong
Ling Yun is a freelance writer, scriptwriter, and animator. She used to be an editor of fashion magazine, author of experimental novels collection "Fugue of February". Currently she working and living in Shanghai.
"Fugue of February”is collection of Ling Yun's novels published in various literary magazines, with a united narrative strategy. It captures fragments and chapters of life, including memories, autobiography, female perspective, male perspective, eccentric spirit, elucidative philosophical thinking, wisdom of life, fairy tales, archaizing and mimicry, hallucination and melancholy.
Yang Fudong was born in Beijing in 1971, and now lives and works in Shanghai. He graduated from the Department of Oil Painting, China Academy of Art in Hangzhou. He is among the most successful and influential Chinese artists today. Yang has started to create video works since late 1990s. His works form a unique cultural visual interpretation through multiple cultural perspectives interlaced with experiences of space and time with photograph, painting, film and installation. They are all characterised by multi-perspectives, exploring the structures and forms of identities in myths, personal memories and life experiences. Each work could be considered as both a dramatic lived experience and a challenge.
Influenced by traditional Chinese ink painting, French New Wave cinema and 1930s Shanghai black and white cinema, Yang Fudong is known for his black and white images, installation art, photography and paintings.
"I love my motherland (wo ai wo de zhu guo)"is Multi -channel video made by Yang Fudong. In one of the short sequences comprising I Love My Motherland, a man performs a formless dance at an intersection. The picture is out of focus. Yang Fudong operates here, too, with the alienating possibilities of experi-mental ？lm, with short cuts and multiple exposures.
“Seven Intellectuals in Bamboo Forest “(2003-2007), have five series in total. Yang Fudong’s attempt to develop a grand worldview in the form of an epic tale of a group of individuals defying the times in which they live. The title is borrowed from a popular legend of seven intellectuals who sought refuge from the chaos of the Warring States Period in a bamboo forest, where they indulged in serious talk unsullied by worldly matters. It is used as a metaphor for the resistance of the young Chinese who feel unable to keep up with the pace of change in China and, as a result, experience a kind of identity crisis.
在 Marcella Beccaria眼里《等待蛇的苏醒》（2005）是杨福东迄今最富戏剧性的作品之一。这部视频装置在漆黑的空间内展出，现场包括 8个等离子显示屏，两个大型的投影视频，配合环绕立体声音乐一同播放。故事讲述的是一个士兵在逃亡中最后的故事，晴朗的冬日，结冰的地面散落着积雪。生活如天气般宁静,士兵逃离战场,来到这个人迹罕至的地方，到处都透露着死亡的气味。他不知道他将要面对的是什么,他只能不停的走下去。在这部作品中杨福东和往常一样倾向于表现个体与社会之间的强烈对比，他强调了孤独造成的巨大影响，表达人类从身体到心灵的脆弱。
Artist Yang Fudong takes "Painterly Film" as the main form of expression, combines photography and video installation media to re-establish the narrative structure of viewing. He extracted characters and narratives in different historical backgrounds from ancient painting subjects, then reinterpreted the contemporary spirituality in classical works by means of re-creation with the performance characteristics of various media. With the commonality between individual cognitive traces and creation, he shows the subtle connection between "meaning" and "image" in painterly films.
In recent years, his works challenge the definition of video creation, the boundary of viewing, and the relationship between media and narrative. Taking the important category of Chinese aesthetic thought "Tacit" as the core, he deepened and recreated from the section of history and culture, so as to explore the essence of human spiritual life.
The APSMUSEUM Spring Exhibition "For A Bigger Picture" will display the collaboration of artists Ling Yun and Yang Fudong, please stay tuned.
Yang Fudong's solo exhibitions widely held at the most acclaimed institutions and galleries, including Endless Peaks, ShanghART, Shanghai (2020); Dawn Breaking, Long Museum (West Bund), Shanghai (2018); Moving Mountains, Shanghai Center of Photography, Shanghai (2016); Twin Tracks: Yang Fudong Solo Exhibition, Yuz Museum, Shanghai (2015); The Light That I Feel, SALT outdoor video installation, Sandhornoya, Norway (2014); Yang Fudong: Estranged Paradise, Works 1993-2013, The Kunsthalle Zurich, Switzerland (2013); Quote Out of Context, Solo Exhibition of Yang Fudong, OCT Contemporary Art Terminal, Shanghai (2012); One Half of August, Yang Fudong Solo Exhibition, Parasol Unit Foundation for Contemporary Art, London, U.K. (2011); Yang Fudong: Seven Intellectuals in a Bamboo Forest and Other Stories, National Museum of Contemporary Art, Athens, Greece (2010); Dawn Mist, Separation Faith, Yang Fudong’s Solo Exhibition, Zendai Museum of Modern Art, Shanghai (2009); Yang Fudong: the General’s Smile, Hara Museum, Tokyo, Japan (2008); Yang Fudong: Don’t worry, it will be better…, Kunsthalle, Wien, Austria (2005) ; Yang Fudong, Castello di Rivoli Museo d’arte contemporanea, Torino, Italy (2005); Five Films, The Renaissance Society, Chicago, U.S.A (2004) etc.