Yang Zhenzhong, Fish Bowl

录像内容为近摄一张反复说“我们不是鱼”的嘴,三台电视机垂直叠放在注满水的鱼缸中。

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LI BINYUAN, Freedom Farming, Video, Color, Sound, 10’54”, 2009

In the countryside of China, land is a heavy issue. In 1999, when my father passed away in an accident, the land that he had cultivated was handed down to me. I was at a loss, and avoided returning to my hometown. But the problem was not solved because of my detachment, and my sense of identity gradually disappeared. In 2014, I decided to use one of the plots of land to produce a work, to re-examine my relationship to my birthplace, which felt both strange and amiable. Finally, I made my peace through the fatigue that came from the constant falls into the field and the mud.for 2 hours. The name of the work, Freedom Farming, comes from the land certificate issued by the village committee, and from the sense of salvation that came from the performative act itself. ‘Freedom Farming’ is a work about the dialogue between me and my father, and my present reality. I attempt to find a balance between the three, or save some things that are already lost through this behavior; also I want to confirm my sense of identity, of belonging, via this path.

Li Ran, Somewhat Abstract, Somewhat Realistic, 2019, Two-channel HD video, black and white & color, sound, 4’55”

Questions such as Abstract and Realistic, Realism and Classicism have always been part of the problem of self-presupposition in the Chinese art industry, and now this presupposition seems to bring us to a kind of thorny land. No matter it is our self-expression or the imagination of “the other”, this splitting and ambiguous face has become a new spokesperson. In the Cilm, I convinced the photographer who often works with me to play the roles of model and makeup artist together.

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