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ShanghART Gallery is pleased to announce the release of ShanghART Videotheque with more than 200 works. The Videotheque, located in the gallery in Shanghai and Beijing, features over 200 Chinese videos.

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Video 60 minutes
2004 CXYU025
This is a film about love, loneliness, and strange inner world. The narrator of uncertain identity unfolds the story from captions, fragments from everyone's inner image alternate with existing or non-existing false stories. "All women in the world have one name - Lili." All loves and losses are all alike.
Video 4 minutes 11 seconds
2006 CXYU026
Half naked young man is dragging vehemently. The mysterious power is inside the door: harvest in darkness and extreme tiredness of heart and body is endless. You can't let all this go.The   invisible power that you are attempting to oppose or compete is in the other end of the rope but which controls you. You don't know what you are going to lose or gain. There is no result about the darkness. You probably know nothing. Regarding to life, you have to stay here.
Video 2 minutes 36 seconds
2007 CXYU027
This work is full of fun and delight. To create an enemy who is the most impossible one, then chase and fight with. There is nothing more happier than chasing and fighting with Santa Claus. This is not about a devil youth, not the anger to Santa's authority, not a violent absurd, not the contradiction between the west and east, not even cultural conflict, not at all. It's just a way to find some impossible happiness.
Video 8 minutes 24 seconds
2004 CXYU028
There are many fanciful craving in the city, for this is a nest for others; a dejected young drifter appears amongst the fleeting figures in the cityscape, yearning to capture his own shadow in the sky. He muses: “I much rather I am a power plug, with the city being a gigantic socket board, having wires running through the sky.” Everyone is a prisoner with no exceptions. This is a city built according to the model of electricity flow. Each feedback and loop of the electrical wave will serve to delineate its silhouette of twinkling skyline; from an open vista through the thinly diluted suburban air, each expansive breath of the metropolis can be observed to be thriving on the desires of every one of its inhabitants. Rays of dim light shooting past clusters of dwelling are catching the struggling figures down below,the variegated dusk sky is starting to quiver and becoming more and more flickering while the twisting skyline manages to keep its composure despite the burning passions it inhabits. City, is a rearing ground of immense proportion, it relies upon the desires of its people to continue to outstretch its symbiosis needs. He, on the other hand, is simply standing here, ogling at the sky, with faith on the desires that perpetually hang in the distant horizon; he lowers his head, awaiting the onset of another nightmare.

Suddenly, I seem to have slipped into the domain of all those mysterious desires in the sky through the tangles of black and white wires laid out beside me, I can envision an electrical controlled gateway sliding open above my head, within which resides an all powerful overlord who commands all the craving and desires of the city. I pull myself up from the mud pool, crawl along the riverbed to break the surface in the water, as I step off the No.28 bus I slide down the side of the bus stop sign like a drop of morning dew; looking up to the dizzying sky, I can feel a switch embedded in my head that controls the pictures streaming through my mind; up I climb a flight of stairs, before it is time to charge back down another, I eventually climbed up to the top of the tallest building in the city, … waiting, awaiting a ray of light, a flash of lightning… at this moment, my sight is like a thumbtack, it presses itself firmly into the softest spot of the city; I shut my eyes to listen to the prefect synchrony of electricity currents ebbing and flowing through the sky.
Video 7 minutes 28 seconds
2004 CXYU029
Sight will be led to the reasons and motivations of my examination and identification of the world, to confront the imagined scene and urgent possessiveness. Be it overlapped images,or parody of some behaviors, these are not what we really want to conquer, they are just props we appropriated from the world. We only provide our own insights to react with the trajectory of the world. Image is also a form of props, it appropriated neural reaction from retina to the brain. On such basis, everything is just hypothetical facts remained on retina in the right time, in the right place , and under the right reason. You should know, your body, including your eyes, cannot serve directly the crazy performance of the fleeting world.  
Video 3 minutes 3 seconds
2002 CXYU030
Some daily shooting fragments and the actions of cutting are mixed and edited together. Meaningless coherence brings about fragmented psychological implications, as Barthelme said, "Fragments are the only forms I trust."
Video 4 minutes 7 seconds
2004 CXYU033
A piece of ray is a whip, and the time is an individual religion. Here is a path of mountains, and an exhausted man who is towing a tree from the bottom to the top of the hill. It will be a highly intense flashlight in one second. This is a myth of an innermost being of a person, mostly about struggle and expiation .So the memory of them is not coherent, and the desire is the most brilliant thing, recurrent fate is whipped time and time again.
2007 CXYU034
The video provides us some visual residues that cannot be consumed, some hysterical emotions, fallen, dark mental activity, lethargic outlook, odd behaviors, unreasonable logic. Everyone has a stubborn darkness in their inner heart to balance the evil of reality.
Video 2 minutes 36 seconds
2001 CXYU039
The video shoots some people bouncing. In post processing, the artist removed the moments of taking off from the ground and landing, people in the video then seem suspended in the air, unable to go up or down. There is a dog barking, is that elated pride, or one-way predicament.
Video 3 minutes 17 seconds
2006 CXYU040
A man is reading his manifesto in the cage, respectively declaring himself as political leaders such as Lincoln, Stalin, Churchill, Hussein, Queen Elizabeth, Mao Zedong etc. At the same time, the man is having sex with a woman. This is a vulgar joke fairly imposed on all these political leaders.
Video 4 minutes
2007 CXYU041
A theatre, a group of baggers, street artists, disabled people are playing American national anthem inharmoniously by using their shabby broken instruments which is comic and sad, the dual mistakes of moral, unbalanced ideology symbolization, all mess on the stage and the sense of ridiculousness implies a kind of virtual politics. The truth may like this,a twisted and massive ideological society is stuffed with the lowest level of socialism, capitalism, feudalism and the most deceptive sensation towards them. From the perspective of an artist, I shot these people from the lowest social class and laugh over their awkward actions on stage, on the other hand, I criticize myself that it's immoral to do like this but at the same time I remind myself this is an immoral work because I am not able to declare what is the basic correctness in the society where I exist.
Video 5 minutes 30 seconds
2007 CXYU043
BI is a fierce beast in legend which stands for Imprisonment.
This video is an individual phycological scan initially: be surrounded by constraint, disturbed by confusion and wrapped by desire. Then is the fierce conflict caused by the slaved and enslaved relationship between reality and ourselves. The individual heroism impulse of our attempt of change will probably become a comical performance. But the reality itself is exact the monster hidden in our deep heart. The roaring trucks in row are circling a person trapped in sludge.There is no way to get out that a sense of frustration constructed a prison in each of our hearts.
Video 9 minutes 30 seconds
2009 CXYU058
A group of rural workers carrying their tools are walking in the wilderness without any facial expression. There is no beginning nor ending.It's a black karma which seems to indicate the most contradicted and miserable social class in reality or even the history. The work leads us to a group of aimless routes by a kind of depression which is similar as the struggle and conflicts in life that we are quite familiar with, like the revolts and public movements in history. Reality goes back to its start. We are able to feel something will happen but have no clue what we could change.
Video 13 minutes 46 seconds
2010 CXYU070
This work shows in 3 channels trying to discuss the hollowness of life, social barriers, desires, twisted love and rough understanding of memories. Author wrote many monologue blinking with images, time and space shifted, this work is filled with fragmented feelings towards our inside and outside life and hysterical personal experiences and explanation which shows the artist's high densified video writing. Video is not a way of watching but also a way for us to read.
Video 9 minutes 50 seconds
2009 CXYU072
It uses a violent obstreperous passion to indicate the politics of adolescence which is full of flaming rebellion and rejective attitude and it is an aesthetic appreciation and liberation of a violent revolution. It is similar as one of the screen-shot of the endless political movements in the past 100 years. A group of young people are excited throwing bundled books into blaze. In the carnival atmosphere, there is no political correctness but only beauty of pulling out and ashes of illusion.
2003 HJMU018
A few projectors project the images on the ground from the ceiling, the images content are several part of skin which are sweating. In the image site put a running machine, install two to three microphones on this machine.
When audience running in this machine, the video start to play, the speed of this video's play has the mutual action with the speed of running machine. With the audience's running speed's increase, the skins in the image are start to twisty.
Microphone enlarge audience's sound of breath, image's vision effect between relax and convulsion, to make the same image into different vision and mental feelings because of the different of the environment conditions.
Video 1 minutes
2002 HJMU022
One Minute Soulful Touch
1 minute
February, 2001  

The video features a pair of hands continuously doing different gestures at very slow speed, and using the outline of hands to write sheet music which is performed by the xylophone at the same time.
Video 6 minutes
2004 HJMU027
The item in the water is the basic clueto this work.It states the mutually dependent,dialectical relationship between the two,dimly revealed in all sorts of feelings and experiences in the space that inhabit.The different experiences of the item,which is individual,vis the water ,which is its environment,show the state of feeble helplessness and docile manipulability which constitute all the enticement and bewilderment of individual existence against the background of contemporary society.
Video 4 minutes 50 seconds
1996 HJMU029
Two Channels Video
Chinese and western announcer
Re-edit actor's lines
Video 28 minutes 13 seconds
2002 HJMU030
There were over three thousand works on the art of war in ancient China, of which over a thousand have been preserved. The Thirty-six Tactics, believed to be compiled by Tan Dao Ji (circa A.D.?—A.D.436),living in the South and North Dynasties is a book that draws on the wisdom of ancient Chinese military thinking and on the lessons of actual military conflicts. It elaborates on the tactics of war, and the interrelationships between war, politics, and economy. As one the most important ancient Chinese works on the art of war, The Thirty-six Tactics has influenced the thinking of many Chinese and overseas military strategists and tacticians. The tactic of ‘on the move (escape, abandonment) is the last of the thirty-six tactics. It is actually a tactic of no tactics, to be entertained only as a last resort when there are no other tactics available. In actual practice, this tactic could mean a deliberate retreat to avoid fighting against a much stronger enemy, and to seek opportunities of beating a comeback.
The video I am presenting centers on the theme of ‘move’, relating the social situation of contemporary China to the historical background of the Long March, the famed 10,000-mile strategic retreat by the Red Army of China in the Chinese Revolution. The materials that make up the video reflect aspects of the daily life of Chinese people, including intellectuals, government officials, laid-off workers, country folks working in cities, unlicensed business dealers, and the elderly. These people, though different from each other in their social status, are all confronted with the same difficult choice of ‘move’, in the wake of the social system reform and the decline of the state-owned enterprise in China. They are forced to give up much of what they are used to, willingly or unwillingly.
In this process of ‘move’, what else are people left with, except a booming economy and an ever expanding cityscape?
Video Installation 6 minutes 18 seconds
2002 HJM_0987
The video presents a situation that can be seen anywhere in China. On the one hand, more and more old houses are being destroyed and replaced by urban-style architecture. On the other hand many new buildings have Chinese traditional elements. The outline of old and new buildings is used to create music notes.
Video Installation 9 minutes 25 seconds
2001 HJM_8029
The content of this piece comes from the famous postcard series The Sights of China. Having scanned these postcards, the information is fed into a computer. This source material is edited into a 9-minute video. In the video, music staves are drawn from right to left slowly. When the postcard moves to the middle of the screen, the outline of the postcard will be replaced by series of color dots. The music is then composed according to the positions of the different of dots on these staves and played by various instruments.
Video Installation 2 minutes 40 seconds
1999 HJM_8580
According to the EKG of the patient, drunkard, aggrieved person, and dady, made the music played by percussion, piano, sax and cello.
Video Installation
1999 HJM_8919
Video Installation
2001 HJM_8993
The camera captures a map of China fluttering in the wind, where the swaying cities (marked by spots on the map) become the basis for a musical composition. The piano music truly portrays the moving dots as well as the poetry of the reality we are facing. Together with From Architectural Immanence (2002) and Outline Only (2001), the three works can be considered as a series. With the vocalized works resting upon image data, the music based on maps and political metaphors as well as sound contrasts originating from buildings and their internal parts, HU Jieming uses once again the media of sound. Through the playing of music, he converts the experience of visual arts, while the red and yellow dots appearing on the map seem to provide yet another relationship perspective or a key narrative.
Video 4 minutes 48 seconds
2007 HKU012
The movie is from the same named installation work by Huang Kui. It seems that enigma exists in Room 1203 and Room 1407.
Video 2 minutes
2007 HKU014
The film is consisted of hundred of link-number 100 Yuan RMB, among which were delicate differences.
Video 4 minutes 57 seconds
2007 LPHU001
Back in 2007, LI Pinghu finished his video work Fight Line on the building site of Shanghai Hongqiao Airport reconstruction project. Close to the runway lights, the artist managed to construct a house installation of 5m x 3m x 3m whose central axis lay in alinement with the trace of flying-off aeroplane and whose window faced with the direction from which it took off. Within the house, by setting a study desk, a bookshelf, a tea table, a bed and some other everyday stuffs, the artist imitated a standard living environment. As an aeroplane took off, the installation was slowly lifted up by one end along the incremental height in the sky. Until the aircraft flew above the house and disappeared, everything fell down and slipped to the other end under the force of gravity. The video captured the entire process of the "house" waiting for the aeroplane and finally ending up with mess.
Video 6 minutes 23 seconds
2006 LPHU002
LI Pinghu presented his performing artwork About Light in Delighting Therapy during Thirty-Eight Solo Exhibitions in May 2006. The artist was laying in the ceiling of the showing room, an arm holding a chandelier through a hole until he became too exhausted to keep and finally left it to fall down. The entire process lasted for approximately six minutes which was recorded in this very video. A certain sense of "waiting" permeated into every single second of the performance as well as viewing experience. Artist waited for his physical energy running out whereas viewers waited for the occurrence of the accident. Finally, the chandelier fell down on the ground and the image was plunged into darkness after sparks of light and electricity.
Video 5 minutes 36 seconds
1999 LSJU029
In 1999 Liang Shaoji made a video of himself walking barefoot on metal shavings, because he wanted to feel what the silkworms felt as they were crawling over them. (In 1992 Liang started to research how to make silkworms weave on metal shavings). He got a full truckload of shavings and spread them in the factory’s courtyard. The factory workers were his public.
Liang: “I didn’t expect it to be so incredibly painful. The smaller the shavings, the more painful they were. There was no way out, no way to escape the pain except to go forward until I reached the end of the courtyard. I had to go to the hospital afterwards. During that performance I felt like any human being in distress who has no way to give up or to get out of the situation he is in, and still you have to go on living ...”
Video 12 minutes 20 seconds
2008 LSJU051
A video entitled Cloud contemplates time through reflections, similarities and contrasts of floating clouds and soft masses of raw silk.
Video 3 minutes 36 seconds
2015 LSJ_4088
Moon Garden captures the process of silkworms spinning on various materials: acrylic sheet, mirrors and metal. While filming, Liang lied on the ground as if he himself was a silkworm. Through cameras, he presents the world of silkworms where magnifies silkworms’ wriggling motion, the sound while feeding on mulberry leaves and the natural state of silk thread. The crawling silkworms, piously and serenely, go on a pilgrimage towards the Moon.  

"Return to the root from which they grew. This return is called Quietness; Quietness is called submission to Fate." (Tao Te Ching by Lao Tzu)
Video 17 minutes
2011 LY_0702
The video recorded the New Year's Eve night, people went to the temple to pray for fortune for the next year.
Video 15 minutes 15 seconds
2010 LY_0914
Standing on the bank of lake, looking at birds and feeding birds; when you are seeing the scene, what are you looking at...
Video 35 minutes 54 seconds
2012 LY_1493
Several youths go fishing in the suburbs. They are fishing nearly a whole day, and getting a little boring.
Video 10 minutes 36 seconds
2010 LY_2520
As the title of this video, "Dasein" is a term from Heidegger’s philosophy, indicating the concept of existence in this very moment. I try to slide the lens and switch the actual situation in order to find this kind of outside perspective on one’s own existence. The background sound consists of the quack noises of cicadas in summer, which comes and goes together with a continuous shouting out of feeling alive.
Video 11 minutes 43 seconds
2011 LY_4459
Captured in a lightning night.
Video 8 minutes 55 seconds
2014 LY_4488
Plenty of roes swim energetically in the river channel in spring, but the riverbank is chilly and desolate.
Video 20 minutes
2012 LY_6755
This is a video about the moon moving for 20 minutes, takes with a telescope, just a recording of the moon for 20 minutes.
Video 3 minutes 57 seconds
2011 LY_7943
The reflected sunshine floating above the river, which is shot from the perch, looks like the worldly things flowing in the time. The noise from the distant street  is recorded as the soundtrack.
Video 17 minutes 46 seconds
2013 LY_8925
This video slowly moves its focus on the temple ground that is covered by plants. Because of the friction with time, the air captures a sense of presence. The video consists of several images, such as a spider weaving its web meticulously and several people walking past an ancient bridge leisurely. The artist removes the sound deliberately from these elements and allows that silent story to go on in unexpected ways.
Video 18 minutes 53 seconds
2012 LY_9354
The artist attempts to grasp a sense of existence, the scene in her eyes is the reflection of her inner world. In such a frozen and strange situation, maybe that quiet room could be found by oneself.
2007 SYU022
Think carefully, where have you been yesterday?” this brief question with an interrogatory tone reveals one by one realities and life’s of various human beings.
This new video work composed of interviews, completely discarded the vocabulary of his previous works. Interrogatories observe, even intrude the interviewees’ memories and self-acceptance. By questioning closely and inducing, the artist exposes life and realities of people from different kind, professional background, social classes; “realities” that are sometime ludicrous made up stories, falsified and re-created.
Installation Video
2002 SYU031
Video 22 minutes 50 seconds
2008 SYU039
1. Project plan

a.      Take a photo of a bookshelf (with color)

Rubbed out the detailed information (include color, text etc.) step by step with software like photoshop, flash, until only the bookshelf and the shape and concept of the book left, the final appearance is black and white.

b.      Present this process by DV, every details slipped from the image in quiet with the passage of time.

2. Scene and equipment require

a. In a space without light, project the bookshelf to a white wall as 1:1 proportion (width: 2.82m), black the left and right side wall, also the upward side of the wall that beyond the project area.

b. a projection machine (400 lumen)
Video 18 minutes 19 seconds
2009 SY_3878
Shi Yong and Seth Joseph Augustine 's collaborative project, Borders Within, was a social experiment. By being blindfolded and introduced into a completely foreign environment Seth instantly became “The Outsider.” Seth was a bewildered, Caucasian American unable to speak the language, and unfamiliar with the work being done.  At the same time, the Chinese workers became “The Sethnsiders.” Our meeting was a tense, awkward, and curious moment, and it became apparent that the results of this experiment were open-ended—anything could happen.   Shi Yong and Seth framed our project in this way in order to discover where the internal boundaries were drawn within people.  Where could we find common ground? Over the course of the week, living and working side-by-side with the Chinese workers, Seth understood a tiny bit of their life experiences. And through our limited communication, they came to know a small fraction of who Seth was. However, a vast chasm of unknown still existed, and we realized that we could never in fact know very much about one another. Ultimately, my juxtaposition within this environment served to highlight the Chinese workers’ daily life, and became a bridge into their concerns, and their struggles. (Text by Seth Augustine)
Video 4 minutes 49 seconds
2002 sy18
The work QQ Fantasy is composed of moving parts of a stooping body and the construction under the city sky, which is put in alternating order. By changing the pictures continuously, the performances of the body are expressed through a series of illusory actions that get more intense as the performer is finally awaken.
As to the installation method, the image reflects on white film, while the sound is spread through the bass loudspeaker affixed to the film. A concrete sound that is unanimous to the rhythm of the performance is overlapped purposefully with an illusory performance untouched with other subjects in this image. The subject expresses the content, under the circumstances, that desire can only be met by comforting oneself, which is both related and not related to the real life.
Video 8 minutes 18 seconds
2004 sy21
This video presents 30 different figures (all dressed in the same way of new Shanghai look), and accordingly connects their portraits. For the viewer, it seems changed (different face types), yet unchanged (same attires).
Television is set upright. (Silent)
Video 5 minutes 29 seconds
2006 SXU002
The memory is empty, when man gets into a state of shock. The shock of time can also called the shock of history. The most important element of this work is some old paper from 50's and 60's. The papers recorded some important information of China. To me, it has become history which I can never get close to. For this reason, I can only use my work turned this history into a doubtful legend. Our conception of history has been twisted passively or voluntarily. There are lies, secrets or maybe farces behind all these things. Maybe it is just the real history. History is how we think but not what it is. Even we have archeology and museum, we still sorrow when we face the real history.
Video 7 minutes 21 seconds
2007 SXU003
“Requiem” is an apocalyptic story about a world in despair, streets are burning and giant mosquitos flying above the city as helicopters ready for attack.
Video 4 minutes 14 seconds
2005 SXU004
In ‘Magician’s Lie’ we see a single person covered in black paint while white tribal patterns continuously form various tattoos on his body.
Video 7 minutes 20 seconds
2006 SXU005
“Lie” is set in a space only inhabited by a character wearing a tall magician’s hat. The space is lit up from outside by the moon that shines through the barred window frames. Inside, the walls suddenly come to live, and strange creatures morph into bombs and bonfires.
Video 4 minutes 41 seconds
2004 SXU006
“Utopia in the Day” presents a marionette theater – here, the characters are controlled by a puppet master in the character of a skeleton. Alas, death controls the living.
Video 2 minutes 12 seconds
2005 SXU012
“A War About Chinese Words” is a black and white movie animation where Chinese characters morph and come alive as soldiers, animals and tanks. The characters enter into warfare and battle.
Video 12 minutes 36 seconds
2006 SXU013
MYTHOS (2006) is a collage created with reference to personal memories as well as collective experiences. In the strange spatio-temporal image, the history has been cut into pieces. It seems that everyone is a king, everyone is a magician, and numberless chairs are there waiting while billows of flame are sweeping the brown old photos. The animation is a montage of history, and MYTHOS’ dictionary is, thus, a code full of questions.
Video 27 minutes
2010 SXU080
We always make thorough enquiry about history. But when history is past and distant-such as a second, a minute, an hour, one day, one year, even a century-then the enquiry itself will be much more sincere and exciting than the answer. Our perspective on the world is in useless changing. We, all the people, are in hesitating and homeless situation. Everyone is a wanderer.

21 KE was produced by SUN Xun and π Animation Studio four years after its commencement, in which the artist and his team invested the dream of animate creation by pursuit in technique and exploration in artistic language. Themed with "the weight of soul", the video guided its viewers into a journey that probed for the very origin of the value of self-existence. The experimental "animation film" was mainly completed by pastel on canvas. Presented with exquisite and rich texture that constituted black and white images, and rendered by background music composed with human voice, sound of machines, noise of riots and other restless factors, 21 KE introduced to its spectators an overwhelming audiovisual experience. SUN Xun commented on this piece that “in 21 KE, time is abandoned by history and soul is lost by us..." The artist attempted to reflect on the existence of self and history by the production of a series of scenarios and events appearing ridiculous and yet familiar, as well as the establishment of the relationship between personal experience and grande narration.
Artist has exhibited his works in "Orizzonti" section at the 67th Venice International Film Festival, solo exhibition 21 KE (2010, Minsheng Art Museum), Beyond-ism (2011, ShanghART Beijing), After Doctrine (2010, Yokohama Creative City Centre) and SUN Xun – Shock of Time (2009, Drawing Center, New York) and so on.

21 KE was shown in 67th Venice International Film Festival in Italy, Art Basel Miami Beach in U.S.A., Tales from the New Chinese Cinema in New York, PhotoEspana 2011 in Madrid, Impossible Universe in Brisbane and Hell (Helvete) in Stockholm and so forth.
Video 9 minutes 4 seconds
2008 SXU083
'Hero' is a kind of historical complex, this complex lead to the transitions of our history. But they are usually ridiculous. "History" means to us more likely a sort of impression, or a virtual reality.
Video 5 minutes 19 seconds
2008 SXU129
All the inspirations  from a small book called New China given by a friend of mine. The print time of this book is probably before the Second World War. This book is written by a missionary who lived in China for many years and knows China very well. The general content of this book is telling people how to love their country, how to construct their country, how to be a useful person and about China’s revolution at that time.
Everyone knows that China is called New China after 1949. But there used to be the appellation. It is very interesting. After I read through this book, seeing China’s Modern history, I found this country actually runs around a circle. They can stop at any point to do some more valuable things. But maybe there are many unknown stories that behind it have changed its result. While what about China now?
Video 7 minutes 56 seconds
2008 SXU130
About Coal Incantation:

When we sleep deeply, everything becomes history. ---Sun Xun

Coal Spell, inspired by this old five Yuan RMB note, is an account of the rise and fall of Fuxin, an old industrial coal city located in northeastern China. As a result of the experiences and nostalgia of his upbringing, the artist began to question both History and Power:

In a mysterious dark city, yellow sand storms wreak havoc.  Several huge smokestacks located in the middle of the city pierce the sky, emitting black fumes, which blanket the sun. The sound of doctrine rings out daily in order to banish various curiosities about this world. The city is a tremendous prison where history is boxed up like a monster – a brutal, fierce monster. One particular day, people were forcing the screaming Soviet Union excavator to clumsily open the skin of the land, gradually closing the heart of the city…even the changes of history can be closely watched.

People’s money, pattern is just the illustration…

Video 7 minutes 30 seconds
2009 SXU267
About animal's world, inspired by Orwell George novel inspiration manufacture.
Video 8 minutes 8 seconds
2010 SXU365
There is an old Chinese legend that says the First Emperor of the Qin Dynasty sent Xufu and 3,000 boys and girls on a boat towards the magic lands of the East in order to find the remedy for eternal life ….  It is said that the boat reached Japan in the end.

Similarly, in ancient China, people had different understandings of the world; one says that people believe the world is a big mountain, and this big mountain is carried on the back of a big tortoise whose name is “bei xu”, the last son of the Dragon, who is also very good in carrying heavy weights whilst standing over four big elephants … this is the way the world has been structured.

The world of the Magician, who is the only legal lier, states the magnificence of the world of politics; in reality this is just a mirage, like an oasis, and the entire world is upside down; everything is a romantic wasteland and in this wasteland will the brightness people has so longed ever appear? Or do we need to turn all lies upside down….beyond-ism, how our lives should be?

Time has passed until now; I came to Japan for the art project at the Yokohama Art center.  This artwork combines three parts; I realized the first part that comprises 10 huge ink drawings in Yokohama. In Beijing I realized the second part, which consisted in the video animation the scenarios of which are taken from Japan. The third part is a site-specific drawing I completed now in Nagoya.

This work is related to Japan, however the story comes from China.

Director: Sun Xun
Script: Sun Xun
ANIMATION: un Xun, Tang Bohua, Fang Anguo, Han Ling, Zhou Lei,
Li Rong, Li Tianyao, Zhang Feng
EDITOR: Xu Chong, Sun Xun
SOUND: Jin Shan
Video 10 minutes
2011 SXU470
Clown’s Revolution" is about a real island where a group of poets live. It’s a small and completely Utopian society, and a dream we have been pursuing; it is an Utopian reality, which exists in a life pursued by art. The English title is more like a process we are seeking, which is full of absurdity and metempsychosis.
Video 12 minutes 22 seconds
2011 SXU579
This is an animation film made from wood printing block. It costs more than a year to complete the film. Wood printing block has got a unique development and history in China, since it was a culture weapon in revolution, as well as the inheritor of revolution spirit. Thus, its form is more than wood printing block itself. Those animation frames tell us a special memory of a remote country, but the memory continues to repeat in reality.
Video 9 minutes 43 seconds
2013 SX_4695
The ancient universe is different from ours today: the deities lived in every planet, as with in our world, and planets with deities were once very close to the Earth. Deity inhabits in all natural objects and phenomena!

"Pharaoh died, our Pharaoh died!" exclaimed Egyptians.

"He shall be buried with deities in the universe."

The Pyramid was built, beneath which lied dead Pharaohs. From certain angle and in certain time, the apex of the Pyramid could connect with the universe--- different apexes with different planets.

Dead Pharaohs are here, be with all deities! Thus the earliest monument of human was established, for commemorating "deity"!

It was also the largest tomb!

1989, Eastern Europe!

All communist monuments were transferred to a place in Eastern Europe, which is called monument park by someone, or monument tomb by others.
Video 52 minutes 3 seconds
2011 MIU148
"Physique of Consciousness" is the first cultural fitness exercise ever made, initiated by MadeIn Company. It comprises movements derived from dance, gymnastics, spiritual and cultural rituals. The whole series is composed of more than two hundreds steps and moves inspired from a hundred ceremonies, worships and traditions accumulated through the History of Humanity. It combines physical and spiritual virtues, enhancing body conditions and well-being.

As dance can be a form of expression and as ritual is usually linked to civilizations, the spiritual fitness “Physique of Consciousness” reflects the diversity of human ideologies. “Physique of Consciousness” consists in ten exercises, as ten chapters, with a progression of levels from easy to hard. The whole set of exercise lasts for thirty minutes. Movements are flowing, peaceful and aesthetic, accompanied by a relaxing music.

This fitness exercise is open to any public, young people as much as elders, it has various benefits such as maintaining a healthy physical condition, strengthening muscles, joint mobility, and improving the immune system. It can also bring peace of mind, by relieving stress and providing a feeling of wellness. The diversity of the movements participate to the enhancement of memory capacity and focusing function.
Video 11 minutes 54 seconds
2012 MI_2877
MadeIn Company’s single-channel video work Continuously records MadeIn Company’s approach towards editing images. The video is composed of several parts that are short, pithy but full of interest and charm. Each part fully demonstrates the usual funny and joking character of MadeIn’s works.
Video 3 minutes 12 seconds
1998 XZ03
XU Zhen started out making videos that focused on the body and public space in a manner reminiscent of early Bruce Nauman or Vito Acconci: For example, the video “Rainbow” (1998) shows a person’s back growing increasingly red, the result of slaps heard on the sound track but never seen.
Video 4 minutes
1998 XZ05
In “Shouting” (1998), a moving crowd faces away from the camera until, startled by screams behind them, they spin around (a reaction that elicits laughs from whomever is behind the camera).
Video 8 minutes 32 seconds
1999 XZ08
In “From Inside the Body” (1999) viewers sit before three video monitors in a room outfitted with a single couch: The central screen shows the same couch, empty; the left-hand screen shows a man, and the right-hand screen, a woman. While the middle image remains static, the man and the woman begin to sniff the air, as if suddenly aware of an aroma. They smell themselves, stripping off their clothes to locate the source of this intoxicating scent. Finally, in their underwear, they walk off camera only to reappear together on the central screen, where they sit on the couch and start to sniff each other. During the course of the video piece, an aroma is released in the room, as if inviting viewers to mimic the actions on-screen.
Video 5 minutes 18 seconds
2000 XZ17
Xu Zhen made himself a rap singer and showing on the three screens at the same time. But audiences only heard his weak moaning of making love. With the comeing of climax, the audiences down the stage seems to become more and more excited screaming and while lacking of their appearance.
Video 3 minutes 23 seconds
2001 XZ19
XU Zhen is a talented artist often providing a new and unique outlook on simple and common states of human kind. His short film "We Are Right Back" does just that as it mocks and questions gender roles in modern society. As is common of XU Zhen the film is both subtle in humor and symbolism, though one might argue that the symbolism in this particular piece is more obvious. The film is set on a boat and the camera follows the swaying of the unsteady waters; we are made to see as if we are with them, XU does not allow us to separate ourselves from the societal rules he plans to demonstrate. One is aware of a couple but not of their faces, instead the audience is only provided with a view of the waist down. XU's humor is obvious as he utilizes the groins as subjects, replacing the faces one would generally recognize with only genital regions. Though one enjoys the subtly sexual humor, they are left to assume gender only with the aid of clothing and body type stereotypes. One becomes unavoidably anxious as the man begins to reach into the zipper of his pants. The man proceeds to pull out a cigarette, as if from a gender specific pocket. The cigarette is correspondingly lit by the woman as she removes a lighter from her groin pocket as well. The symbolism has become obvious. The woman is presented as providing the man with flame, inspiration, assistance, and even physical pleasure. The two continue to remove gender specific items from their respective groin pockets. The man an ash tray and cell phone, the woman makeup, and so on. Though XU presents common and easily understood stereotypes, he does so not so that we may simply observe but instead so that we may question the oversimplification of gender roles. These two humans have no identity, but only gender.

Richelle Simon in June 2013
Video 8 minutes 11 seconds
2005 XZU062
In August 2005, XU Zhen together with his team climbed the 8848.13 meters high Mountain Everest. They succeed in cutting the hill top and took it down from the mountain. His video installation “8.848-1.86” (2005) documents an expedition to Mount Everest. Here, XU Zhen removed 1.86 meters of the mountain’s peak and transported it home to be exhibited in a large display cabinet. The video, among other allusions, is a subtle and humorous commentary on China’s policy of expansion.
2006 XZU063
An Animal” (2006): This three-channel video installation shows a panda variously ejaculating (with the assistance of a group of men, faces digitally blurred) and sleeping.
Video 23 minutes 56 seconds
2006 XZU090
“18 Days” records a trip that the artist underwent with the goal of crossing the borders of China’s neighboring countries with remote controlled toy weapons.
Xu Zhen bought some remote control weapons. Then on the boundary line between China and neighbouring countries, he remote controlled these toy weapons entering into neighbouring countries. The documentary in this work recorded the whole course in 18 days.
Video 53 minutes
2005 YFDU044
杨福东 竹林七贤3
Seven Intellectuals in Bamboo Forest, Part 3
傅冰冰 Fu Bingbing
绿绿   Lv Lv
程然   Cheng Ran
李盛华 Li Shenghua
周易   Zhou Yi
徐璟   Xu Jing
杨克   Yang Ke

导演Director: 杨福东 Yang Fudong
摄影Director of Photography: 徐伟 Xu Wei
录音Location Sound Recordist: 黄寻 Huang Xun
美术Make-Up Artist: 刘唯艰 Liu Weijian

Part three: Another kind of life. They leave the city and head into the country, areal farming village, plowing by day and resting by night, forgetting all that bothers them.
Video 70 minutes
2006 YFDU045
杨福东 竹林七贤4
Seven Intellectuals in Bamboo Forest, Part 4
高嫣沁 Gao Yanqing
程然   Cheng Ran
李盛华 Li Shenghua
徐璟   Xu Jing
代哲   Dai Zhe
黄璐   Huang Lu
孔琛亮 Kong Chenliang

导演Director: 杨福东 Yang Fudong
摄影Photographed: 徐伟 Xu Wei
摄影助理Assistant Photographed: 贾志青 Jia Zhiqing, 刘顺兵 Liu Shunbing
录音Recorder: 黄浔 Huang Xun, 代代 Dai Dai
美术Art/Scence: 刘唯艰 Liu Weijian
美术助理Assistant Art/Scence: 叶凌翰 Ye Linghan
制片Producer: 金育 Jin Yu, 姚佩芬 Yao Peifen
场记Log Keeper: 王佳荔 Wang Jiali
化妆Makeup: 赛赛 Sai Sai
剧照Stage Photo: 朱隶 Zhu Li

Part four: A tiny island of belief. They like the sea. They like living undisturbed, isolated. Perhaps this is life in utopia.
Video 91 minutes 41 seconds
2007 YFDU059
Part five: They return to the city, devoid of identity. Perhaps they are many people, perhaps they are seven. Perhaps they are in a dream. From beginning to end, they cannot find their position. They are still a collective of youth, a future, unknown collective.

Cast of Seven Intellectuals in Bamboo Forest, Part 5
高嫣沁 Gao Yanqing
程然   Cheng Ran
李盛华 Li Shenghua
徐璟   Xu Jing
代哲   Dai Zhe
倪柯云 Ni Keyun
陈钟柱 Chen Zhongzhu
苏梅   Su Mei
黄璐   Huang Lu
黄小璐 Huang Xiaolu
傅冰冰 Fu Bingbing
周毅   Zhou Yi
于博   Yu Bo
有情出演Friendly Cast: 赵可 Coco

导演Director: 杨福东 Yang Fudong
摄影Phorographed: 王艺 Wang Yi
美术Art/Scence: 叶凌翰 Ye Linghan, 刘维艰(特邀) Liu Weijian
录音Recorder: 黄浔 Huang Xun

Video 20 minutes 50 seconds
2007 YFDU065
In rural areas of Hebei, the weather is cold and dry in winter, people living in the plains, quiet and simple, but also bustling about their own lives. Almost all households there keep dogs as watchdogs;  the dogs are surviving dependent on the person in the same time.

Que Village is one of the small villages, only more than 100 households in it. Lots of dogs live in the village as well, they also will be sick, dead, abandoned or victims of trafficking. But in the eyes of their masters, dogs are dogs, in the end they cannot see the only road where is leading to the outside world in the east of Que Village.
Video 3 minutes 30 seconds
2007 YFDU070
1. Turn a still photograph into a film, i.e. have real people sit before a film camera in a set pose, maintaining stillness as in a photograph, holding the position until the shot is through. A photograph becomes a film. The concept is one of both photography and film.
2.The photographic style borrows somewhat on idea of "standard" video art from the 1960s and 70s, as if time is standing still.
3. The title of the piece seems a bit like a line from a poems. Several decades ago, people would write a sentence or a poem kind of like this on the back of their own photos or photos of friends, signing their names as a way of leaving a memento.
Installation Video
2008 YFDU103
Back in 2006 during the filming of Seven Intellectuals in Bamboo Forest Part IV, YANG Fudong passed Jiaxiang in Shandong Province, a city well known for its resource of blue stone. The picture of local people and their entire life centering around stone carving touched the artist, who later presented Blue Kylin No.1 in 2008. It is an artpiece composed of three parts: a film running about 20 minutes shows mountains being exploded and stones selected, which marks the very beginning of production of blue stone sculpture; 16 pieces of video played in loop capture the images of people in working process along with daily life in the city; last but not least, the sculptures per se are displayed as well. Left unfinished though, the set of sculptures plays an essential role in the whole piece as readymades carrying the artist's concepts embodied underneath. What is laid in front of us is an abrupt stop of stillborn product. The massive volume it occupies, the ink lines and traces of machining that are deliberately kept, together with the collapsing posture even before a full display of their appearance, render the unique aesthetics held by YANG Fudong, alluding to modern civilisation simultaneously.

The sculptures currently displayed in the exhibition space include:
A kylin (96 × 52 × 116 cm)
A hibernating dragon pillar (855 × 103 × 103 cm)
A Chenglu Plate (129.5 × 129.5 × 67 cm)
A base (202 × 202 × 137 cm)
2 cloud boards (199 × 99 × 25 cm, 176 × 127 × 25 cm)
2 pieces of small gravels (29 × 21 × 25.5 cm, 35 × 20 × 27.5 cm)
8 pieces and about 37 ton in total
Video 25 minutes 50 seconds
2012 YFDU106
Shooting in 2008, finished in 2012

Back in 2006 during the filming of Seven Intellectuals in Bamboo Forest Part IV, YANG Fudong passed Jiaxiang in Shandong Province, a city well known for its resource of blue stone. Blue stone (a kind of stone materials) is an abundant specialty in the local area. Chinese kylin is deemed as a propitious animal as well as a quintessential product model of the carving plant. The local people and their entire life centering around stone carving touched the artist. 2008, he creates Blue Kylin 1, and then some other versions of Blue Kylin series were adapted in the passing years. It truly reflects the current living conditions of stone carving workers at Shandong Blue Stone Carving Plant. With an aim of making their lives known to more people, the artist focuses on the low-class labors in North China. And it fully displays the humane care and social responsibility of modern art. Under the harsh local living conditions, those carving workers single-mindedly devote themselves to working hard just to make ends meet instead of paying attention to art; though they, in fact, have been doing things related to art in their daily lives. It can be too extravagant to talk about art here.
Video 10 minutes 37 seconds
2010 YFDU113
“The Fifth Night” is a video installation composed of seven synchronized projections. The videos feature old Shanghai scenes, as a large décor with carriages, rickshaws and vintage cars. In the middle of the scene a stage has been built, a few jars with fishes have been placed on a table and a tramway is being frenetically repaired, illuminating the place. Vague views of people without any relationship are shown, anxious, hesitating men and women here and there attend to their own duties, a scene’s foreground can become next scene’s background; a shot is wide and narrative, while the other depicts some characters, this long screen of seven projections has more relief than if it was in 3D, and is more complete. Facing seven cameras, actors’ expressions in each objective and shot are uncontrollable; this kind of randomness presents a certain subtle and unpredictable aesthetic.

The idea behind this work came from a reflection on film production, and a new filming method was used for this video installation: seven projections, going far beyond our visual field and habits, Yang Fudong calls it “multiple views film”. The most important in the production of this work was the inspiration of the actors, as well as viewers’ feelings of the space, the artist unified this work by maneuvering its inner and external feelings.
Video 19 minutes 21 seconds
2011 YFDU134
1.Night Falls.
2.If the warrior in night is exist or disappear.

Yejiang (The night man cometh), a 35-mm film transferred to HD video, unfold in the realm of historical fantasy. An ancient warrior is seen wounded and forlorn after battle: he is in conflict about his path in life. Three ghost-like characters appear as emblems of feelings and thoughts that surface and clash within the warrior’s heart and mind as he has to decide whether to disappear or continue fighting. Yang has preferred to describe the film as ‘neo-realistic’ rather than historical and allegorical:

"Neo-realism” is a history theater where current and contemporary societal conditions come to play. Who exists realistically, the warrior baron in his period costume or the ghost in a modern outfit? When the ancient battlefield scene and other historical events appear and reappear, where do they belong, in the past, the present or the night-falling future? How impossible it seems to make up your mind, when there is no easy answer to get from the narration! It is getting dark. The warrior has to decide whether to disappear/escape (die) or to continue fighting, which of course might lead to the same fate – death. There is hope nonetheless. The body is desirable whereas the soul is more precious. His spirit is what backs him up in life. How should we live our lives now? How do we identify ourselves with neo-realistic historical events and continue to search for spiritual meanings? What do we really want?
Video Installation
2011 YFDU142
Besides a short film, The Nightman Cometh also comprises eight oil paintings. The individuality of each of them is emphasized. Some stories in the whole piece are told through those images. That is also why I call them “sketch films,” because they give a sense of incompletion, and the rest of the “editing” is to be done in the viewer’s consciousness. It is not unusual that film narrative is achieved through editing a series of shots into a sequence. So to some extent, the “montage” going from one painting to another can be more interesting, although they must be produced with the fundamental idea of film in mind, or say, under the direction of the “director.” When I paint, I don't want to make something that is academic or absolutely painterly. What I care about more is to create a particular atmosphere and texture that has a handmade feel, as well as a narrative generated from painting-to-painting montage. The medium of oil on canvas or the quality of painterliness does not interest me much. The connections among those paintings could help render what I call “imagination film.” The images that ended up in the gallery were painted when the short was close to being completed. They make an alternative version of the film part of The Nightman Cometh.
Video 7 minutes
2005 YFDU30
A beautiful panoramic landscape sets the scene for the narrative of “The Half Hitching Post”. Here, we see only fragments of two stories taking place simultaneously: Two different couples are being witnesses in their attempt to ascend a mountain on a sloped and steep road. The viewer is left unaware of the couple’s ultimate goal as they compete on reaching their destination. Focusing on the journey up-wards the shifting perspective of the camera depicts the mutual hindrances engaged by the couples to sabotage their opponent’s success on reaching their ?nal destination. Juxtaposing the race towards the top with the tranquility of the surrounding landscape lends the video a poetic vibe all its own.

An Sai, Shanbei,
An isolated village on the Loess Plateau, Northern China.
Two young outsiders are moving in,
While two young locals are struggling to escape.
Comes into view a donkey full of luggage,
Comes also into view a young couple,
He carries her on a bike...
4m screen, own room, 40-50m2, walls 70% black
Video 18 minutes 59 seconds
2012 YFD_0114
The Pride World is YANG Fudong’s latest work specifically created for the exhibition EDIT-Image Fetish and Phobia in September 2012. Different from his previous works, this two-channel video is projected onto the Chinese traditional Xuan paper - Jia Xuan. The black and white image and the natural texture of Jia Xuan paper create a unique visceral sensation. It triggers and foregrounds a special nostalgic sentiment from the video’s characters and environment.
Video Installation
2013 YFD_0290
It is so real
A remote and intimate world

In the dry hot air
Someone sings in a soft tone
But it
Stands there quietly
Letting the wind
Take away its past

Things resemble each other
Like in a dream
Push the door softly and walk in
Or just stay standing where you are

Part 1 Sharjah, 8 screens, B&W video
Part 2 Alhambra, 8 screens, color video
Multiple-screen video installation
Duration: 10-20 mins
Video Installation 15 minutes 48 seconds
2014 YFD_3405
The Coloured Sky: New Women II is about young girls in their room or private space... It’s a work that attempts to convey the sensation of a girl with a special, secret gift.

With a haunting lyricism and dreamlike narrative, The Coloured Sky: New Women II examines the secret desires and anxieties of young women as they come of age. The work captures a journey that has, on one hand, ended, and on the other has barely begun.

Yang Fudong:
My mind was on The Coloured Sky: New Women II when I completed New Women. I was thinking about a colour film instead of black-and-white, and one that would not focus on idealism or a ‘grand’ narrative. To me New Woman II feels closer to childhood. Remember the way the wrapper of a candy had a dazzling rainbow colour when you put it against a sunbeam? New Women II is more about young girls in their room or private space. These girls have secrets which they never tell anyone, perhaps a secret present like a music box, a pearl or a necklace. New Women II is a work that attempts to convey the sensation of a girl with a special, secret gift. I would like to get close to real life by looking at this secret present.

During the shooting of The Coloured Sky: New Women II, I could feel that there had been a shift. I tried to get close to a form of abstract video, and I also explored a new type of narration and expression.

I have made a lot of black-and-white films before, but this time I chose digital video to make a coloured work. This was a very important experiment in understanding the ways that colour video can improve or change the narration. Also New Women II makes me think that I might need to incorporate painting, installation, video and mix them together in my future works. This project has given me some fresh ideas — perhaps this kind of freestyle creation can give me the courage to explore new things and support other breakthroughs.
Video 2 minutes 53 seconds
2006 YFD_8704
16mm film transfer to DV, 3parts:part 1 / 53"    part 2 / 58 "   part 3 / 1'02"

Wandering in the bustling streets, old-fashioned lanes and ruins of diverse-style architectures, two young man were performing singing(chang, 唱), dialogue(nian,念), acting(zuo, 做), acrobatics(da,打), in good order and well arranged. Though living in a daily and routine scene, what they were experiencing was unique and different "enjoyable dream life".        
Video 6 minutes
2000 YFDv001
City Lights
Yang Fudong regularly makes use of characteristic film genres. For example, City Lights is a mixture of the detective film and slapstick. A young, well-dressed office clerk and his Doppelgänger move in unison along the street and around the office. Like pre-programmed robots they fit perfectly into their apparently ideally organised environment. The day is entirely dominated by work, but the evening provides space for dreams and creative thinking, allowing a schizophrenic situation to arise. In their heroic conduct the two gentlemen sometimes develop into two gangsters who engage in a form of shadowboxing.
Video 13 minutes
2001 YFDv002
Backyard - Hey, Sun is Rising!
Four men engage in acts simultaneously. They smoke, yawn, massage themselves and practice military exercises in a city and in a park. The seriousness with which they perform these acts contrasts with their pointlessness, which creates the effect of slapstick. Yang Fudong reveals that because of social changes, certain rituals have become totally meaningless.
Video Installation 12 minutes
1999 YFDv003
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.
Video 2 minutes 30 seconds
1998 YFDv004
After All, I Didn’t Force You (1998), single channel video, 2’, ed. of 5
“After All I Didn’t Force You” (1998), are implicitly a reaction to the forms of individualism in a developing modern mass society. Yang Fudong strings together takes with different characters so quickly one after the other that they “lose face.”
A man explains to a woman the sentence"I didn't force you". Separate movements of 12-14 people are combined/cut to form a fictive man who repeats the words "I didn't force you" to a woman.
Video Installation 18 minutes
2002 YFDv006
Flutter, Flutter… Jasmine, Jasmine
The images in “Flutter, Flutter... Jasmine, Jasmine” are both an illustration of the words of the romantic song, and a commentary on it. We see a young man and woman in a large city, dreamily staring. Just like the song, they reflect hope, idealism and emotional purity. But the changes in the city proceed rapidly, and it is a question whether their ideals and feelings will remain untouched by this.

Video 14 minutes
2003 YFDv007
Liu Lan tells a story about the break with tradition in China. An intellectual in a white suit meets a traditionally dressed woman in the countryside. Despite their mutual love, their lives seem incompatible. A woman’s voice sings a folksong, Why are people in love always separated from one another?’ The film’s atmosphere is melancholy and the landscape veiled in mist. Here Yang Fudong shows his connections with Chinese landscape painting.
Video 18 minutes
2001 YFDv009
In a scene from “Robber South” (2001), which tells the story of a young man in the city making a living as a fruit seller while dreaming of becoming a businessman, the protagonist watches as a subway train pulls into a station, and in an instant the focus of his attention switches seamlessly to a deep blue sky. Compass in hand, he walks from house to house, tracing each door and wall with his fingers, a metaphor for his search for his own place in the city.
Video 76 minutes
1997 YFDv012
Zhuzi, a young intellectual, is living in Hangzhou which is called heaven because of the city’s beautiful scenery. He, together with his fiancee Linshan, leads a quite life there. The rainy season of the city comes every March or April, but it came a bit early this year. The city became wet and cold during the rainy season. Zhuzi suddenly felt uncomfortable and with an emotion of nervous. He did not know why the feeling came to him. He kept going to the hospital to exam his body, his eyes, his nose, his ears, his skeleton with a suspect that he himself was ill. After every exam, the doctor told Zhuzi that he is all right. Gradually, Zhuzi realized that the doctor was right. He did not suspecte that he had anything wrong with his health any longer. The quiet and prosaic life that he is leading was what he really feared. He found that he still loves life. He felt that he should lead a happy life. This moment, the rainy season in Hangzhou will came to an end soon. (- Yang Fudong)
Video Installation 14 minutes
2002 YFDv10
sound by Miya Dudu, finished 2005, wide screen 16:9, synchronized, needs carpets (dark grey)
Jiaers’ Lifestock
In two separate spaces two almost identical cinematic narratives unfold. Because of the wall separating them, we can not compare the two, and must call on our memory. Both spaces also contain a glass display cabinet with a suitcase full of books and neckties, and four small video monitors in it. The tangible objects and the monitors appear to connect with the large projections on the wall. (stedeliijk)
Video 9 minutes 29 seconds
2003 YFDv11
This video appears to be a humorous stylistic reference to spy films. All the clichés – tension, eroticism, grave, cigarette-smoking men and atmospheric music – are present. The woman wears fishnet hose and a fur coat with her military uniform. This ambiguity of seduction and deceit is not only the earmark of espionage, but possibly also a metaphor for the present ambivalent situation in China.
Video 8 minutes
2003 YFDv14

In “S10” (2003), two female office workers wearing uniforms covered in zippers, zip together their arms and various other parts of their bodies. At this point we have entered the realm of a modern-day Shan Hai Jing inhabited by "exaggerated" creatures, a realm that is at the same time a metaphorical expression of a new concept of "subject" that is in the process of evolving organically from the individual to the other, and to the group. If we are all interconnected, just how far does the territory of the "individual" extend?
Video 46 minutes 15 seconds
2004 YFDv15
Seven Intellectuals in Bamboo Forest (Part 2)
In this ‘sequel’ to Seven Intellectuals in Bamboo Forest (Part 1), the seven young intellectuals form a sort of commune in an urban apartment. The five men and two women talk, make music, eat, drink and have sex. A decadent, hedonistic atmosphere prevails. At home the actors pass each other without making any clear contact and seem to be seeking the meaning of their actions. Only sporadically is there contact with the city around them. Yang Fudong’s intellectuals are entangled in the discrepancies of the old and new worlds, at the crux where traditional social values and personal freedom collide with one another.

Part two: Closed life in a flourishing city. No matter what city you inhabit, you understand nothing better than your own family, your home, and those private spaces that truly belong to you.
Video Installation 23 minutes
2004 YFDv16
在这件十屏影像装置中,海边正在上演一场音乐会,伴随着不同乐器演奏,年轻爱人的故事也在海边展开。中央的投影是两个同时发生的场景:一边是一对在海边骑马的年轻恋人,另一边是一对试图在沉船事故中逃生的恋人。其他的八个屏幕则同时呈现不同乐器的演奏,如站在海边的礁石上演奏小号与大提琴协奏。奇异、梦幻或不协调的配乐折射出理想与现实的矛盾,年轻的爱人在面对死亡威胁的同时,继续谈论他们的理想、 信念和憧憬。
Video Installation 20 minutes
2003 YFDv18
better common soldier
sound by Miya Dudu
Video 3 minutes
2004 YFDv19
Two young men wear the uniform of 70’s policeman, sometimes they look like runaway criminal. They want to escape reality which is impossible to cast off. They yearn for the bright sunshine life, expecting the time to be captured, to exchange for a calmness of the heart.
Video 15 minutes
1997 ZJU016
A high-8 video camera is placed inside a refrigerator with the lens pointing outwards. As if in a state of auto-recording or surveillance, the camera records a series of casual actions of an item being placed into or removed from the refrigerator. When the refrigerator is open (and the light inside illuminated),the camera records an image. When the refrigerator door is closed, the screen appears black. The video imagery is subjected to the physical attributes of the inside chamber of the refrigerator with alternating conditions of light and dark. The removal of the audio emphasizes the inherent subjectivity in the image.
Video 20 minutes
2008 ZJU019
This two-part work is made up of video and photography. The video is composed of three interrelated images, each shot from different angles and perspectives that depict close-up shots of young men and women with dignified but solemn expressions against the blue sky. The photographs depict young men and women on the back of a mule holding the reins and calmly gazing into the distance, in a seemingly heroic gesture made ironic by the mule’s sterile nature and its existence as a work animal.
Video 5 minutes
2002 ZJU020
The video depicts an endless loop of a Boeing airplane cruising on the tarmac, taxing on the runway but never taking off. The camera is fixed from the side of the aircraft as the background scenery of trees passes rapidly, insinuating movement. The audio depicts the white noise of the aircraft mixed with relaxing music often played inside planes before take off.
Video 10 minutes
2001 ZJU021
A young man sits at a table near the window of a fancy café, drinking coffee, smoking, and talking on the phone, completely ambivalent to the female figure standing nearby. The “women” stands unidentified, seen only from the back, seemingly frozen in time like the cityscape in the background of the scene. The video imagery is static reading like a freeze frame.
Video 8 minutes
1997 ZJU025
A miniature camera strapped on the arm of a second player records the movementof a basketball player, who is the only figure in the video and therefore seemingly playing alone inside a basketball court. The camera man’s perspective and angles are determined by the movement of the game, as a response to the basketball player’s moves. The audio is edited to heighten the melody and rhythm of the movement,emphasizing the freedom and uncertainty of the image.
Video 7 minutes 40 seconds
1993 ZJ_1646
The camera angle replaces the dialogist’s viewing angle. In the continuing process of dialogue without any clue and actual content, “the dialogist’s viewing angle” casually goes across everything which is touched by the visual range. Sometimes, it focus on the part details, such as other’s corners of eyes, lips, eyebrows, and it sometimes aimlessly sweeps the environment where they stay. In the 10 minutes process, the viewer is unable to identify the main body of the video.
Video 10 minutes
2015 ZJ_5385
In this four-channel 10 min video installation different episodes play simultaneously on the four screens. The artist has arranged several different scenarios and symbolic props which make it easy for viewers to feel the pervasive ambiguity which can not be put into words. On the one hand, our imagination is tempted by the delicate details, but on the other hand, our imagination is limited through a very rigorous structure. The gradual increasing sound of the violin - musicians pulling repeatedly with A in C major tortures the audience's visual and hearing senses. A man with a hand full of colorful balloons, moves his arm rhythmically up and down. A young girl sits, smiling, on the mattress covered by flowers. The shadows of a flying flag reflect on the wall. Through the language full of hints, artist wants to express critical attitude towards the control.
Video 15 minutes
2012 ZJ_6271
"Zero" is artist Zhu Jia's work in 2012. Based on a casual tone, the video shows a group of fragmented images with no plot. The actress in different-era attires shuttled in different atmospheres, reflecting a sense of uncertainty. These images are called "described memories" by the artist. In a standard shape pattern, the conceptual images combined with practical reality, thus remolding something anew.

The artist attempts to explore the distance between outside "artificial images" and conventional "visual experience". Lens moved slowly so that the viewer has enough time to gaze details of images, carefully selected everyday objects and fictional landscape, retaining a sensibility. In the conversation "Do I resemble her?", here "her", at one hand, refers to a narrator of the past, at another those that are narrated by the narrator. Described "images" are mixed with imagination of "description" from today's point of view, juxtaposed with today's "scene" in the same time and same space in a surreal and irrational manner. Subjective perspective adrift, "soul" that run through the work, and the complexity and multiplicity in between gradually emerged.

112 works with video samples.
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