Video
53 minutes
2005 YFDU044
Seven Intellectuals in Bamboo Forest, Part 3
Cast：
Fu Bingbing
Lv Lv
Cheng Ran
Li Shenghua
Zhou Yi
Xu Jing
Yang Ke
Director: Yang Fudong
Director of Photography: Xu Wei
Location Sound Recordist: Huang Xun
Make-Up Artist: 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.
Cast：
Fu Bingbing
Lv Lv
Cheng Ran
Li Shenghua
Zhou Yi
Xu Jing
Yang Ke
Director: Yang Fudong
Director of Photography: Xu Wei
Location Sound Recordist: Huang Xun
Make-Up Artist: 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
Seven Intellectuals in Bamboo Forest, Part 4
Cast:
Gao Yanqing
Cheng Ran
Li Shenghua
Xu Jing
Dai Zhe
Huang Lu
Kong Chenliang
Director: Yang Fudong
Photographed: Xu Wei
Assistant Photographed: Jia Zhiqing, Liu Shunbing
Recorder: Huang Xun, Dai Dai
Art/Scence: Liu Weijian
Assistant Art/Scence: Ye Linghan
Producer: Jin Yu, Yao Peifen
Log Keeper: Wang Jiali
Makeup: Sai Sai
Stage Photo: Zhu Li
Part four: A tiny island of belief. They like the sea. They like living undisturbed, isolated. Perhaps this is life in utopia.
Cast:
Gao Yanqing
Cheng Ran
Li Shenghua
Xu Jing
Dai Zhe
Huang Lu
Kong Chenliang
Director: Yang Fudong
Photographed: Xu Wei
Assistant Photographed: Jia Zhiqing, Liu Shunbing
Recorder: Huang Xun, Dai Dai
Art/Scence: Liu Weijian
Assistant Art/Scence: Ye Linghan
Producer: Jin Yu, Yao Peifen
Log Keeper: Wang Jiali
Makeup: Sai Sai
Stage Photo: 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
Cast:
Gao Yanqing
Cheng Ran
Li Shenghua
Xu Jing
Dai Zhe
Ni Keyun
Chen Zhongzhu
Su Mei
Huang Lu
Huang Xiaolu
Fu Bingbing
Zhou Yi
Yu Bo
Friendly Cast: Coco
Director: Yang Fudong
Phorographed: Wang Yi
Art/Scence: Ye Linghan, Liu Weijian
Recorder: Huang Xun
Cast of Seven Intellectuals in Bamboo Forest, Part 5
Cast:
Gao Yanqing
Cheng Ran
Li Shenghua
Xu Jing
Dai Zhe
Ni Keyun
Chen Zhongzhu
Su Mei
Huang Lu
Huang Xiaolu
Fu Bingbing
Zhou Yi
Yu Bo
Friendly Cast: Coco
Director: Yang Fudong
Phorographed: Wang Yi
Art/Scence: Ye Linghan, Liu Weijian
Recorder: Huang Xun
Video
20 minutes
53 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.
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.
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
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.
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.
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
9 minutes
11 seconds
2010 YFDU126
First Spring is a special art project cooperated by artist Yang Fudong and Prada. The work itself is also an independent short art film (35mm black-and-white film).
First Spring is inspired by the ancient Chinese proverb “A year’s plan starts with spring”. Spring is the beginning of a year as a good harvest depends on the spring sowing. In the work, different dynasty characters appear in the film at the same time as modern people. There are a series of incredible life encounters happening between them, especially, young people suspense in the sky and walk carefully in the film. The work creates a psychedelic time and space that meets the turmoil. However, the paradoxical sense of dreams in the state of uncertainty is actually the illusion that is happening while filming in the studio.
First Spring is inspired by the ancient Chinese proverb “A year’s plan starts with spring”. Spring is the beginning of a year as a good harvest depends on the spring sowing. In the work, different dynasty characters appear in the film at the same time as modern people. There are a series of incredible life encounters happening between them, especially, young people suspense in the sky and walk carefully in the film. The work creates a psychedelic time and space that meets the turmoil. However, the paradoxical sense of dreams in the state of uncertainty is actually the illusion that is happening while filming in the studio.
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. The Nightman Cometh implies two meanings: one is “The night falls”, which means the night is coming; the other one is “the general fights to the end”. Before the dawn, whether the general chooses to continue fighting or disappears and gives up. Roles set in the film are symbolic and performed in the way of dislocated time and space. One symbolises the ancient heroic fighter of the War spirit. The man and woman dressed in modern attires ghostly shuttle in the images along with an ancient princess. During the process of filming, the artist subconsciously confronts the cruel reality and constitutes the structure of the intricate narrative.
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. The Nightman Cometh implies two meanings: one is “The night falls”, which means the night is coming; the other one is “the general fights to the end”. Before the dawn, whether the general chooses to continue fighting or disappears and gives up. Roles set in the film are symbolic and performed in the way of dislocated time and space. One symbolises the ancient heroic fighter of the War spirit. The man and woman dressed in modern attires ghostly shuttle in the images along with an ancient princess. During the process of filming, the artist subconsciously confronts the cruel reality and constitutes the structure of the intricate narrative.
Video
7 minutes
2005 YFDU30
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...
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...
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
2013
Part 1 Sharjah, 8 screens, B&W video
Part 2 Alhambra, 8 screens, color video
Multiple-screen video installation
Duration: 10-20 mins
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
2013
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 Colored Sky: New Women II is a 5-channel colour video installation. Despite the mesmerizing lyric and dreamlike context of the narrative, this work illustrates the moments that girls spend their time in a boudoir or a private space as if the vivid colour refracted from the candy wrapper under the sun. The work attempts to present the sentiment when girls possess special secret gifts and examine their desire and insecurity in the hidden ways of truth and false while the young girls grow up. To the artist, filming with colour is an important attempt to promote and change the narrative method.
Video
46 minutes
30 seconds
2016 YFD_3433
"Moving Mountains" is a myth and legend in the "Lie Zi Tang Wen" who was the thinker of Chinese Warring States period . The article describes the story of the foolish man's family who is not afraid of hardships, digs the mountains, and finally influences the God Emperor and moves the mountains away. Artist Yang Fudong read the story of "Moving Mountains" during his youth, and was deeply affected by the unremitting spirit of the foolish man's family. At the same time, he encountered Xu Beihong's "Moving Mountains" paintings made during the War in 1940. And he was impressed by the illustrative composition, the vividly portrayed characters, as well as the persevering spirit, conveyed from the painting. This painting has also become the inspiration source for Yang Fudong's final film "Moving Mountains". Yang Fudong's poetic reflection on human nature and ever-changing values is the content of this 46-minute black-and-white film. Based on the characters in the picture, scene layout and other elements, after many adaptations and re-creation, the artist incorporates contemporary context and reinterprets the story of a modern version of Moving Mountains. This work reinterprets this Chinese myth and legend about perseverance and conviction, blending and colliding ancient stories that people have known since childhood with modern spirits, trying to trigger new thinking, and showing the determination, perseverance and perseverance behind the vicissitudes of significant changes — the spirit of the times.
Video
10 minutes
31 seconds
2016 YFD_7586
A Resolute Woman
A Mother
Buffalos Gift
A Lonely Fat Man/ Lost Box
Seven Ribs
Waiting for Her to Come
The Power of Being
Calls from the Intellectuals
Brothers
The Only Pine
A Mother
Buffalos Gift
A Lonely Fat Man/ Lost Box
Seven Ribs
Waiting for Her to Come
The Power of Being
Calls from the Intellectuals
Brothers
The Only Pine
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".
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
8 minutes
4 seconds
2016 YFD_9975
They Said They Would Come Anyway is that Yang Fudong specially made for ShanghART to celebrate its 20th anniversary. It was shot during the summer 2014 on the island of Sandhornøy in Norway when Yang directed The Light That I feel. The lines in the film are drawn from Swedish director Ingmar Bergman’s Persona. Yang seeks to show how the wind and trees can express a narrative. As in many of his films landscapes play a paramount role equivalent to that of the protagonists.
They said they would come anyway. October, 2016
1——It doesn't matter. Tell me later today or tomorrow. You’d better leave something to keep yourself tormented, as everything else has been taken away now.
2——You know, it will have to hurt. Otherwise, it's only going to get worse.
3——You're laughing, are you? It's not that simple for me. Not so funny, either. But you always have your laughter.
4——We lay there completely naked and sunbathed dozing off and on, putting sunscreen on.
5——Every tone of voice a lie, every gesture a falsehood, every smile a grimace.
6——You’d better leave something to keep yourself tormented, as everything else has been taken away now.
7——They said they would come anyway.
They said they would come anyway. October, 2016
1——It doesn't matter. Tell me later today or tomorrow. You’d better leave something to keep yourself tormented, as everything else has been taken away now.
2——You know, it will have to hurt. Otherwise, it's only going to get worse.
3——You're laughing, are you? It's not that simple for me. Not so funny, either. But you always have your laughter.
4——We lay there completely naked and sunbathed dozing off and on, putting sunscreen on.
5——Every tone of voice a lie, every gesture a falsehood, every smile a grimace.
6——You’d better leave something to keep yourself tormented, as everything else has been taken away now.
7——They said they would come anyway.
Video
13 minutes
2001 YFDv002
Backyard - Hey! Sun is rising
The film depicts a young man, or rather four young men, as they try to retain the sentimental feeling that is about to escape them when the sun comes up in the morning. In the expectations that they would never meet, they dressed up in the old military uniform and bathed in the morning sun. Their yawning drifts away with the wind; a wooden sword is the only attainable thing in their arms. The puppet-like laziness is shattered by the dancing sword, and they communicate in the anger of love and hate, but no real pain is ever felt. They attempt to capture the fiber of Peking Opera within the melody, but are accidentally brought above the city sky of their memories. Flowers are waiting to bloom under with the gentle touch of imagination. The impulses of all desires change rapidly in the morning before the sun comes out. If tender feelings can be trusted, then our existence is no longer important. All the fragments are like discontinuous dreamscape, yet sometimes they seem real. We all know everything merely happens in the moment of dawn... Listen, someone is shouting: hey, the sun is rising!
The film depicts a young man, or rather four young men, as they try to retain the sentimental feeling that is about to escape them when the sun comes up in the morning. In the expectations that they would never meet, they dressed up in the old military uniform and bathed in the morning sun. Their yawning drifts away with the wind; a wooden sword is the only attainable thing in their arms. The puppet-like laziness is shattered by the dancing sword, and they communicate in the anger of love and hate, but no real pain is ever felt. They attempt to capture the fiber of Peking Opera within the melody, but are accidentally brought above the city sky of their memories. Flowers are waiting to bloom under with the gentle touch of imagination. The impulses of all desires change rapidly in the morning before the sun comes out. If tender feelings can be trusted, then our existence is no longer important. All the fragments are like discontinuous dreamscape, yet sometimes they seem real. We all know everything merely happens in the moment of dawn... Listen, someone is shouting: hey, the sun is rising!
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.
“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.
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, lives in Hangzhou, called heaven, because of the beautiful scenery. He, together with his fiancee Linshan, leads a quiet life there. The city's rainy season 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 nervousness. He did not know why the feeling came to him. He kept going to the hospital to examine his body, eyes, nose, ears, and skeleton with a suspicion that he was ill. After every exam, the doctor told Zhuzi that he was all right. Gradually, Zhuzi realized that the doctor was right. He did not suspect anything wrong with his health any longer. The quiet and prosaic life that he was leading was what he feared. He found that he still loves life. He felt that he should lead a happy life. At this moment, the rainy season in Hangzhou would 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)
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
http://www.shanghart.com/artists/yangfudong/projects/S10.htm
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?
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)
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.
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
In this ten-channel video installation, a concert is being staged at the seaside. Accompanied by various musical instruments, the love story of a young couple is unfolded on the same location. The videos set on the centre display two scenarios taking place simultaneously: one shows a young couple riding a horse along the sea and the other a pair of lovers struggling for survival from a ship accident. The other eight screens deliver at the same time the performance of diverse instruments, a trumpet and a cello played on the rocks, for example. The background music, which is hallucinatory, dreamlike and even uncoordinated, reflects the conflicts between ideals and reality. The young lovers, despite the threat of death, continue with their discussion of ideal, faith and anticipation.
Video
Installation
20 minutes
2003 YFDv18
better common soldier
sound by Miya Dudu
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.
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