Yang Yang

  • Ghislaine Leung, Shrooms (detail), 2016, night-lights, plug adapters, dimensions variable. From “More, More, More.” Photo: Xianhe D. Kong.

    “More, More, More”

    The first stage of the two-part exhibition “More, More, More” opened in July as Shanghai’s monthslong “plum rain” season drew to a close. The steamy climate and general mugginess provided a fitting context for the thirty-seven works on view, especially for the moss creeping along a staircase wall in Jenna Sutela’s Bo Bo Bo, 2020, or the mushroom lamps thrusting up from the floor outlets in Ghislaine Leung’s Shrooms, 2016—both works acute reminders of the surrounding environment nurturing and sustaining our various bodily forms, human and nonhuman. These pieces emerged, in part, from the a priori

  • View of “Hao Liang,” 2019. From left: Lunar Corona No. 6, 2018; Lunar Corona No. 5, 2018, Lunar Corona No. 4, 2018; Lunar Corona No. 3, 2018.

    Hao Liang

    How to account for the use of traditional techniques and styles in contemporary art? Many artists are certain of their neutrality and disavow any underlying ideological connotation; others, like Hao Liang, advocate a distinct historical agenda—to investigate the insurmountable chasm between modern China and its ancient past. The artist’s rise to prominence over the past decade can be primarily attributed to his revival of Chinese ink landscape painting on silk hand scrolls. To cultivate a sense of interconnectedness across human societies, he revolutionizes the somewhat rigid form of narrative

  • Kan Xuan, Imaginary Borders of Ritual (still), 2018, video, 2 minutes 10 seconds.
    picks January 15, 2019

    Kan Xuan and Sora Kim

    Twelve selected passages on walls, each narrating an unrealized artwork, constitute the textual component of Sora Kim’s Three Foot Walking, 2013. In one of them, she attempts to orchestrate nine performers who are to walk in a certain trajectory on the street, in the vain hope that someone detects their collective pattern of motion. The futility of her provocations finds a strong resonance in early works of Kan Xuan, the counterpart artist in this two-person exhibition, “Walk Strangely, Stay Strangely.” Back in 1999, Kan made a video of herself darting through a packed subway corridor, alternatingly

  • View of “The Artist Is Present,” 2018.
    picks October 24, 2018

    “The Artist Is Present”

    For an exhibition curated by Maurizio Cattelan in collaboration with Gucci and whose retro-fetishizing aesthetics center on repurposing and appropriation—and which occurs in China, a place often criticized for rampant and blatant plagiarism—“The Artist Is Present” deals surprisingly little with the commercial derivatives of the word copy, namely knock-off, counterfeit, or pirated. Instead, it venerates the logic of copying as the paradigmatic mode of every form of creation.

    The show comprises seventeen rooms, each customized to generate an atmosphere that mimics a gift shop or a prestigious