Beijing

View of “Zhao Yao,” 2018. Foreground: Signals from Heaven—Why I love a country that once betrayed me, 2018. Background: Signals from Heaven—How my mind came back to life and no one knew, 2018. Photo: Yang Chao Studio.

Zhao Yao

Beijing Commune 北京公社

This past summer, Zhao Yao first exhibited his ongoing project The Spirit Above All, 2015–. This piece, spanning 21,500 square feet and assembled from colored cloth, was placed for six months out in the sun on a snowy mountainside in Nangqian, Qinghai, before being shipped back to Beijing, where it was ceremonially installed on the field in Beijing’s Workers’ Stadium for a day from sunrise to sunset. The work demonstrated Zhao’s interest in the spirituality of contemporary life. The same fascination was also evident in “Signals from Heaven, Signals from Heaven,” an exhibition composed of nine hut-like sculptures scattered on a salmon-pink office carpet.

Nyingma monks and Tibetan Buddhists in Ganzi and Nang-qian use similar wooden huts as private spaces when they go into the mountains in late autumn for spiritual contemplation and self-cultivation. After being exposed to wind and snow, the

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