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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
NTU Centre for Contemporary Art Singapore; Yang Fudong: Incidental Scripts, 12 December 2014 – 1 March 2014, Installation view: Yang Fudong, About the Unknown Girl – Ma Sise (2013 - 2014), The Forgotten Bow-knot.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
NTU Centre for Contemporary Art Singapore; Yang Fudong: Incidental Scripts, 12 December 2014 – 1 March 2014, Installation view: Yang Fudong, About the Unknown Girl – Ma Sise (2013 - 2014), At Lake Kunming.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
NTU Centre for Contemporary Art Singapore; Yang Fudong: Incidental Scripts, 12 December 2014 – 1 March 2014, Installation view: Yang Fudong, About the Unknown Girl – Ma Sise (2013 - 2014), At Lake Kunming.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
NTU Centre for Contemporary Art Singapore; Yang Fudong: Incidental Scripts, 12 December 2014 – 1 March 2014, Installation view: Yang Fudong, The Fifth Night (II) Rehearsal (2010).
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
NTU Centre for Contemporary Art Singapore; Yang Fudong: Incidental Scripts, 12 December 2014 – 1 March 2014, Installation view: Yang Fudong, The Fifth Night (II) Rehearsal (2010).
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
NTU Centre for Contemporary Art Singapore; Yang Fudong: Incidental Scripts, 12 December 2014 – 1 March 2014, Installation view: Yang Fudong, The Fifth Night (II) Rehearsal (2010).
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
NTU Centre for Contemporary Art Singapore; Yang Fudong: Incidental Scripts, 12 December 2014 – 1 March 2014, Installation view: Yang Fudong, On the Double Dragon Hills (2012).
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
NTU Centre for Contemporary Art Singapore; Yang Fudong: Incidental Scripts, 12 December 2014 – 1 March 2014, Installation view: Yang Fudong, About the Unknown Girl – Ma Sise (2013 - 2014), At Lake Kunming.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
NTU Centre for Contemporary Art Singapore; Yang Fudong: Incidental Scripts, 12 December 2014 – 1 March 2014, Installation view: Yang Fudong, About the Unknown Girl – Ma Sise (2013 - 2014), The Forgotten Bow-knot.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
NTU Centre for Contemporary Art Singapore; Yang Fudong: Incidental Scripts, 12 December 2014 – 1 March 2014, Installation view: Yang Fudong, About the Unknown Girl – Ma Sise (2013 - 2014), The Forgotten Bow-knot.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
NTU Centre for Contemporary Art Singapore; Yang Fudong: Incidental Scripts, 12 December 2014 – 1 March 2014, Installation view: Yang Fudong, About the Unknown Girl – Ma Sise (2013 - 2014), At Hegang
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Exhibitions
Description
An account of the resource
NTU CCA Singapore’s exhibitions focus on contemporary artistic production that provides a critical platform for reflection and discussion.
Exhibition
Curated group or solo shows that happen over a period of time, usually a few months, supported by auxiliary programmes. Examples include exhibition hall presentations, lab presentations, vitrine presentations, curated film programmes, and festivals.
Short Description
Incidental Scripts are emblematic Yang Fudong's multi-faceted approach towards the creation of visual imageries that complicates our understanding of reality / fiction, and our experience of space / time.
Exhibition Mode
Exhibition
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Individual Artist
Exhibition Space
Exhibition Hall
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Exhibition Start Date
2014-12-12
Exhibition End Date
2015-03-01
Collaboration
No
Commissioned Work
No
Related Countries
China
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<i>Yang Fudong: Incidental Scripts</i>
Subject
The topic of the resource
Theatre
Fiction
Description
An account of the resource
Yang Fudong, a leading international figure of contemporary art and one the most important artists to emerge out of China in the 1990s, staged his first major solo exhibition in Southeast Asia at the NTU Centre for Contemporary Art Singapore. The exhibition, <i>Incidental Scripts</i>, presented a selection of four works by Yang: <i>An Estranged Paradise</i> (1997-2002), <i>The Fifth Night (II) Rehearsal</i> (2010), <i>On the Double Dragon Hills</i> (2012) and <i>About the Unknown Girl – Ma Sise</i> (2013-2014). These works are emblematic of his multi-faceted approach towards the creation of visual imageries that complicates our understanding of reality / fiction, and our experience of space / time. <br /><br />The exhibition was curated by Ute Meta Bauer (NTU CCA Singapore Founding Director) with Khim Ong (Independent Curator).
Contributor
An entity responsible for making contributions to the resource
Yang Fudong
Ute Meta Bauer
Khim Ong
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Asia
Medium
The material or physical carrier of the resource.
Film
Video
Multimedia Installation
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Exhibitions
Description
An account of the resource
NTU CCA Singapore’s exhibitions focus on contemporary artistic production that provides a critical platform for reflection and discussion.
Exhibition
Curated group or solo shows that happen over a period of time, usually a few months, supported by auxiliary programmes. Examples include exhibition hall presentations, lab presentations, vitrine presentations, curated film programmes, and festivals.
Short Description
Speakers’ Corner is a selection of video documentations of former public events and related research materials from its archives.
Exhibition Mode
Research Presentation
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Thematic Presentation
Exhibition Space
The Lab
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Exhibition Start Date
2017-08-02
Exhibition End Date
2017-08-31
Collaboration
No
Commissioned Work
No
Related Countries
Singapore
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<i>Speakers' Corner</i>
Subject
The topic of the resource
Politics
Activism
Archival Practice
Description
An account of the resource
<i>Ready, Steady, Go</i> (2 — 8 August 2017)<br /><i>Incidental Scripts</i> (10 — 15 August 2017)<br /><i>Proximities and Encounters</i> (16 — 22 August 2017)<br /><i>Islanded</i> (23 — 31 August 2017) <br /><br /><i>Speakers’ Corner</i> is a selection of video documentations of former public events and related research materials from its archives. Here, the term “Speakers’ Corner” stands as a metaphor for public discourses created through the various programmes of NTU CCA Singapore. Outreach not only means to create discussions but also to find different languages, or to question under what premises we create our knowledge. Altogether this is what creates a public discourse or a “speakers’ corner” within an institution, which can be academic, literary, or performative. It opens up the possibility for encounters with the known and unknown, the expected and unexpected, as a form of its lively activities. <br /><br />NTU CCA Singapore’s public programmes reflect on our present world through culture and art. Unfolding over two months will be four chapters: <i>Islanded, Incidental Scripts, Proximities and Encounters, and Ready, Steady, Go</i>. Each chapter is related to an exhibition held at NTU CCA Singapore such as Incidental Scripts by Yang Fudong (2014) or SEA STATE by Charles Lim Yi Yong (2016), or to invited local and international Artists-in-Residence and their artistic research and practices like Heman Chong (2017) or Zac Langdon-Pole (2014). On a broader scheme, the events offer an expanded reading and understanding of the complexity and diversity of the contemporary art production of today and how it intersects with current developments in culture, society, and politics.
Contributor
An entity responsible for making contributions to the resource
Yang Fudong
Charles Lim Yi Yong
Heman Chong
Zac Langdon-Pole
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Medium
The material or physical carrier of the resource.
Video
-
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PDF Text
Text
Public Programmes
In conjunction with the exhibition, a series of public programmes are organised to allow an in-depth engagement with Yang
Fudong’s artistic practice and provides the opportunity to expand on ideas relevant to his works.
Unless otherwise stated, all programmes are conducted in English and take place at the seminar room of the NTU Centre for
Contemporary Art Singapore, Block 43 Malan Road, Gillman Barracks.
配合展览策划的一系列公共项目将促使对杨福东艺术实践的深入探讨,以及提供机会扩展作品相关概念的讨论。
除非特别注明,所有公共项目将以英语进行,地点为新加坡南大当代艺术中心研讨室(Malan路43号,吉门营房艺术区)。
Sat, 13 Dec 2014
3:00pm–4:30pm
Yang Fudong In Conversation
with Ute Meta Bauer and
Khim Ong, co-curators of
Incidental Scripts
A series of talks that engages participants in
discussions on Yang Fudong’s works in the
exhibition. Through multiple approaches and
viewpoints, distinguished guest speakers of diverse
backgrounds will explore ideas that revolve around
the works as well as share their interpretations.
The Artist’s Cut: Sunday Film
Screenings
Wed, 14 Jan 2015
7:00pm–8:30pm
Exhibition (de)Tour with
Ho Rui An, artist and writer
Sun, 18 Jan 2015
2:00pm
The Artist’s Cut: Sunday Film
Screenings
3.00-5.00pm
Sensing Film takes participants on a two-part
journey that will test the audience’s perceptual
capacity.
Thu, 22 Jan 2015
3:00pm–7:00pm
Special Programme –
Sensing Film: Describing the
Indescribable
This programme will span two venues. Participants
are required to stay throughout the programme and
will be shuttled between venues. Meeting point is
at Marina Bay Sands Expo and Convention Centre,
ground floor main entrance (10 Bayfront Avenue,
Singapore 018956).
3:00pm
Departure at Marina Bay Sands
Convention Centre
5:00pm
Seminar Room of the NTU CCA
Singapore
Sun, 1 Feb 2015
2:00pm
Fri, 6 Feb 2015
7:00pm–8:30pm
Sun, 8 Feb 2015
2:00pm
Fri, 27 Feb 2015
7:00pm–8:30pm
The Artist’s Cut: Sunday Film
Screenings
Exhibition (de)Tour with
Ben Slater, writer, film critic, and
Lecturer in Screen Writing and
Narratives at NTU School of Art,
Design and Media
The Artist’s Cut: Sunday Film
Screenings
展览「绕道」赏
这一系列座谈邀请到各个来自不同领域的演讲嘉宾与观众一
起讨论杨福东展览中的作品。通过不同方式和观点,演讲嘉
宾将探讨作品背后的理念以及分享他们独特的解读。
Special Programme – Sensing Film:
Describing the Indescribable
5.00-7.00pm
The programme will conclude with a roundtable
discussion at NTU CCA Singapore with a
distinguished panel of speakers to discuss the
phenomenology of the cinematic.
特备项目 – 意会电影:描述那些不可被描述的
下午3时至5时:一个让观众以感官体验杨福东作品的特备
项目。以两部分进行,带领观众踏上一个挑战个人感知能
力的旅程。
注:此项目将跨越两个场地,观众需全程参与。聚集地点在
滨海湾金沙会议展览中心一楼主要入口处(湾畔大道10号,
新加坡邮区018956)。举办方会提供场地间的载送。名额
有限,请预先登记。
下午5时至7时:此项目将以同名的圆桌会谈做结尾,将聚
集了一组国际知名演讲者深入探讨影视现象。演讲人之一
是侯瀚如,意大利罗马二十一世纪国家美术馆(MAXXI)
艺术总监。
For updates on the public programmes please visit,
www.gillmanbarracks.com/cca or www.ccasingapore.org
欲知公共项目更新讯息,请浏览网站
www.gillmanbarracks.com/cca 或
www.ccasingapore.org
Exhibition (de)Tour with
Michelle Lim, writer, curator
and Assistant Professor at NTU
School of Art, Design and Media
NTU Centre for Contemporary Art Singapore
CCA Exhibitions, Block 43 Malan Road, Singapore 109443
CCA Office & Research Centre, Block 6 Lock Road, Singapore 108934
CCA Studios, Block 37 & 38 Malan Road, Singapore 109443
CCA Exhibitions
Tue – Sun
12-7pm
Fri
12-9pm
Mon
Closed
Open on Public Holidays
Free admission
Free docent-led exhibitions tours
Every Wednesday and Saturday, 2.30pm–3.30pm
Please register at www.ccasingapore.org
Email
CCA Office
CCA Exhibitions
ccaevents@ntu.edu.sg
+65 6460 0300
+65 6339 6503
For updates on exhibitions and programmes, visit:
www.gillmanbarracks.com/cca
www.facebook.com/CentreForContemporaryArt
www.ccasingapore.org
YFDpress FA.indd 1-2
NTU CCA Singapore positions itself as a centre for critical discourse and
experimental practices for Singapore, the region and beyond. It aims to
play an active role within the local art scene, as well as be a part of the
development of regional and international art infrastructures.
Exhibition (de)Tours
Sun, 4 Jan 2015
2:00pm
Speakers include Hou Hanru, Artistic
Director of MAXXI Rome, Italy.
The NTU Centre for Contemporary Art Singapore is a national research
centre of Nanyang Technological University, developed with support from
Economic Development Board, Singapore. Located in Gillman Barracks
alongside a cluster of international galleries, NTU CCA Singapore takes a
holistic approach towards art and culture, intertwining its three platforms.
Exhibitions, Residencies and Research.
LOCATED AT
UTE META BAUER is the Founding Director of the NTU Centre for Contemporary Art
Singapore and Professor of the School of Art, Design and Media (ADM) at the Nanyang
Technological University. She was Dean of Fine Art at the Royal College of Art, London
(2012/2013); Associate Professor at the MIT, Cambridge, MA (2005-2013) and Founding
Director of ACT, MIT’s Program in Art, Culture, and Technology (2009– 2012): Her
recent editorial contributions include: Intellectual Birdhouse. Artistic Practice as
Research (co-edited with F. Dombois, M.Schwab, C. Mareis, 2012), World Biennale
Forum No 1 – Shifting Gravity (co-edited with Hou Hanru, 2013). In 2015 she will cocurate the US Pavilion for the 56th Venice Biennale with Paul Ha, Director of MIT List
Visual Art Centre, featuring eminent artist Joan Jonas.
HO RUI AN is an artist and writer working in the intersections of contemporary art,
cinema, performance and theory. In a practice that attends to the problems of visuality,
he writes, talks and thinks around images, investigating their sites of emergence,
transmission and disappearance. He is currently developing a body of work surrounding
image economies in Singapore and Southeast Asia and has presented projects at the
2nd Kochi-Muziris Biennale, Serpentine Galleries, London, U.K, Singapore Art Museum,
LUMA/Westbau, Zurich, Switzerland and Witte de With, Rotterdam, Netherlands.
He is the Singapore desk editor for ArtAsiaPacific and has contributed to numerous
catalogues and periodicals. Ho lives and works in New York and Singapore.
HOU HANRU is the Artistic Director of the National Museum of XXI Century Arts
(MAXXI) in Rome, Italy. His prolific curatorial work addresses contemporary practice and
the conditions of artists living in the diaspora from the perspective of cultural hybridity.
Hou gained international attention with Cities on the Move (1997-2000), a traveling
exhibition he curated with Hans Ulrich Obrist, which emphasised the ways in which
Asian contemporary artists have dealt with rapid changes in urban lifestyles and values.
He has also curated many seminal exhibitions in Europe, U.S.A., and Asia, including
international biennials in Shanghai (2000), Istanbul (2007), the Chinese Pavilion at the
Venice Biennale (2007), and Lyon (2009). He has acted as a consultant for cultural
institutions across the world including the Solomon R. Guggenheim Museum, the
Global Advisory Committee of the Walker Art Center, and the Asian Art Council. Hou
recently curated the 5th Auckland Triennial, If you were to live here… (2013).
MICHELLE LIM is a writer and curator based in New York and Singapore. She is on the
faculty of the School of Art, Design and Media in Nanyang Technological University,
Singapore and was a Curatorial Fellow in the Whitney Independent Study Program in
New York, U.S.A.. Lim has worked on research and curatorial projects for institutions
such as the Asia Society Museum in New York, the Whitney Museum of American Art,
Princeton University Art Museum, Sculpture Square in Singapore, and the National
Museum of Singapore. She has also taught at Cooper Union and the CUNY Graduate
Center, and her writings have been published in Asian Art News, World Sculpture News,
Ish magazine and various exhibition catalogues.
KHIM ONG is an independent curator based in Singapore. She was previously curatorial
assistant at the Institute of Contemporary Arts Singapore, LASALLE, assistant curator
at Osage Gallery, Hong Kong, and manager for Sector Development (Visual Arts) at the
National Arts Council, Singapore. Some of her curatorial projects include Jane Lee:
100 Faces at Sundaram Tagore Gallery, Singapore (2014), Landscape Memories at Louis
Vuitton Espace, Singapore (2013), Biographies (co-curated with Biljana Ciric) at Osage
Gallery, Hong Kong (2010). She has also worked on solo exhibitions of Antony Gormley,
Wolfgang Laib, On Kawara, Nipan Oranniwesna, and Sun Yuan & Peng Yu, among
others.
BEN SLATER is a writer, film critic and lecturer who has been based in Singapore
since 2002. He wrote the book Kinda Hot: The Making of Saint Jack in Singapore
(Singapore: Marshall Cavendish, 2006). His writings on film have been published
internationally, and he has curated for cinemas and film festivals in the U.K. and
Singapore. He has script edited several acclaimed feature films including Helen, HERE
and Mister John and is the co-writer of the sci-fi thriller Camera. Currently he is a
Lecturer in Screenwriting and Narrative at the School of Art, Design and Media in
Nanyang Technological University, Singapore.
The NTU Centre for Contemporary Art
Singapore presents, for the first time
in Southeast Asia, a solo exhibition of
Yang Fudong, one of China’s best known
contemporary artists who has gained
international acclaim for his photographic,
film and video works.
“许多偶发的启发特别重要”
The exhibition, Incidental Scripts, will
present a selection of four works by Yang:
An Estranged Paradise (1997-2002), The
Fifth Night (II) Rehearsal (2010), On the
Double Dragon Hills (2012), and About the
Unknown Girl – Ma Sise (2013-2014). Each
of these works is emblematic of the artist’s
multi-faceted approach towards the creation
of visual imageries that complicates our
understanding of realities and fiction and
our experience of time and space. Yang’s
works clearly pay tribute to French cinema
histories ranging from La Nouvelle Vague
to a Godardian play with real and on-screen
characters, going as far as to fictionalise
the real life of Ma Si She Zuo Wei, a young
Chinese actress.
CURATED BY UTE META BAUER
AND KHIM ONG
“我作品中人物的行为举止
都是其心理状态的反映”
由乌塔·梅塔 ·鲍尔(Ute Meta Bauer)
和王佩琴共同策划。
An Estranged Paradise is Yang’s first film
and the single occurrence of following a
script written by the artist. The work reflects
his fascination for crisp, moody, black and
white 35mm cinematography which was
to become characteristic of his practice.
Despite its narrative, this first foray into film
was a portrayal of an internal landscape
through physical meanderings of a scenic
city, Hangzhou, where he spent years during
his studies.
“现场即剧本”
Yang has since forgone the need for a ‘script’.
He instead favours the creation of images
that allude to the fragmentary nature of
our experiences, and rather communicates
a certain mood or state of being. The Fifth
Night (II) Rehearsal is a reflection on the film
production process and presents the entire
filming process in its unedited form. Seven
cameras, each with its own pace and field
of vision, concurrently shot seven scenes
that occur simultaneously in the same space.
The process of producing the film, from the
creation of the set to the composition of the
various scenes, was entirely arbitrary and
reliant on the spontaneity of the cast and
crew—each shot was unpredictable, each
expression unpremeditated. Through allowing
the filming itself to drive the unfolding of
character and scene, Yang is interested in
examining how chance encounters result in the
formation of relationships, whether imagined
or real. In establishing multiple perspectives,
the work challenges the viewer’s perception
of the cinematic time/space, allowing free
association unique to each viewing experience.
“出发点是来自那些不可以
被干涉、不可以被描述的
初衷 。
”
EXHIBITION HOURS
Tue-Sun 12pm-7pm
Fri 12pm-9pm
Mon
Closed
Open on Public Holidays
Free Admission
Still from The Fifth Night (II) Rehearsal, 2010
Yang’s interest in unmitigated experiences
is also prominent in On the Double Dragon
Hills, a two-channel black-and-white video
that consists of footages taken from an
earlier work Blue Kylin (2008). Filmed in
Jiaxiang in Shandong Province, a city well
known for its resource of blue stone, the
work records the everyday of the locals
whose lives are centred on the stonecarving trade. His straight-forward and direct
recording neither interferes nor attempts
to describe. The resulting footage provides
a bare glimpse into the work and lives of
these craftsmen who continuously adjust to
various uses of their skills subject to market
demands, transcending the reality of it and at
the same time alluding to modern civilisation.
For these craftsmen, their work stays the
same no matter if their product becomes an
artefact or a form of decoration.
Like the uncertainties in his films that
unfold with time, what unfolds in life is just
as unpredictable. This fascination with the
unknown led Yang to embark on an ambitious
project, About the Unknown Girl – Ma Sise.
Initially conceived as a durational film project,
it concerns all the ‘unknowns’ in the life
of a girl named Ma Sise; the uncertainty of
what her future will bring, the anticipation,
curiosity and excitement of what life has yet
to offer and is yet-to-be. At the same time,
it is also the artist’s inquiry into the life and
mind of an actress. What thoughts transpire
between the two states of living and acting?
How different are the roles in real life and
on screen? This three-year project took an
unexpected turn when Ma Sise suddenly
decided to leave the project.
“不是更关注,而是生活本
身的不决定性会让我有所
憧憬,不知道未来怎样,
会让我充满期待。
”
Incidental Scripts is an exploration of four
different realms of one artist and an invitation to
participate in their becoming. “Time is the script”
in Yang’s films and the viewer is his co-director.
展览开放时间
星期二至星期天 中午12时至傍晚7时
星期五 中午12时至晚上9时
逢星期一闭馆;公共假日照常开放
入场免费
LOCATION
NTU Centre for Contemporary Art Singapore
Block 43 Malan Road, Gillman Barracks,
Singapore 109443
地址
新加坡南大当代艺术中心(NTU CCA新加坡)
Malan路43号,吉门营房艺术区,新加坡邮区
109443
Special thanks to ShanghART Gallery
Complimentary to the exhibition is a series
of four posters. A limited number of tote
bags featuring The Unknown Girl - Ma Sise is
available at the NTU CCA Singapore
3/12/14 4:54 pm
�An Estranged Paradise
(1997–2002)
Single-channel video, 35mm film transferred to
DVD, black and white, sound, 76mins
On the Double Dragon
Hills (2012)
The Fifth Night (II)
Rehearsal (2010)
Double-channel video, black and white, silent,
25mins 50secs
Multi-channel film installation, 35mm film
transferred to HD, black and white, sound,
52mins 10secs
新加坡南大当代艺术中心将举办杨福东个展。
这是艺术家首次在东南亚区办个人展。杨氏是
中国最著名的当代艺术家之一,他的摄影、电
影及录像作品亦获得国际赞誉。
“Incidental inspirations
are especially important.”
In An Estranged Paradise, which took five years
to edit, Yang Fudong yielded to his trademark
fascination for crisp, moody, black-and-white 35mm
cinematography. The film starts with a meditation on
the composition of space in Chinese painting, then,
following the protagonist’s emotional vicissitude,
nonchalantly wanders through the streets, railroad
tracks, apartment buildings, waterfront and outskirts
of the southern city of Hangzhou, China. In this first
film, there is a sense of the journalistic style as in
Jean-Luc Godard’s film Breathless (1960), influences
by Jim Jarmusch, and a nostalgia for 1930s Shanghai
cinema. The film portrays the protagonist’s search
for a cause of an illness he thinks he has and his
relationships with three women. Each of these
echoes a different state of his being: the stability
of a relationship made official with an outing with
his parents; the temporary respite offered by a
lover but that is emotionally non-committal; a
fleeting encounter with a young woman where they
momentarily become “stand-ins”—he for the exlover she can’t get over, and her as his fantasy. His
sense of uneasiness which he attributes to be some
illness (external, corporeal), that seeks explanation
and cure in medical science (certainty, truths)
suggests a desire for ‘normalcy’. As common as his
life seems, it does not feel normal to him. Shot in
various scenic spots in Hangzhou, An Estranged
Paradise takes as its backdrop, a fast modernising
Chinese city as the site of the protagonist’s search
for certainty in life. An Estranged Paradise captures
the general sentiments of a generation confronted
with rapidly changing cities.
名为《偶发的剧本》,此展览将呈现杨氏的四
件作品,即《陌生天堂》(1997-2002)、
《第五夜(第二版)巡回排演》(2010)、
《二龙山上》(2012)和《关于与一切未知的
女孩:马斯瑟》(2013-2014)。展出的每
件作品都象征了艺术家对视觉意象创作的多方
位尝试,复杂化了观者对「现实/虚构」的认知
和对「时/空」的体验。杨氏的作品明显地是对
法国电影史的致敬,从「法国新浪潮」至高達
式(Godardian)玩弄于真实与银幕角色之
间。他甚至把一位年轻中国女演员马思舍祚韦
的生活虚拟化。
“The behaviour of the
characters in my works
are all reflections of their
mental state.”
《陌生天堂》是杨氏的第一件影视作品也是他
唯一一次依照剧本拍摄的作品。该作品反映了
他对35毫米黑白电影胶片风格摄影的迷恋,和
其锐利、忧悒的风格随即成为了他创作实践的
特点。作为杨氏第一次涉足电影的作品,其叙
事性已是以意识形态主导的方式进行,通过角
色在风景秀丽的杭州城市的漫游写照他的内心
世界。杭州亦是杨氏求学时期居住的城市。
“The scene is the script.”
自《陌生天堂》后,杨氏舍弃了对剧本的依
赖,反而热衷于创造能够影射人支离性的体验
和能表达某种氛围或生存状态的影像。《第五
夜(第二版)巡回排演》是对电影制作本身的
思考,将之拍摄制作过程完整地呈现。作品运
用了七部摄像机,各自以自己的步调和视角同
时拍摄七个并发的场景。拍摄过程,从布景到
各种场景的组成,是任意的且完全依赖演员和
拍摄组的自发性—随之产生的每个镜头是不可
预知的,而每次的演绎,每个表情亦是未经预
谋的。在这种任由拍摄过程驱动人物和场景发
展的创作方式里,杨氏感兴趣探索的是演员间
不经意的接触所形成的人物之间的关系,无论
是实际或是虚幻的。通过建立了多重角度的观
看,该作品挑战观众对电影时间和影视空间的
认知。同时,观看时产生的自由联想使每次的
和工匠们围绕着青石雕刻产业的生计。直白的
拍摄手法即不干涉亦不试图描述,拍摄出的画
面赤裸地呈现了工匠们的生活和他们如何不断
的依市场需求来调整利用他们手艺,超越了实
际用途并同时暗指着现代文明。对这些工匠而
言,无论他们所制作做出的最终成为文物或摆
设品,工作依旧是不变的。
陌生天堂 (1997-2002年)
单屏电影、35毫米黑白电影胶片转DVD、76分钟
这部用了五年时间编制的《陌生天堂》延续了杨福东对35
毫米黑白胶片的迷恋。影片开始是长达五分钟的书法表
演。随后,跟着主角情绪的变化,不断经过杭州这个城市
的街道,铁路,公寓楼,西湖,及郊外等场景。透过影片
如同他电影里随着时间展开的不确定性,生命
同样的是不可预测的。对「未知」的深感兴趣
促使杨氏开始一个具野心的项目,《关于与一
切未知的女孩: 马斯瑟》。初构思为长期电影项
目的这件作品以常出现在杨氏作品的年轻中国
女演员马斯瑟为主,关系着她生命中所有未知
的; 她的前途的不确定性。对生活中还没发生的
事的期待,和对所有可以成为可能的好奇和兴
奋。同时,艺术家探讨的是一个女演员的生活
和思维:在生活与演绎两种状态之间,脑子里
想的是什么?现实生活中与银幕上的角色有何
区别?原来计划为期三年的作品在马斯瑟突然
决定退出后告终。
“It’s not about paying
more attention, but it
is rather the inherent
观赏都成为独特的体验。
uncertainties in life that
“Points of departure are
I look forward to; not
those original intentions
knowing what the future
one cannot interfere with, will bring, makes me
that are indescribable.”
full of anticipation.”
可以感受到类似尚卢·高达(Jean-Luc Godard)
1960年的影片《断了气》( Breathless )中报道式的
拍摄手法,来自吉姆·贾木许的影响,和对上世纪三十
年代老上海电影的意犹未尽。影片描述了主人公因认为自
己患病而不断寻求其根源,以及他和三个女人的关系。这
些交际各自响应了他不同的生存状态:一个稳定的交往对
象通过一次与父母的郊游正式化;一段能给予暂时性喘息
空间但又无需投入感情的情人关系;与一年轻女子短暂的
邂逅引发出的替代关系—他暂时代替了她难以忘怀的旧情
人,而她成了他的幻想。影片里主人公把感受到的浑身不
自在归咎于某种病(外在、有形的),因而寻求医学上的
解释和治愈(确定性、真理)暗指了他对「正常」的渴
About the Unknown Girl –
Ma Sise (2013-2014)
The Fifth Night (II) Rehearsal is a reflection on the
process of cinematic production and comprises
seven synchronised projections. Referred to by
Yang Fudong as a “multiple perspective film”, the
installation goes beyond our visual field and habits
of viewing, depicting scenes that are random,
unrelated yet seem to connect at certain moments
only to end abruptly. The process of producing the
film, from the creation of the set to the composition
of the various scenes, was arbitrary and reliant on
the spontaneity of the cast and crew—each shot
is unpredictable, each expression unpremediated.
The Fifth Night (II) Rehearsal shows the entire
production process in its unedited form. Seen
through the director’s monitor, it is as if the set is
brought live, transposing viewers in the middle of
a live shoot. With seven cameras, each having its
own pace and field of vision, concurrently shooting
seven scenes, occurring simultaneously in the
same space, the film set becomes a playground
for experimentation of cinematic space and time.
The interplay of the different scenes gives rise to
arbitrary encounters between characters; and the
same scene can be at the foreground on one screen
and serve as the background on another. As if an
attempt to make manifest the fragmentary nature of
our experience of the world, this assembly of filmic
moments plays with our perceptive faculties and
resists comprehension. If the natural tendency of
a viewer is to draw associations and establish some
coherence to the disparate scenes, to what extent is
the created narrative derived from imageries from
the work and to what degree are they a synthesis of
the viewer’s experience of the ‘real’ world? The Fifth
Night (II) Rehearsal is a film about a film and each
viewer becomes its co-director.
《陌生天堂》在杭州各个景点拍摄,以逐渐现代化的中国
《陌生天堂》捕抓了一代人在面对迅速变化的城市时的普
遍情绪。
第五夜(第二版)巡回排演
(2010年)
多屏电影、35毫米黑白胶片电影转高清、52分10秒
《第五夜(第二版)巡回排演》是由七个屏幕并置放映
七段同步影像组成,是对电影制作过程的思考。杨福东
称之为『复眼电影』,作品超出了我们的视域和视觉习
惯,描绘的场景都是随机的、毫无关联的,在某些时刻似
乎连接上了却又突然被打断。制作拍摄的过程,从布景到
各种场景的组成,是任意的且完全依赖演员和拍摄组的
自发性——随之产生的每个镜头是不可预知的,而每次的
演绎、每个表情亦是未经预谋的。《第五夜(第二版)巡
回排演》将整个拍摄制作过程以未经编辑的形式完整地
呈现。观众看到的正是导演在监视器所看到的画面,犹如
置身于现场拍摄中。七台摄影机以各自的景深、景别、移
多路视频作品《二龙山上》亦充分地表现出杨
氏对于那些不可被干涉的体验的兴趣。取材于
杨氏 2008年创作的《青·麒麟》,此作记录
了在盛产青石的山东嘉祥市当地人的日常生活
《偶发的剧本》探索的是关于一个艺术家的四
个不同境界并参与它们的形成。『时间就是
剧本』,在杨福东的影视作品中,观众就是
第二导演。
动方式等,同时拍摄七个场景,使现场瞬间成了一个能让
人挥霍于电影时空的实验。在不同场景的交错下片中人物
的交集所产生出的画面可以同时是前景也是下一个画面的
背景。仿佛在试图具体化人对外在世界支离性的体验,作
品所聚集的支离的画面玩弄着我们的感官并拒绝被赋予逻
Multi-media installation with wallpaper, two
projections, four TV monitors, photographs.
Dimension variable
《被遗忘的蝴蝶结》 The Forgotten Bow-knot (2014)
关于与一切未知的女孩:
马斯瑟 (2013-2014年)
多媒体装置包括壁纸、两部投影、四个电视显示器和摄
影图像,尺寸可变
构思为长期电影项目的这件作品是关于一个叫马斯瑟女
孩的生活的一切。杨福东是在拍摄两部影像作品,《将军
二龙山上 (2012年)
的微笑》与《第五夜》时认识当时参演的马斯瑟。艺术家
好奇她学过的所谓专业的表演,与日常生活中作为演员的
一些变化。作品试图揭露一个「真实」演员的所思所想,
多路黑白视频、无声、25分50秒
以及什麽样的故事会发生在她的生活里。在真实的生活与
真实的表演两者之间,她未来的生活充满着许多不确定因
多路黑白视频作品《二龙山上》取材于杨氏2008年创作
素,也正这种不确定性使生活充满期待。杨氏对这种莫测
的《青·麒麟》,在盛产青石的山东嘉祥拍摄。作品记录
性深感兴趣,这是在杨氏的实践中固有的——如同影视时
了当地人的生活以及他们以青石雕塑制作为中心的生计。
间驱使场景的发展,现实时间推动着人生。作品进一步思
《青· 麒麟》呈现的是打造青石雕塑的过程,从采石到雕
塑,将记录下的过程和一组未完成、坍塌了的雕塑一同展
《昆明湖上》 At Lake Kunming (2014)
示。《青· 麒麟》中被戛然终止的生产过程反映了艺术家
对制作过程的思考,及暗指着消耗它们的现代文明。
《二龙山上》则是对制作过程本身的冥想,以及它如何影
响着这个为它提供资源,做出调整回应,并依赖着这种生
产需求的城市。工人们工作和休息的画面与采石场和它周
围城市辽阔的景观成对比。置身于这些宽阔的自然与人造
景观,工人们继续着他们的日常工作,对于推动和维持他
们的生活的无形力量似乎泰然自若。富有杨福东一贯的风
格形式,《二龙山上》是对人类作业的深刻观察,超越了
实际现实,并抗拒任何为之赋予意义的企图。
望。他的生活即使看上去是如此平凡却似乎感觉不正常。
城市为背景。通过刻画影片主人公追寻着生命的确定性,
On the Double Dragon Hills is a two-channel black
and white video that consists of footage taken
from an earlier work by Yang, Blue Kylin (2008).
Filmed in Jiaxiang in Shandong Province, a city
well known for its resource of blue stone, the work
records the life of the locals whose livelihood
centred on the stone-carving trade. The earlier
work presents the process of creating blue stone
sculptures, from the quarrying of the stones, to its
carving, to the display of a large, unfinished piece
of collapsed stone sculpture. Blue Kylin reflects the
artist’s contemplation of the production process
where the promise of an artefact being created is
unfulfilled, and an allusion to modern civilisation
that consumes them. On the Double Dragon Hills
is a meditation on the process of production itself
and its effects on the city that provides for, reacts to,
and depended on the demands of such production.
Scenes of workers at work and at rest are juxtaposed
with vast landscapes of the nearby city and the blue
stone quarry. Amidst the expanse of these natural
and man-made landscapes, workers carry on with
their daily activities, seemingly unperturbed by the
invisible forces that drives and sustain their living.
In the artist’s characteristic style, the work takes a
poignant look at human endeavours that transcends
practical realities, resisting any attempts at ascribing
meaning or purpose.
Conceived as a durational film project, About the
Unknown Girl – Ma Sise is about the life of a young
girl. Yang Fudong got to know Ma Sise through
casting her in two of his video works, General’s Smile
(2009) and The Fifth Night (2010). He became curious
about her training in professional acting, and began
to wonder how being an actress affects her daily life.
The project attempts to uncover all the thoughts
that pass through the mind of a ‘real’ actress, and
what kind of future is in store for her. Between daily
life and acting, there are a lot of uncertainties as
to how her life will unfold. And it is this unknown
that Yang senses as the potential to make life full of
anticipation. This fascination with the unpredictable
is inherent throughout Yang’s practice—if cinematic
time drives the scene, real time drives our lives.
With this project, he went further in the reflection
of and play with reality and fiction. The idea of what
is fictional / what is acted out in real time and real
space is part of that reality which encompasses it;
and when one starts scrutinising reality, the gesture
becomes an act of fictionalising. About the Unknown
Girl – Ma Sise was set out to span three years from
2013 to 2015 but was discontinued with Ma’s recent
withdrawal from the project. La Biennale de Lyon
(2013), where it was first shown, marked the start of
the project. The presentation at NTU CCA Singapore
comprises footages of Ma from General’s Smile;
At Hegang, a video documenting her shooting a
Chinese TV drama; Yang’s photographic series of Ma
Sise At Lake Kuming and The Forgotten Bow-knot,
and video documentation of the shooting process of
The Forgotten Bow-knot.
考并实验「现实」与「虚构」的概念。所谓虚构的或在实
时和真实空间中的演绎,都已被现实包含着;而当我们审
查着现实生活时,此举下意识的已经是对真实生活的虚拟
化。《关于与一切未知的女孩:马斯瑟》最初计划为期三
年(2013至2015)但因马斯瑟最近决定退出而告一段
落。作品的第一次展出是在2013年第12届里昂双年展,
代表这个艺术项目的开始。在新加坡南大当代艺术中心
的展出由几个部分组成:取自《将军的微笑》作品中有马
斯瑟镜头的录像;记录了她拍摄电视剧的录像作品《在鹤
岗》;摄影系列《昆明湖上》和《被遗忘的蝴蝶结》;以
及《被遗忘的蝴蝶结》的拍摄现场录像记录。
(马斯瑟全名马思舍祚韦。1989年出生于四川凉山彝族自治州西
昌市,是名女演员。现工作生活于北京。)
《在鹤岗》 At Hegang (2013)
(Ma Sise’s full name is Ma Si She Zuo Wei. Born in 1989
in Xichang, Yi Autonomous Prefecture of Liangshan,
Sichuan province; she is an actress and currently lives
and works in Beijing.)
辑。倘若观众的自然倾向是去为这些不同的场景做联想并
建立连贯性,那么所拼凑出的叙述有多少是直接引申于作
品中的影像,又有多少程度是综合了他们体验的「真实」
世界?《第五夜(第二版)巡回排演》是一部关于电影的
电影而每位观众都成了它的第二导演。
偶发的剧本
YFDpress FA.indd 3-4
杨福东
3/12/14 4:54 pm
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Resources
Exhibition Resource
Collateral and other print or digital materials pertaining to exhibitions held at the Centre. Examples include exhibition guides, banners, postcards, digital tour videos, etc.
Short Description
Yang Fudong: Incidental Scripts Exhibition Guide
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<i>Yang Fudong: Incidental Scripts</i> Exhibition Guide
Description
An account of the resource
<i>Yang Fudong: Incidental Scripts</i> Exhibition Guide
Date
A point or period of time associated with an event in the lifecycle of the resource
2014-12-12
Contributor
An entity responsible for making contributions to the resource
Yang Fudong
Ute Meta Bauer
Khim Ong
Format
The file format, physical medium, or dimensions of the resource
Guide
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Asia
Subject
The topic of the resource
Theatre
Fiction
-
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4e05ef9b9fe8ae3f176c9b7f40d68e57
PDF Text
Text
�NTU CCA Singapore presented Yang Fudong: Incidental Scripts, 12 December 2014 – 1 March 2015
Offices +65 6460 0300
Website ntu.ccasingapore.org
Email
ntuccaevents@ntu.edu.sg
恭
賀萬
新事
春如
意
NTU Centre for Contemporary Art Singapore
Block 6 Lock Road, #01-09/10, Gillman Barracks
Singapore 108934
NTU CCA Singapore wishes you
Happy Lunar New Year!
Ute Meta Bauer
Founding Director
YANG FUDONG 杨福东
Yejiang / The Nightman Cometh 4
2011
120 x 180cm
Photograph | B&W inkjet
Courtesy of Yang Fudong and ShanghART
Gallery,Shanghai, Beijing, Singapore
�NTU CCA Singapore presented Yang Fudong: Incidental Scripts, 12 December 2014 – 1 March 2015
Offices +65 6460 0300
Website ntu.ccasingapore.org
Email
ntuccaevents@ntu.edu.sg
NTU Centre for Contemporary Art Singapore
Block 6 Lock Road, #01-09/10, Gillman Barracks
Singapore 108934
NTU CCA Singapore wishes you
Happy Lunar New Year!
Ute Meta Bauer
Founding Director
恭
賀 萬
新事
春如
意
YANG FUDONG 杨福东
Yejiang / The Nightman Cometh 4
2011
120 x 180cm
Photograph | B&W inkjet
Courtesy of Yang Fudong and ShanghART
Gallery,Shanghai, Beijing, Singapore
�NTU CCA Singapore presented Yang Fudong: Incidental Scripts, 12 December 2014 – 1 March 2015
Offices +65 6460 0300
Website ntu.ccasingapore.org
Email
ntuccaevents@ntu.edu.sg
NTU Centre for Contemporary Art Singapore
Block 6 Lock Road, #01-09/10, Gillman Barracks
Singapore 108934
YANG FUDONG 杨福东
Yejiang / The Nightman Cometh 4
2011
120 x 180cm
Photograph | B&W inkjet
Courtesy of Yang Fudong and ShanghART
Gallery,Shanghai, Beijing, Singapore
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Resources
Corporate Resource
Collateral and other print or digital materials for corporate development or marketing purposes. Examples include quarterlies and residency inserts, Chinese New Year cards, exhibition reports, fact sheets, news clippings, etc.
Short Description
2016 Chinese New Year Card
Corporate Resource Type
Communications
Communications Type
Leave blank if not applicable
Chinese New Year Card
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
2016 Chinese New Year Card
Description
An account of the resource
2016 Chinese New Year Card
Date
A point or period of time associated with an event in the lifecycle of the resource
2016
Contributor
An entity responsible for making contributions to the resource
NTU CCA Singapore
Yang Fudong
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Short Description
<span>This artist talk provided a conversation between the artist, Yang Fudong and the two curators of the exhibition, Ute Meta Bauer and Khim Ong, with a discussion on Yang’s influences and practice as well as the thereotical framework surrounding the exhibition.</span>
Programme Type
Talk and Lecture
Programme Series
In Conversation
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Audience
General
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Education
No
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Yang Fudong In Conversation with Ute Meta Bauer and Khim Ong, co-curators of <em>Incidental Scripts</em>
Description
An account of the resource
<span>13 Dec 2014, Sat 3:00pm - 4:30pm</span><br />Block 43 Malan Road Seminar Room<br /><br />Yang Fudong, a leading international figure of contemporary art and one the most important artists to emerge out of China in the 1990s, staged his first major solo exhibition in Southeast Asia at the NTU Centre for Contemporary Art Singapore. The exhibition, <i>Incidental Scripts</i>, presented a selection of four works by Yang: <i>An Estranged Paradise </i>(1997-2002), <i>The Fifth Night (II) Rehearsal </i>(2010),<i> On the Double Dragon Hills</i> (2012) and <i>About the Unknown Girl – Ma Sise</i> (2013-2014). These works are emblematic of his multi-faceted approach towards the creation of visual imageries that complicates our understanding of reality / fiction, and our experience of space / time.<br /><br /><span>This artist talk provided a conversation between the artist, Yang Fudong and the two curators of the exhibition, Ute Meta Bauer and Khim Ong, with a discussion on Yang’s influences and practice as well as the thereotical framework surrounding the exhibition.<br /><br /></span>A public programme of <em>Yang Fudong: Incidental Scripts</em>.
Date
A point or period of time associated with an event in the lifecycle of the resource
2014-12-13
Contributor
An entity responsible for making contributions to the resource
Yang Fudong
Ute Meta Bauer
Khim Ong
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Asia
Subject
The topic of the resource
Fiction
Ways of Seeing
-
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592d9e0d11ffa27420df82abffb0fb45
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Contributors
Contributor
An individual, collective, or corporate entity.
First Name
Fudong
Surname or Business Name
Yang
Years Affiliated
Year range (starting year/ending year) affiliated with NTU CCA Singapore, or leave blank if not applicable.
For date range with year only: YYYY/YYYY, e.g., 2014/2015
For date range with year and month: YYYY-MM/YYYY-MM, e.g., 2014-07/2015-06
2014/2015
Birth Date
1971
Birthplace
China
Occupation
Professional title or identity
Artist
Biographical Text
Long-form biography for the Contributor (no character count). A short-form biography (no more than 240 characters) should be added to the Contributor's Description
<span>Yang Fudong is an artist who lives and works in Shanghai. He was born in Beijing, 1971 and graduated from the China Academy of Art, Hangzhou, 1995. Yang is one of China's best known contemporary artists, having gained a major international reputation for his films and video installations, which have been shown regularly as part of major international survey exhibitions and one-person gallery shows across the globe. Yang Fudong has had more than 60 solo shows at most acclaimed institutions and galleries during the past years besides other 300 group exhibitions in the world. Yang Fudong's artworks articulate multiple perspectives; his works investigate the structure and formation of identity through myth, personal memory and lived experience. Each of his works is a dramatic existential experience and a challenge to take on. <br><br> Yang Fudong has participated in prestigious international art events including: La Biennale de Lyon, France (2013); Sharjah Biennial 11 of Sharjah Art Foundation, Sharjah, UAE (2013); The First Kyiv International Biennial of Contemporary, Ukraine (2012); Moving Image In China: 1988-2011, Minsheng Art Museum, Shanghai (2011); 17th Biennale of Sydney, Sydney Museum of Contemporary Art, Australia (2010); Aichi Triennial 2010, Arts and Cities, Japan (2010); Rehearsal: 8th Shanghai Biennale, Shanghai (2010); The 52nd Venice Biennale, Italy (2007); The 5th Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery, Australia (2006); The 1st Moscow Biennale of Contemporary Art, Russia (2005); The 5th Shanghai Biennale, Shanghai (2004); The 50th International Art Exhibition Venice Biennale, Italy (2003); Documenta 11, Kassel, Germany (2002); 7th International Istanbul Biennial, Turkey (2001), etc. Meanwhile, he had solo-shows at most acclaimed institutions and galleries such as Yang Fudong: New Women, ShanghART H-Space, Shanghai (2014); Yang Fudong: Estranged Paradise, Works 1993-2013 of the Kunsthalle Zurich, Switzerland and Berkeley Art Museum, San Francisco, USA (2013); Quote Out of Context, OCAT, Shanghai (2012); The Fifth Night, Vancouver Art Gallery, Canada (2012); Yang Fudong, Utopia and Reality, Espoo Museum of Modern Art, Tapiola, Finland; One half of August, Parasol Unit Foundation for Contemporary Art, London, U.K. (2011); Yang Fudong: No Snow on the Broken Bridge, Sherman Contemporary Art Foundation, Sydney, Australia (2010); ...In the Bamboo Forest..., Kunsthaus Baselland, Basel, Switzerland (2010); Yang Fudong, Seven Intellectuals in a Bamboo Forest and Other Stories, National Museum of Contemporary Art, Athens, Greece (2010); Dawn Mist, Separation Faith, Yang Fudong's Solo Exhibition, Zendai Museum of Modern Art, Shanghai (2009); The General's Smile, Hara Museum, Tokyo, Japan (2009); Seven Intellectuals in a Bamboo Forest, Asia Society and Museum, New York, U.S.A. (2009); East of Que Village, Marian Goodman Gallery, New York, U.S.A. (2009); China in Transition, GL STRAND, Copenhagen, Denmark (2008); No Snow on the Broken Bridge, Parasol Unit, London, U.K.(2006); Yang Fudong, Castello di Rivoli Museo d'arte contemporanea, Torino, Italy (2005); Don't worry, it will be better...,Kunsthalle Wien, Austria (2005); Yang Fudong, Stedelijk Museum, Amsterdam, Netherlands (2005); 5 Films, The Renaissance Society, The Renaissance Society, Chicago, U.S.A.(2004) etc.</span>
Country of Practice
At least one country of practice should be listed for each Contributor, up to three countries of practice.
China
Public Resource Centre Affiliation
Artist Research Platform
Library
Video Resource Platform
None
None
Contributor Type
Artist
Speaker
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Yang Fudong
Subject
The topic of the resource
Performance
Theatre
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Asia
Contributor
An entity responsible for making contributions to the resource
Yang Fudong