{"id":11952,"date":"2012-06-25T11:51:00","date_gmt":"2012-06-25T11:51:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=11952"},"modified":"2023-05-02T11:57:23","modified_gmt":"2023-05-02T11:57:23","slug":"yang-fudong-the-revival-of-the-snake-and-close-to-the-sea","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/yang-fudong-the-revival-of-the-snake-and-close-to-the-sea\/","title":{"rendered":"Yang Fudong: \u201cThe Revival of the Snake\u201d and \u201cClose to the Sea\u201d"},"content":{"rendered":"\n

\u201cClose the the Sea & The Revival of the Snake\u201d<\/strong>, dual solo exhibition by Yang Fudong.<\/p>\n\n\n\n

ShanghART<\/a> Beijing & ARTMIA<\/a><\/strong> (261 Caochangdi, Old Airport Road, Chaoyang, Beijing). May 13\u2013Jun 30, 2012<\/strong>.<\/p>\n\n\n\n

Yang Fudong\u2019s reputation is one cemented by years of popular practice in video art. A massive exhibition list precedes him, to which can now be added a dual solo show of 10-channel works at the adjacent ShanghART and Art Mia galleries in Beijing.<\/p>\n\n\n\n

\u201cClose to the Sea\u201d (2004) follows a young couple on the beach. On one central screen (in monochrome), they are happy and carefree \u2014 strolling along the sand in swimsuits, burying each other, riding a white horse on the shore \u2014 but on the opposing screen they are adrift (in color): shipwrecked, clinging to a broken raft in bedraggled clothes. Other screens round the walls frame a familiar Fudong-cast of suit-clad men and women who play a discordant range of sounds on trumpets and other instruments, or at intervals simply stare into the middle distance. Next door at Art Mia, a dark room lined with rather lightweight excerpts from interviews with the artist precedes \u201cThe Revival of the Snake\u201d (2005), wherein a soldier in exile struggles for survival in a hard Northern Chinese winter; in threadbare padded military clothes he wanders, sleeps, tries to smash the ice on a frozen lake and, at one point, follows a sparse funeral procession through the dormant, sun-grazed landscape. We see him bound and blindfolded as if sentenced to death by unseen interlocutors whom, we can surmise, lie within himself.<\/p>\n\n\n\n

\"\"<\/a>
Yang Fudong, \u201cThe Revival of the Snake,\u201d 10-channel video installation, 8 minutes, 2005.
\u6768\u798f\u4e1c, \u300a\u7b49\u5f85\u86c7\u7684\u82cf\u9192\u300b\uff0c\u5341\u5c4f\u5f71\u50cf\u88c5\u7f6e\uff0c 8\u5206\u949f, 2005\u5e74\u3002<\/figcaption><\/figure>\n\n\n\n

Such is the predominance of stylized technique in Yang Fudong\u2019s work that its effect rests largely on one\u2019s susceptibility to it. \u201cClose to the Sea\u201d is undoubtedly a skilled work, founded on tenets central to Yang\u2019s practice: Chinese youth amid landscapes both outward and interior, acting on their own whims and simple pleasures, and at other times \u2014 simultaneously, for his videos refuse sequential narrative \u2014 abandoned and vacant in the same scenery turned sour. Our protagonists here, as elsewhere, appear fragile, easily thrown from their carefree plane as from a white horse onto a broken raft. The two looped threads create an unending rift of fate plagued by an a-melodic, Brechtian accompaniment that waxes and wanes not unlike the sea itself, and it is this inexorability coupled with the lack of pathos of the characters that can amount to a dubious pleasure to watch. It is in such unresolved, yet veneered existential events that the validity or rejection of the work lies \u2014 its intelligence, and its rub.<\/p>\n\n\n\n

\"\"<\/a>
Yang Fudong, \u201cThe Revival of the Snake,\u201d 10-channel video installation, 8 minutes, 2005.
\u6768\u798f\u4e1c, \u300a\u7b49\u5f85\u86c7\u7684\u82cf\u9192\u300b\uff0c\u5341\u5c4f\u5f71\u50cf\u88c5\u7f6e\uff0c 8\u5206\u949f, 2005\u5e74\u3002<\/figcaption><\/figure>\n\n\n\n

\u201cThe Revival of the Snake\u201d entails a second existential atmosphere, benefiting from the substitution of lovers by a different brand of sentiment \u2014 that of war and its questionable heroisms:  the romanticized defense of country, patriotism, loyalty, duty. These themes, however, have already been punctured in the moments portrayed. The soldier has (we assume) deserted the cause and is solitary, wanting of shelter and sustenance both spiritual and physical. Yang\u2019s displacement of rational time is highly effective here, aptly illustrating the uncertain path the he has chosen to tread. The setting, too, is strong: the land he was fighting to defend is now his opponent \u2014 frigid, harsh, its earth and water resist his attempts, and he finds poor rest amongst tree branches. Exhausted and futile he enacts his uncertain life, watched by a low, cold Sun.<\/p>\n\n\n\n

\"\"<\/a>
Yang Fudong, \u201cClose to the Sea,\u201d 10-channel video installation, 23 mins, 2004.
\u6768\u798f\u4e1c, \u300a\u9760\u8fd1\u6d77\u300b\uff0c\u5341\u5c4f\u5f71\u50cf\u88c5\u7f6e\uff0c 23\u5206\u949f, 2004\u5e74\u3002<\/figcaption><\/figure>\n\n\n\n

This is an effective pairing of exhibitions to demonstrate the powers and proneness of Yang Fudong\u2019s highly refined practice. \u201cClose to the Sea\u201d is thick with an impotent atmosphere, its human situations flowing endlessly at the center; this, coupled with the briny setting bring to mind Tartarus, impelled to pour water into vessels with holes in them which will never fill. \u201cThe Revival of the Snake,\u201d however, far better marries Yang\u2019s lingering cinematics with human plight \u2014 away from the smooth faces and crumpled egos of his other characters, this searching soldier is an affective case \u2014 part of the bare, non-silken side of Yang\u2019s output seen most extremely in \u201cEast of Que Village\u201d (2007). It is a vein away from which his more recent work has tended, but which one hopes may continue.<\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cClose the the Sea & The Revival of … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":8,"featured_media":11953,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[8654,105,172,6334,8655,8656,3022,972,8657,7738,7647,8658,8659,137,7198],"yoast_head":"\nYang Fudong: \u201cThe Revival of the Snake\u201d and \u201cClose to the Sea\u201d - \u71c3\u70b9 Ran Dian<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/www.randian.art\/yang-fudong-the-revival-of-the-snake-and-close-to-the-sea\/\" \/>\n<meta property=\"og:locale\" content=\"zh_TW\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Yang Fudong: \u201cThe Revival of the Snake\u201d and \u201cClose to the Sea\u201d - \u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"og:description\" content=\"\u201cClose the the Sea & The Revival of … Continue reading →\" \/>\n<meta property=\"og:url\" content=\"http:\/\/www.randian.art\/yang-fudong-the-revival-of-the-snake-and-close-to-the-sea\/\" \/>\n<meta property=\"og:site_name\" content=\"\u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"article:published_time\" content=\"2012-06-25T11:51:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-05-02T11:57:23+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/05\/Screenshot-2023-05-02-at-18.56.30.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1504\" \/>\n\t<meta property=\"og:image:height\" content=\"764\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"Duyen Le\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Duyen Le\" \/>\n\t<meta name=\"twitter:label2\" content=\"\u9810\u4f30\u95b1\u8b80\u6642\u9593\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 \u5206\u9418\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"http:\/\/www.randian.art\/yang-fudong-the-revival-of-the-snake-and-close-to-the-sea\/#article\",\"isPartOf\":{\"@id\":\"http:\/\/www.randian.art\/yang-fudong-the-revival-of-the-snake-and-close-to-the-sea\/\"},\"author\":{\"name\":\"Duyen Le\",\"@id\":\"http:\/\/www.randian.art\/#\/schema\/person\/4d95ceea857b4c4fde91b6437bfaee13\"},\"headline\":\"Yang Fudong: \u201cThe Revival of the Snake\u201d and \u201cClose to the Sea\u201d\",\"datePublished\":\"2012-06-25T11:51:00+00:00\",\"dateModified\":\"2023-05-02T11:57:23+00:00\",\"mainEntityOfPage\":{\"@id\":\"http:\/\/www.randian.art\/yang-fudong-the-revival-of-the-snake-and-close-to-the-sea\/\"},\"wordCount\":742,\"commentCount\":0,\"publisher\":{\"@id\":\"http:\/\/www.randian.art\/#organization\"},\"keywords\":[\"ART MIA Gallery\",\"Beijing\",\"Caochangdi\",\"narrative\",\"screens\",\"ShanghART Gallery Beijing\",\"Video\",\"yang fudong\",\"\u6444\u50cf\",\"\u6768\u798f\u4e1c\",\"\u7231\u5b89\u554a\",\"\u827a\u7f8e\u753b\u5eca\",\"\u9760\u8fd1\u6d77\u2022\u7b49\u5f85\u86c7\u7684\u82cf\u9192\",\"\u987e\u7075\",\"\u9999\u683c\u7eb3\u753b\u5eca\u5317\u4eac\u7a7a\u95f4\"],\"articleSection\":[\"Reviews\"],\"inLanguage\":\"zh-TW\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"http:\/\/www.randian.art\/yang-fudong-the-revival-of-the-snake-and-close-to-the-sea\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"http:\/\/www.randian.art\/yang-fudong-the-revival-of-the-snake-and-close-to-the-sea\/\",\"url\":\"http:\/\/www.randian.art\/yang-fudong-the-revival-of-the-snake-and-close-to-the-sea\/\",\"name\":\"Yang Fudong: \u201cThe Revival of the Snake\u201d and \u201cClose to the Sea\u201d - 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