{"id":12904,"date":"2015-05-28T04:21:00","date_gmt":"2015-05-28T04:21:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=12904"},"modified":"2023-09-19T04:26:20","modified_gmt":"2023-09-19T04:26:20","slug":"yang-fudong-the-coloured-sky-new-women-ii","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/yang-fudong-the-coloured-sky-new-women-ii\/","title":{"rendered":"Yang Fudong – \u201cThe Coloured Sky: New Women II\u201d"},"content":{"rendered":"\n

Yang Fudong \u201cThe Coloured Sky: New Women II\u201d<\/strong><\/p>\n\n\n\n

Marian Goodman Gallery<\/strong> (79 Rue du Temple, Paris) April 18\u2013May 30, 2015<\/strong><\/p>\n\n\n\n

China\u2019s equivalent of \u201cThe Emperor\u2019s New Clothes\u201d is the idiom \u201cto point at a deer and call it a horse\u201d (zh\u012d l\u00f9 w\u00e9i m\u0103 \u6307\u9e7f\u70ba\u99ac). Dating from the short-lived Qin Dynasty (221\u2013206 B.C.), the fable recounts how the ambitious Prime Minister, Zhao Gao (\u8d99\u9ad8), tested the loyalty of court officials with a malevolently absurd game. While on a trip with the Emperor, Zhao rode a deer. The Emperor asked Zhao, \u201cWhy?\u201d But Zhao maintained he was riding a horse and asked the officials their opinions. Half agreed Zhao was riding a \u201chorse\u201d\u2014they were loyal (or, at least, sufficiently afraid). The Emperor began to doubt himself. A deer and a horse are present in Yang Fudong\u2019s 2011 film about historical ambiguity, \u201cYejiang\/The Nightman Cometh\u201d, and now again in a new film installation.<\/p>\n\n\n\n

Commissioned by the Australian Centre for the Moving Image (ACMI) and the Auckland Art Gallery Toi o Tamaki, Yang Fudong\u2019s, \u201cThe Coloured Sky: New Women II\u201d is showing in Europe for the first time at Marian Goodman Gallery in Paris. Five portrait and landscape-format screens are arranged in a partial circle in a darkened room. Three women\u2014who may be versions of the same woman\u2014are shown playing at the beach in chic 1940s swimsuits. They run on the sand and perch on seaside rocks. Sometimes they pose seductively, sometimes joking, sometimes sad, at others stern. It is a beguiling, child-like sequel to \u201cNew Women\u201d (it is unnumbered, so to avoid confusion, in this article I designate it \u201cNew Women I\u201d), which premiered at ShanghART in Shanghai in 2013. \u201cNew Women I\u201d was a sensual, black and white display of nude women, from young adult to middle age, in high makeup and bejeweled with necklaces. The images reference iconic Surrealist work, most notably \u201cBlack and White\u201d (1926) by Man Ray (1890-1976) but also more generally the work of pioneer photographer Lang Jingshan (\u90ce\u9759\u5c71), famous among other things for taking \u201cMeditation\u201d (1928), the earliest surviving Chinese nude art photograph (now in the collection of NAMOC), followed by the publication of \u201cAlbum of Nude Photographs\u201d in 1930.<\/p>\n\n\n\n

\"Yang<\/a>
Yang Fudong, \u201cThe Coloured Sky: New Women II\u201d, No.2, color inkjet print, photo 120 x 180cm, edition of 10, 2014 (courtesy the artist and Marian Goodman Gallery)
<\/figcaption><\/figure>\n\n\n\n

The title \u201cNew Woman\u201d derives from a 1935 Shanghai film about a music teacher who commits suicide after her career is ruined by a succession of men\u2014a school board member, her publisher and a journalist\u2014each of whom lusts after her. The film was based on the life of actress Ai Xia; the film\u2019s star, Ruan Lingyu, similarly harassed (by the media), also killed herself. (It could be said that it is China\u2019s counterpart to Josef von Sternberg\u2019s classic \u201cDer Blaue Engel\u201d (1930), with Marlene Dietrich and Emil Jannings, but also alludes to recent scandals involving nude images of Hollywood actresses stolen from their private online accounts.) The five-screen installation presents at once a voyeur\u2019s dream and nightmare\u2014idealized woman, unreachable, untouchable and unknowable. She is self-conscious but not ashamed\u2014beautiful, certainly, but also self-possessed, without need of men. They are Amazonian statues and goddesses. It recalls obliquely the inferred decadence of Yang\u2019s photographic series, \u201cMs. Huang at M. Last Night\u201d (2006), but here the decadence lies not on-screen but in the projection of the fascinated, not necessarily male, viewer. The sequel does not involve the same poisoned invitation to scopophilia. The vision of \u201cNew Women II\u201d is not a projection of desire but an unseen girl\u2019s dream about growing up\u2014the projection is self-centered.<\/p>\n\n\n\n

Transparent colored screens stand amidst the beach scenes. Sometimes elements shift, such as a tent on the beach later switching apparently to a hut composed of the same colored screens. Quoting Botticelli\u2019s \u201cBirth of Venus\u201d, the film features at different times a large seashell which is handled by the individual women. There is a rich banquet\u2014sometimes appearing fresh, sometimes decomposing, corrupted by flies and snails\u2014quoting 18th<\/sup> century Flemish still lifes (nature morte<\/em>). Sometimes, a yellow snake appears among the food. At night, one woman is seen handling the gorgeous glistening serpent, this time quoting Adam and Eve except there is no Adam. 2015 is the Year of the Snake, which for those born under that sign is associated with characteristics such as wisdom, silence, jealousy and suspicion. It is a sign of good fortune and risk. Whether it is relevant to the film installation is left obscure. Two other animals play important roles\u2014a stuffed deer and a real horse. The deer stands in the shallows of the water. The horse, when it appears, ignores the fake dear, lapping instead at the real water. But remember: both animals are projections. This is a film, one about perception and doubt.<\/p>\n\n\n\n

It recalls Yang\u2019s earlier film, \u201cLiu Lan\u201d from 2003, which concerns a young woman\u2019s trepidation about her future. Of course, this is a metaphor: \u201cVisualizing the protagonist\u2019s desires and her anxiousness about entering adulthood, the film can be interpreted as a possible presentation of the complex encounter between modernity and tradition.\u201d (1) \u201cThe Coloured Sky\u201d shows the perspective of a young girl, her hopes and expectations about her future at a time when adult roles are simply performances to be aped, not feared. At a certain point, though, the installation takes over. The five screens presenting sun, sea, beach, games and food lull us into a false sense of security. A noise disturbs you\u2014turn around. Two women stare angrily at us. Apparently some anxieties remain. Are we blocking their view? Have we not paying (them) enough attention? \u2026 Can they really<\/em> see us? The scene dissolves, as do the players\u2019 emotions, rapidly segueing from anger to laughter to fear to sorrow. Their mercurial temperaments are as disturbing as their disdain.<\/p>\n\n\n\n

\"Yang<\/a>
Yang Fudong, \u201cThe Coloured Sky: New Women II\u201d, No.5, color inkjet print, photo 120 x 180cm, edition of 10, 2014 (courtesy the artist and Marian Goodman Gallery)<\/figcaption><\/figure>\n\n\n\n
\"\"
Yang Fudong, \u201cThe Coloured Sky: New Women II\u201d, No.4, color inkjet print, photo 120 x 180cm, edition of 10, 2014 (courtesy the artist and Marian Goodman Gallery)<\/figcaption><\/figure>\n\n\n\n

Seven Intellectuals in a Bamboo Forest<\/strong><\/p>\n\n\n\n

Yang Fudong was born in 1971 in Beijing. Following high school he went to the China Academy of Art in Hangzhou, second only in official rankings to the Central Academy of Fine Art (CAFA) in Beijing. Yang chose Hangzhou because it had a reputation for being less conservative than its counterpart in the capital. After graduating in painting in 1995 (2), he briefly returned to Beijing, where he took some photography classes at CAFA before financial pressure led him to move back south\u2014this time to Shanghai\u2014where he learned to use a computer; this in turn led to him working in video game production, making his own digital films in his spare time. Eventually though, he was fired. \u201cMy boss liked my work, but I took too much leave. He gave me three months\u2019 compensation pay and said, \u2018Now you can work on your art full time.\u201d\u2019 (3) Yang has been a full time artist ever since.<\/p>\n\n\n\n

Yang\u2019s official film career is often framed by tropes established early in his career in \u201cAn Estranged Paradise\u201d (1997-2002), his first film, and \u201cSeven Intellectuals in a Bamboo Forest\u201d (2003-2007), a sequence of five black and white 35 mm films. The former relates the confusion of two young lovers in Hangzhou (the title refers to a popular nickname for the city), concerned about their future\u2014particularly the man. \u201cSeven Intellectuals\u201d, set in another picturesque and culturally significant region\u2014the Yellow Mountain\u2014is a retelling of the story of Wei and Jin dynasty intellectuals who retreated from society to lead an aesthetic lifestyle engaging with nature.<\/p>\n\n\n\n

In fact, Yang Fudong is a prolific filmmaker (see the incomplete filmography at the end of this article). Key works also include the whimsical \u201cCity Light\u201d (2000) (after Charlie Chaplin\u2019s 1931 romantic comedy and Dostoyevsky\u2019s 1846 novel \u201cThe Double\u201d), \u201cBackyard\u2014Hey, Sun is Rising!\u201d (2001\u2014Two men acting anachronistically in the modern world) and \u201cTonight Moon\u201d (2000) (men playing like children or clowns in a garden) and the cin\u00e9ma v\u00e9rit\u00e9<\/em>-style of \u201cEast of Que Village\u201d (2007\u2014wild dogs on the outskirts of a parched village) and \u201cBlue Kylin\u201d (2008\u2014marble carvers in a quarry). Either directly or by inference, these films balance perceptions of youth\/maturity, hope\/reality and freedom\/responsibility.<\/p>\n\n\n\n

In many respects, Yang Fudong\u2019s films are chapters in the same story, albeit a non-linear one. Usually the story has no beginning and no end, no crisis, no denouement, no resolution. It is an existential present\u2014confusion is of the moment. In contrasting ways, this can be seen in the unceasing fighting of suited criminals in \u201cDawn Mist, Separation Faith\u201d (2009), the multiple-perspectives of diverse extras\/subjects in \u201cThe Fifth Night\u201d, and the interactions of the anachronistic characters on the battlefield of \u201cYejiang\/The Nightman Cometh\u201d (2011). To date the most important survey of the artist\u2019s work was \u201cYang Fudong. Estranged Paradise. Works 1993-2013\u201d in 2013 at the Zurich Kunsthalle and Berkeley Art Museum, curated by Philippe Pirotte and Beatrix Ruf. During the conference, the artist talked of how he imagined what was going on beyond the frame of a painting, what stories there were and what the characters would do. It has been noted that Yang\u2019s films reflect notions of traditional Chinese painting in which multiple stories are recounted simultaneously. \u201cNot only do paintings have spatiality, they also have temporality, and it is the resonance of this space-time relation that produces in the viewer an inner experience of a particular work.\u201d (4). Or as Li Zhenhua has noted of \u201cThe Fifth Night\u201d\u2014\u201cSeven screens formed seven scrolls.\u201d (5)<\/p>\n\n\n\n

This is not a stylistic game. Each film is also personal, a reckoning of how people in China at this particular moment of massive social and economic, even political, transformation can reconcile their history and future, success and responsibility. (6) Status is represented in many ways, whether in an aging general being honored at a dinner in the \u201cGeneral\u2019s Smile\u201d (2009), or privileged members of the young bourgeoisie drinking cocktails at a chic bar in \u201cMs. Huang at M. Last Night\u201d. Yet as Hasegawa notes, \u201cA feature of Yang\u2019s work is the lack of hierarchy among its characters. The relationships that unfold are completely horizontal in nature\u201d (7). The unfolding individual perspectives are equally powerless, flippant, na\u00efve or confused. Sometimes privileged characters are shown enjoying themselves (in photography, \u201cMs. Huang at M Last Night\u201d and \u201cInternational Hotel\u201d, and in film \u201cGeneral\u2019s Smile\u201d (2009), and now \u201cThe Coloured Sky\u201d). In other works, characters are left confused\u2014shocked even, finding themselves in a situation without a script (\u201cThe First Intellectual\u201d (2000)\u2014an office worker hit with a brick, \u201cFifth Night\u201d (2010) and \u201cThe Night Man Cometh\u201d). Because everything takes place in the context of a frameless narrative, every character is effectively an extra (incidental) and lead (subject).<\/p>\n\n\n\n

\"Yang<\/a>
Yang Fudong, \u201cThe Coloured Sky: New Women II\u201d, No.6, color inkjet print, photo 120 x 180cm, edition of 10, 2014 (courtesy the artist and Marian Goodman Gallery)<\/figcaption><\/figure>\n\n\n\n
\"\"
Yang Fudong, \u201cThe Coloured Sky: New Women II\u201d, No.1, color inkjet print, photo 120 x 180cm, edition of 10, 2014 (courtesy the artist and Marian Goodman Gallery)<\/figcaption><\/figure>\n\n\n\n

Hall of Mirrors<\/strong><\/p>\n\n\n\n

The circular installation of \u201cThe Coloured Sky\u201d emphasizes its non-linear \u201cnarrative\u201d, as it is virtually impossible to properly view all screens simultaneously (a slight change to the installation would have ensured this). The human desire for omniscience\u2014a frailty of confidence, to know all by seeing all, to capture understanding by simply beholding\u2014still seems insatiable; but we also know that belief in a cinematic \u201cpanopticon\u201d is a delusion. We know this, but the idea is so attractive that it persists in daydream-cinema as much as the Novacain of a happy ending. In \u201cThe Coloured Sky\u201d, we are invited to move around, even to block the projections, our shadows crossing the screens and the narrative. An early example of Yang\u2019s use of this technique of breaking the line of sight is Yang\u2019s \u201cJiaer\u2019s Livestock\u201d. Inspired by Kurosawa\u2019s Rash\u014dmon<\/em>, alternate histories of a suitcase are presented in two separate rooms. In the first, a suited refugee from the city\u2014an escaping intellectual?\u2014is killed by two peasants, who in turn are robbed by a tea picker. In the second, the peasants help the man, who then kills them. In \u201cThe Coloured Sky\u201d it is a matter of focus. The consistent color and stylistic scheme of the simultaneous projections lull the viewer into a sense of torpor. Only with successive viewings from different perspectives do the films reveal themselves. Meanwhile, the nausea-inducing minimalism of the music is working on us, and the repetitions and loops also play upon us. As an adult, the childhood dream slowly becomes an infantile nightmare. At the cynosure of the panopticon, the viewer is also a prisoner.<\/p>\n\n\n\n

\"Yang<\/a>
Yang Fudong, \u201cThe Coloured Sky: New Women II\u201d, No.3, color inkjet print, photo 120 x 180 cm, edition of 10, 2014 (courtesy the artist and Marian Goodman Gallery)<\/figcaption><\/figure>\n\n\n\n

Girl, You\u2019ll be a Woman Soon<\/strong><\/p>\n\n\n\n

Water is a frequent leitmotif in Yang\u2019s films and photography\u2014there are the rain-drenched streets of \u201cCity Light\u201d, the lakes and pools of \u201cLiu Lan\u201d (2003), \u201cLock Again\u201d (2004) and the coast of \u201cClose to the Sea\u201d (2004). In \u201cAn Estranged Paradise\u201d the couple visit Hangzhou\u2019s West Lake. Terraced rice fields are crucial elements of both \u201cJiaer\u2019s Livestock\u201d (2002-2005, where the dried fields mark the absence of water) and \u201cSeven Intellectuals\u201d. Sometimes the presence of water is in the form of artificial pools. There was the tropical beach rock pool of \u201cMinor Soldier YY\u2019s Summer\u201d (2003) and swimming pool\/lake of \u201cLock Again\u201d (2004). Latterly, there has been the swimming pool in the Ingres-inspired photographic series International Hotel<\/em> (2010) and now the artificial beach of \u201cThe Coloured Sky\u201d.<\/p>\n\n\n\n

In Yang\u2019s films the characters rarely speak. This makes the films universal\u2014language is not a barrier to understanding\u2014but also accentuates identification between the characters and viewers, and a sense of contemplativeness, as one\u2019s own thoughts become the \u201cscript\u201d (as a student, Yang undertook an experiment whereby he did not speak for three months) (8). As Yuko Hasegawa has commented, \u201cIt is difficult to analyze the work of Yang Fudong in words\u2026Yang\u2019s works can only really be understood on an intuitive level as a kind of inner experience.\u201d (9) Hasegawa was drawing a link with Taoism, influential on Yang\u2019s practice, but the matter of being indescribable\u2014being beyond words<\/em>\u2014speaks as much to human experience itself, lacking the words and images to say what is happening to us, who we are\u2014simply, why? In this respect, \u201cThe Coloured Sky\u201d may be seen as Yang\u2019s version of Gauguin\u2019s masterpiece \u201cWhere do we come from? What are we? Where are we going<\/a><\/strong>\u201d (1897-98) which, according to Gauguin\u2019s notes, should be read right to left, whereby a child matures and eventually grows old and accepts her fate. The subject of \u201cColoured Sky\u201d is a young girl of indeterminate age, whom we never see. She is imagining what it is like to be an adult woman, a glamorized \u201cfilm\u201d version of her future. As Yang says \u201cIt\u2019s a feeling of yesterday but it\u2019s actually tomorrow\u201d (exhibition press release). The setting is an artificial beach\u2014a stage set\u2014but the fourth wall is never broken, so the setting is effectively \u201creality\u201d and there are no exits. In other words, no scenery is fake\u2014there is only scenery. As in other recent film installations by Yang, such as \u201cFifth Night\u201d, the styling is seemingly anachronistic and strangely Western, playing on stereotypes and simulacra derived from Hollywood. Here we have a Chinese California and Californie, with Picasso\u2019s and Cezanne\u2019s bathers playing on an etiolated beach. Yang \u201cdoes not propagate fixed beliefs or dogmas\u201d, notes Zhang Wei, but the confusion of Yang\u2019s characters about time and purpose is also one of place, and of system. History is geographical, and so are dreams. This is not a comment about political intention or its lack: this is how Yang\u2019s characters experience their situation. As viewers, we are invited to experience their perception of the world they are in. As Yang says, \u201cI want to know if spiritual life exists at all. Where is everyone\u2019s spiritual life?\u201d (10)<\/p>\n\n\n\n

Notes<\/strong><\/p>\n\n\n\n

1. Marcella Beccaria, \u201cYang Fudong: Towards a New Abstraction\u201d, Parkett<\/em>, vol. 76, pp. 72\u201377.<\/p>\n\n\n\n

2. Jane Perlez, \u201cCasting a Fresh Eye on China with Computer, Not Ink Brush\u201d, New York Times<\/em>, November 3, 2003: link<\/a><\/p>\n\n\n\n

3. Ibid.<\/p>\n\n\n\n

4. Yuko Hasegawa, \u201cThe White Cloud Drifting Across the Sky Above the Scene of an Earthquake\u201d, Parkett<\/em>, vol. 76, pp. 78\u201384.<\/p>\n\n\n\n

5. Li Zhenhua, \u201cYang Fudong\u201d, Bomb Magazine<\/em>: link<\/a>.<\/p>\n\n\n\n

6. Zhang Wei, \u201cAll in a Thought Life is Actually Quite Beautiful\u201d, Parkett<\/em>, vol. 76, pp. 94\u201397.<\/p>\n\n\n\n

7. Hasegawa, op cit., 82<\/p>\n\n\n\n

8. Ibid., 80<\/p>\n\n\n\n

9. Ibid., 78<\/p>\n\n\n\n

10. Li, op cit.<\/p>\n\n\n\n

Select filmography<\/strong><\/p>\n\n\n\n

\u201cTonight Moon<\/strong>\u201d, video installation, 1 projection, 24 small and 6 big monitors, 2000<\/p>\n\n\n\n

\u201cCity Light<\/strong>\u201d, video, color, 6\u2019, 2000<\/p>\n\n\n\n

\u201cBackyard\u2014Hey! Sun is Rising!<\/strong>\u201d, video installation, 34mm b\/w film, 13\u2019, music by Zhou Qing, 2001<\/p>\n\n\n\n

\u201cFlutter Flutter\u2026Jasmine Jasmine<\/strong>\u201d, 3-channel video installation, color, 17\u201940\u201d, music by Miya Duda, 2002<\/p>\n\n\n\n

\u201cLiu Lan<\/strong>\u201d, 35 mm b\/w film, 14\u2019, music by Zhou Qing, 2003<\/p>\n\n\n\n

\u201cJiaer\u2019s Livestock<\/strong>\u201d, 2-channel video installation, b\/w and color, 12-14\u2019, music by Miya Dudu, 2002\u20132005<\/p>\n\n\n\n

\u201cMinor Soldier YY\u2019s Summer<\/strong>\u201d, 3-channel video installation, 20\u2019, music by Miya Duda, 2003<\/p>\n\n\n\n

\u201cS10<\/strong>\u201d [Siemens], video, color, 8\u2019, 2003<\/p>\n\n\n\n

\u201cSeven Intellectuals in a Bamboo Forest<\/strong>\u201d,<\/p>\n\n\n\n

part 1, 35 mm b\/w film, 29\u2019, music by Jin Wang, 2003,<\/p>\n\n\n\n

part 2, 35 mm b\/w film, 46\u2019, music by Jin Wang, 2004,<\/p>\n\n\n\n

part 3, 35 mm b\/w film, 40-50\u2019, music by Jin Wang, 2005\u20132006<\/p>\n\n\n\n

part 4, 35 mm color film, 79\u2019, music by Jin Wang, 2007<\/p>\n\n\n\n

part 5, 35 mm color film, 91\u2019 40\u201d, music by Jin Wang, 2007<\/p>\n\n\n\n

\u201cClose to the Sea<\/strong>\u201d, 10-channel video installation, 23\u2019, music by Jin Wang, 2004<\/p>\n\n\n\n

\u201cLock Again<\/strong>\u201d, 16 mm color film, 3\u2019, music by Miya Dudu, 2004<\/p>\n\n\n\n

\u201cEast of Que Village<\/strong>\u201d (\u96c0\u6751\u5f80\u4e1c), video b\/w, 20\u20195\u201d, 6 channels, 2007 (Tate Collection)<\/p>\n\n\n\n

\u201cBlue Kylin<\/strong>\u201d, video color multi-channel film installation with Shandong stone carving, 2008<\/p>\n\n\n\n

\u201cDawn Mist, Separation Faith<\/strong>\u201d, 35 mm b\/w film installation, 9 channels, 2009<\/p>\n\n\n\n

\u201cThe General<\/strong>\u201d, 35 mm color multi-channel film installation, 2009<\/p>\n\n\n\n

\u201cThe Fifth Night<\/strong>\u201d, 35 mm b\/w film installation, 7 channels, music by Jin Wang, 10\u201937\u201d, 2010, part I exhibited at ShanghART and part II at the 8th<\/sup> Shanghai Biennale.<\/p>\n\n\n\n

\u201cYejiang\/The Nightman Cometh<\/strong>\u201d, 35 mm b\/w film, single channel, 19\u201921\u201d, music by Jin Wang, 2011<\/p>\n\n\n\n

\u201cNew Women\u201d,<\/strong>  35 mm b&w multi-channel film installation, 11\u20197\u201d, music by Jin Wang, 2013<\/p>\n\n\n\n

\u201cAbout the Unknown Girl, Ma Sise<\/strong>\u201d, project (2013-14) (films, photographs, wallpaper) including projections\u2014\u201cAt Hegan<\/strong>\u201d (2013), \u201cThe Forgotten Bow-knot<\/strong>\u201d (2014), and on four TV monitors: \u201cMa Sise in \u2018the 5th night\u2019<\/strong>\u201d, \u201cThe forgotten bow-knot\u201d, and \u201cAt Hegang\u201d, with 12 photographs from \u201cAt Lake Kunming\u201d (2014), first exhibited at Yang\u2019s solo show \u201cIncidental Scripts at the NTU Center for Contemporary Art in Singapore<\/p>\n","protected":false},"excerpt":{"rendered":"

Yang Fudong \u201cThe Coloured Sky: New Women … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":12911,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[17],"tags":[9288,673,149,415,67,9289,9290,88,9292,9293,9291,1628,6859,374,393,122,972,601,9296,114,6960,7738,9294,9295,210,460,230,421,121],"yoast_head":"\nYang Fudong - \u201cThe Coloured Sky: New Women II\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-coloured-sky-new-women-ii\/\" \/>\n<meta property=\"og:locale\" content=\"zh_TW\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Yang Fudong - \u201cThe Coloured Sky: New Women II\u201d - \u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"og:description\" content=\"Yang Fudong \u201cThe Coloured Sky: New Women … Continue reading →\" \/>\n<meta property=\"og:url\" content=\"http:\/\/www.randian.art\/yang-fudong-the-coloured-sky-new-women-ii\/\" \/>\n<meta property=\"og:site_name\" content=\"\u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"article:published_time\" content=\"2015-05-28T04:21:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-09-19T04:26:20+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/09\/49226_c41800dd057edcfcd6d53253ab5fdf87.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"2000\" \/>\n\t<meta property=\"og:image:height\" content=\"1125\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Lien\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Lien\" \/>\n\t<meta name=\"twitter:label2\" content=\"\u9810\u4f30\u95b1\u8b80\u6642\u9593\" \/>\n\t<meta name=\"twitter:data2\" content=\"16 \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-coloured-sky-new-women-ii\/#article\",\"isPartOf\":{\"@id\":\"http:\/\/www.randian.art\/yang-fudong-the-coloured-sky-new-women-ii\/\"},\"author\":{\"name\":\"Lien\",\"@id\":\"http:\/\/www.randian.art\/#\/schema\/person\/52a3fdee246825a3356b50e0c44bbeeb\"},\"headline\":\"Yang Fudong – \u201cThe Coloured Sky: New Women II\u201d\",\"datePublished\":\"2015-05-28T04:21:00+00:00\",\"dateModified\":\"2023-09-19T04:26:20+00:00\",\"mainEntityOfPage\":{\"@id\":\"http:\/\/www.randian.art\/yang-fudong-the-coloured-sky-new-women-ii\/\"},\"wordCount\":3134,\"commentCount\":0,\"publisher\":{\"@id\":\"http:\/\/www.randian.art\/#organization\"},\"keywords\":[\"'New Women'\",\"2015\",\"art\",\"art gallery\",\"artist\",\"Beatrix Ruf\",\"China Academy of Art\",\"Chris Moore\",\"color\",\"colour\",\"Coloured Sky\",\"marian Goodman\",\"Philippe Pirotte\",\"randian\",\"randian online\",\"ShanghART\",\"yang fudong\",\"\u4e0a\u6d77\",\"\u4e2d\u56fd\u7f8e\u672f\u5b66\u9662\",\"\u58a8\u864e\u607a\",\"\u5df4\u9ece\",\"\u6768\u798f\u4e1c\",\"\u676d\u5dde\",\"\u676d\u5dde\u5e02\",\"\u71c3\u70b9\",\"\u827a\u672f+\",\"\u827a\u672f\u5bb6\",\"\u827a\u672f\u753b\u5eca\",\"\u9999\u683c\u7eb3\u753b\u5eca\"],\"articleSection\":[\"Features\"],\"inLanguage\":\"zh-TW\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"http:\/\/www.randian.art\/yang-fudong-the-coloured-sky-new-women-ii\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"http:\/\/www.randian.art\/yang-fudong-the-coloured-sky-new-women-ii\/\",\"url\":\"http:\/\/www.randian.art\/yang-fudong-the-coloured-sky-new-women-ii\/\",\"name\":\"Yang Fudong - 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