Xin Yunpeng Solo Exhibition 辛雲鵬個展
Sep 22, 2018 - Nov 10, 2018
Opening: 22 September, 12:00 - 8:00pm. In conjunction with South Island Art Day
de Sarthe is pleased to announce the opening of Xin Yunpeng’s second solo exhibition with the gallery and first solo presentation in Hong Kong, opening on Saturday, 22 September. The show features both new and old work, spanning the past decade of the artist’s production. Utilizing constructed social experiments, meticulously edited film, and simple technological manipulations Xin Yunpeng wrestles with latent socio-political issues and expresses a studied visual language.
The earliest work included in the show is Cream of Mushroom Soup (2008), in which Xin Yunpeng uses a digital camera to record coins dropping into a can of soup, touching on the impact and influence of capitalism. In another work, 20140828 (2014), the artist erects a film set and hires an actor to perform a death scene. However, after the actor “dies,” Xin Yunpeng’s never instructs him to “cut.” This allows the unsuspecting individual to navigate the situation on his own.
In Handsome (2011), Liar (2012), and Jump (2013) the artist cleverly constructs and films various types of relationships to address binary political metaphors. In these artworks his own physical participation is not merely captured but also carefully portrayed through video.
In 20130329 (2013) and Faucet (2018) a single video is divided and played across two screens, and in Goddess (2018) permanently broken digital ink screens are put on display. These works give everyday life a new form, and mutate it for a moment. Through this process the artworks unravel our sense of time and understanding of human experience.
In Mother (2017) the artist furthers an investigation into the vehicle of video art, pushing form to act as meaning itself. With a single fixed camera angle, he renders a detailed and vivid soundscape that permeates throughout an entire room to form a narrative around the sound of his mother’s prayers.
當辛雲鵬用數碼攝像機記錄下一枚枚硬幣被丟入金寶湯罐頭中《奶油蘑菇湯》（2018）到《20140828》(2014)錄像作品中他不給表演死亡的演員「喊停」或是《騙子》、《跳》、《靚仔》中通過巧妙的處理拍攝與被拍攝的關係去構建二元的政治隱喻，藝術家的個人行動被影像記錄也被影像本身所表現。從《20130329》（2014) 到近期被分割在上下兩個屏幕內的《水龍頭》（2018) ，或是呈現凝固在ink screen 的破碎的《女神》（2018) 模樣，日常平靜的事物被裝入不同的載體內造就突變的瞬間。辛雲鵬通過影像容器本身的特質，為我們呈現無法被精確描述時間感受和身體體驗。而《母親》(2017) 這件作品恰恰又是對這種容器的質疑——瀰漫於空間內的聲音構建了一個完整的敘事情境。