XIN YUNPENG

The earliest work included in the show is Handsome (2011), in which the artist cleverly constructs a fabricated scenario and films himself acting within this scene to address binary political metaphors. In artworks like this one his own physical participation is not merely captured but also carefully portrayed through video.

In the largest projection of the exhibition, 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 asks the unsuspecting actor to navigate the strange situation on his own.

In 20130329 (2014), Left and Right, Hesitation (2017), Faucet (2018), and Military Boxing (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 the commonfor a moment. Through this process the artworksunravel our sense of time and understanding of human experience.

In an immersive installation, Mother (2017), the artist furthers aninvestigation into the vehicle of video art, pushing form to act as meaning itself. With a single fixed camera angle, he rendersa detailed and vivid soundscape that permeates throughout an entire roomto formanarrativearound the sound of his mother’s prayers.