“Sometimes I feel that if you deal with individual experience on a certain level, it becomes universal experience.”

Born 1968, Hangzhou, Zhejiang. Lives and works in Shanghai

Yang Zhenzhong’s videos and installations employ humour and visual pranks to explore serious questions of perception and politics. In Sleepwalking Is a Therapy III (2007), a series of scenes of city life briefly appear, then are blacked out to the sound of heavy breathing. Exam (2012) presents two schoolgirls studying for a test while lying on a bed in their underwear. The camera-voyeur leers from all angles, but the girls, alternately dreamy and giggling, are oblivious to its presence or the implications of their behaviour: their whole attention is on the Marxist texts they need to memorise. Left Right Left (2012) is an array of pedestrian-crossing lights: the outline of a red man for stop and a green one for go. In Fences (2013), a long mirror behind vertical bars gives viewers the impression that they are simultaneously in prison and visiting themselves as prisoners. In Disguise (2015), people doing ordinary wear white masks that make them look weirdly alike.



 

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