Artist Yang Fudong's latest exhibition at the UCCA Center for Contemporary Art in Beijing offers an introspective journey into the artist's unique perspective on memory, silence, and the fluid concept of time. The show features a compelling blend of new and early works, including multi-channel video installations, evocative paintings, and sculptural pieces. Through these diverse mediums, Yang explores how personal experiences, particularly those from his hometown, shape our understanding of existence and how art can transcend linear perceptions of time.
Artist Yang Fudong's Evocative Exhibition at UCCA Center for Contemporary Art Unveils New Perspectives on Time and Memory
On November 22, the UCCA Center for Contemporary Art in Beijing opened a significant exhibition dedicated to the acclaimed artist Yang Fudong. This retrospective presentation highlights Yang's enduring artistic journey, from his formative years as a painter to his celebrated experimental films and installations. A central theme woven throughout the exhibition is the artist's fascination with silence as a form of expression and the intricate relationship between past, present, and future.
The exhibition notably features "Fragrant River" (2016–25), a compelling 15-channel black-and-white video installation spread across nine distinct rooms. This deeply personal work serves as a three-dimensional tapestry of Yang's memories of Xianghe, his childhood hometown outside Beijing. Originally conceived as a long-term documentary project in the early 2000s, the film evolved into a poignant reflection on the passage of time and the transformation of a familiar landscape. Yang's decision to film over 47 days in the winter of 2016, employing unscripted actors and drawing inspiration from classic literature, resulted in fragmentary scenes that evoke a sense of nostalgic unreality, where "truth becomes fiction, when fiction's true." The piece powerfully illustrates the non-linear nature of memory and how the past continues to resonate in the present.
Another prominent new work, "Private Notes from a Land of Bliss" (2025), is a striking 15-panel installation combining videos, paintings, and photographs. These paintings, executed in acrylic and charcoal, employ the traditional Chinese method of "interpretive imitation," borrowing from Song Dynasty artist Ma Yuan's "Elegant Gathering at the Western Garden." The choice of black and white, a recurring motif in Yang's films, is explained by the artist as a means to create temporal distance and to reveal the fundamental essence that contains all colors. Curator Chelsea Qianxi Liu emphasizes how this work, like many of Yang's cinematic endeavors, re-examines painting through a cinematic lens, inviting viewers to experience art in a dynamic, unfolding manner akin to watching a film.
The exhibition also includes "Breastfeeding" (2025), a unique furniture and video installation. This piece comprises televisions and antique cabinets, common household items from northern China that Yang has meticulously collected over the years. By replacing the original glass panels with mirrored surfaces, Yang transforms these ordinary objects into "actors in a play," creating a subtly shifting space where viewers become part of the evolving narrative, much like the dynamic interplay between a tree and its shadow. Additionally, visitors can explore some of Yang's early paintings from his university days in the 1990s, showcasing the foundational artistic practices that predated his international recognition for video art.
This comprehensive exhibition, a testament to Yang Fudong's singular vision, invites audiences to ponder the enduring presence of the past and the infinite possibilities of the future. It encourages a deeper appreciation for the nuanced ways in which memory, emotion, and artistic expression intertwine, offering a meditative and thought-provoking experience.
Yang Fudong's exhibition offers a compelling invitation to re-evaluate our perception of time. His artistic philosophy, which posits that "the future is already there, you just haven't reached it yet," encourages us to consider the interconnectedness of moments. As visitors navigate the multi-layered works, they are prompted to reflect on how personal histories and collective memories shape our present realities and future aspirations. This immersive experience transcends a mere display of art, becoming a profound meditation on existence itself.
