Yan Xing

Yan Xing

1 November – 8 December 2012

Yan Xing is one of the most prominent young artists of his generation. At only 26, he is the youngest artist shortlisted for the Future Generation Art Prize by Victor Pinchuk Foundation, Kiev, Ukraine. His work had been widely exhibited in prestigious international organisations including Contemporary Arts Museum Houston, Moscow Central House of Artist, National Gallery of Indonesia, Beijing CAFA Art Museum, Iberia Center for Contemporary Art, Beijing Today Art Museum and Shenzhen OCT Contemporary Art Terminal.close up of sexy

Yan Xing works across various media including performance, photography, video and installation. Performance is consistently a vital part of his work. He often undertakes extensive research and periods of rehearsal before performing. His performances create a virtual reality in parallel to the actual reality of the real world. Through his own practice, he tries to examine his relationship to art language, with the intention of getting the audience to immerse themselves in the unique, un-repeatable live performances.

Daddy Project Yan Xing’s most significant and controversial work to date. In the live performance, he performs a monologue of his life story, switching between fiction and reality, telling an unusual story while with his back to the audience. Everyone present is forced into a voyeuristic position listening to the often unbearable story narrated by the artist.

history of fugue and sexy in background

The video piece The History of Fugue pays homage to Robert Mapplethorpe and challenges the extremes of staged photography through slowly altering body, which at first appears to be a still image. Yan Xing has chosen seven classic poses, performed by an unidentified, sexualised male body. The work questions the concept of body as material and the use technique in his own works and shows his interests in re-interpreting art history, exploring new means of expression

In his most recently work, Kill (the) TV set, Yan Xing re-stages and re-enacts the 1965 Nam June Paik and Charlotte Moorman performance. His intention is to raise discussions of technical semantics – how could the media itself can be defined and described?

kill the tv set 1 and 2