Yang Zhenzhong, ‘Disguise’, 2015, Nam June Paik Art Center
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Yang Zhenzhong

Disguise, 2015

4 channel video, color, sound, 9:20, 1 channel video, color, silent, 32:36,
About the work
NJP
Nam June Paik Art Center

Chinese media artist Yang Zhenzhong produced masks reproducing 50 employees with the help of 3D …

Medium
Video/Film/Animation
Image rights
Installation view at Nam June Paik Art Center
Yang Zhenzhong
Chinese, b. 1968
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Yang Zhenzhong believes “life itself is in a state of constant repetition” and, accordingly, repetition is a defining theme of his practice. For I Will Die (2007), Yang enlisted ordinary people to pronounce the titular phrase on camera in different languages, playing the loops in simultaneous video projections. The work exemplifies the air of bold straightforwardness for which Yang is known across his work in photography, video, performance, sculpture, and installation. Whether stripping massage chairs of their upholstery, appropriating works by other famous artists, planting a fake bus stop in a historic town, or installing synchronized videos of a woman huffing and puffing to blow away a Shanghai street, Yang relies on everyday objects and familiar scenes to express profound ideas. “I feel that if you deal with individual experience on a certain level it becomes universal experience,” he explains.

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Yang Zhenzhong, ‘Disguise’, 2015, Nam June Paik Art Center
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About the work
NJP
Nam June Paik Art Center

Chinese media artist Yang Zhenzhong produced masks reproducing 50 employees with the help of 3D scanning and printing technology. Later he made a multi-channel recording when they perform their normal daily work wearing the mask bearing their own expression. These facial replicas look more dramatic than the wears’ …

Medium
Video/Film/Animation
Image rights
Installation view at Nam June Paik Art Center
Yang Zhenzhong
Chinese, b. 1968
Follow

Yang Zhenzhong believes “life itself is in a state of constant repetition” and, accordingly, repetition is a defining theme of his practice. For I Will Die (2007), Yang enlisted ordinary people to pronounce the titular phrase on camera in different languages, playing the loops in simultaneous video projections. The work exemplifies the air of bold straightforwardness for which Yang is known across his work in photography, video, performance, sculpture, and installation. Whether stripping massage chairs of their upholstery, appropriating works by other famous artists, planting a fake bus stop in a historic town, or installing synchronized videos of a woman huffing and puffing to blow away a Shanghai street, Yang relies on everyday objects and familiar scenes to express profound ideas. “I feel that if you deal with individual experience on a certain level it becomes universal experience,” he explains.

Yang Zhenzhong

Disguise, 2015

4 channel video, color, sound, 9:20, 1 channel video, color, silent, 32:36,
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