Yang Yongliang by MiFA gallery

yang yongliang

CONTENTS

Published in association with the exhibition

INTRODUCTION BY MIKALA TAI AND BRYAN COLLIE

BY HUANG YUNHE

FOREWORD YANG YONGLIANG: Fields of impermanence BY R A SURI

RECONSTRUCTING IMAGES:

yang yongliang

Critique on reality beyond historical dimension Interpretation of Yang Yongliang’s photographic art By NI WEIHUA

IN CONVERSATION: An interview with Yang Yongliang

June 10 - July 23 2010

BY MIKALA TAI

SNOW CITY

VIRIDESCENCE

GREECE

HEAVENLY CITY

Level 1, 278 Collins St,

ON THE QUIET WATER

Melbourne, 3000

CIGARETTE ASH LANDSCAPE

Victoria, Australia

PHANTOM LANDSCAPE III

PHANTOM LANDSCAPE II

114

PHANTOM LANDSCAPE I

120

YANG YONGLIANG

126

WORKS

Melbourne International Fine Art (MiFA)

w w w.mifa.com.au +61 3 9663 3304

BIOGRAPHY Design: Plug2Studio, Melbourne Editing: Bryan Collie, Louise Joel, Mikala Tai Photography: MiFA Gallery - Pia Johnson

Box Image: Yang Yongliang I Untitled :Series Number Five I 2007 I Limited Edition Screen Print I 76 x 60 cm.

ISBN: 978-0-9807731-1-8

This catalogue is copyright. Apart from any fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act, no part may be reproduced by any process without written permission.

INTRODUCTION

Yang’s work focuses on the vast urban redevelopment that has gripped the cities of China. Like many artists of his generation the experience of this change has demanded an artistic response. For the Chinese this experience of the reimagining of their terrain has not only seen a refiguration of the landscape but also of the society that inhabits the landscape. The futuristic skyline of Shanghai’s Pudong is now as recognisable as the crumbling Hu Tongs that are disappearing in Beijing. Such changes represent not just a change in landscape but also the move away from the tradition of community living to that of the contained modern apartment. These changes have been swift and dramatic, and the repercussions for those living through this transition have been immense. Yang’s works use the most advanced photographic technology and techniques to reflect on this experience and the result is a most informed, emotive and clever visualisation of China today.

Drawing on his training in classical Chinese painting and calligraphy the form and perspectives of his work are traditional but the subject matter is contemporary. From a distance these works appear as classical ink paintings but, upon closer inspection, Yang has replaced ink with photographs of Shanghai’s skyline. Painstakingly stitched together images of buildings, cranes and power lines emerge from traditional shanshui (mountains and streams) landscapes fusing the ideas of new and old China. Effortlessly layered with the long history of Chinese artistic history the concrete wonderland of today emerges from the inky landscapes of yesterday. Hovering between the past and present, and on the blurry line between tradition and contemporary, Yang’s work speaks to lovers of contemporary Chinese art and traditional ink paintings with the same voice. This ability to stand between two worlds and communicate the experience of a nation in transition is an almost intangible task that Yang seemingly effortlessly achieves in his beautiful imagined landscapes. Bryan Collie and Mikala Tai

Yang Yongliang is one of China’s most important emerging artists. In the past few years his works have met critical acclaim in Paris, London, China and Australia and MiFA is both honoured and excited to once again welcome him to Melbourne.

Foreword

HUANG YUNHE

Yang Yongliang has studied traditional Chinese painting since his childhood. Although he studied graphic design at the Art Acedamy and later established his own design company, he has always persisted in his exploration of Chinese ink-andbrush painting and different visual art forms. After years of perseverance, his work has reached maturity. His new ideas, profound conceptions and meticulous craftsmanship met all the requirements of OFOTO Gallery who had decided to promote creative young artists. Thus, he became one of the first artists in collaboration with the first professional photography gallery in Shanghai. The art of photography was invented in Europe and entered China in the 19th century. After Chinese people mastered the art of photography, they began continuously attempts to blend it with traditional Chinese aesthetics. For example, in the photos of the late Qing Dynasty, Liang Shitai made for Prince Chun and the royal photographer Xunling took for the Empress Cixi, we can find the use of traditional seals and inscriptions which are common in Chinese calligraphy and painting. In the 1930s, more photographers emerged who used the art of photography to create pictures similar to traditional Chinese landscape paintings, such as Lang Ching-shan. Within the field of contemporary Chinese photography, there are also artists like Hong Lei and Han Lei who borrow traditional styles and use photographic methods to express their feelings about the present time.

Hence, Yang began his artistic career, holding exhibitions both at OFOTO Gallery and venues worldwide over four consecutive years. From imitations of the forms of the classical masterpieces of the Song and Yuan Dynasties to innovative compositions, from hanging scrolls and albums to monumental works on long rolls and mosaics, people see within Yang’s work the current metropolitan environment. They see stifling clusters of high rises, busy traffic, buildings under construction, erratic rises and falls in the stock market as well as strange natural phenomena; cyclones, floods, eclipses. Whilst admiring his work, people feel a sense of helplessness with regard to metropolitan life, and anxiety at the living environment. Currently, large numbers of China’s young artists are attempting to use new techniques, new visual languages or artistic methods (such as photography) in order to demonstrate their awareness of life. Amongst these, Yang Yongliang is one of the most outstanding. Translated by Nicola Kielty Huang Yunhe is the Director of OFOTO Gallery Shanghai, China

The last three decades in which Yang has lived in Shanghai have seen the city’s rapid growth and development. His feelings of discomfort and anxiety at the ever-expanding urban space have lead him to apply his own expertise in digital imaging techniques, in order to reflect through the form of photographic images the discrepancy between Chinese people’s traditional expectations of an ideal living environment and the current metropolis. In September 2006, Yang’s first solo exhibition entitled Phantom Landscape was held at OFOTO Gallery, Shanghai, evoking a sense of empathy amongst a vast audience, and receiving the attention of both individual experts and organisations.

compositional elements “perceived” as unique to the Orient with deviations which mirror a visual climate altogether spatial rather than bi-dimensional. The latent truths of his individual obsessions with the mythology of beauty and sincere negation of that which was engrained in him due to his formal academic training allow for a painterly interpretation of the world which surrounds him. Photographic techniques being the chosen voice rather than ink and brush, we witness a comprehensive signature of the artist, which I would best term movement in accordance with contest. The vista of China is one of unprecedented societal bastardizations, belonging neither entirely to the machinations of an autocratic neo Socialist centralized state nor the invasive temerity of corporate globalization. The horizon is one of rupture and delusion; viral media diffusion regardless of actual content is the core issue. Dissemination of misinformation is a constituent body in itself, and should we allegorically return to Alberti’s comment, it is this body, in a visual context, that the artist immerses himself, derives inspiration for the exquisite lament of the past as it is devoured by the relevancy of the immediate demands of the moment. According to unreal compositions in his attempt to deliver his conscience from the atrocities which pervade the waking instant of Chinese citizenry and urbanism, Yang Yongliang’s sensitivity and intelligent aversion to typological interpretations lead one far into the

broken path of artistic creation by accidental witness. The minutiae and acute inspection of the visual content of his compositions punctuate the effluvious atmosphere of this creation, essential in their counterpoint and which serve as a centrifugal point which depict the artists’ societal and philosophical positions. From an interview conducted in the summer of 2008, the artist’s deliberations upon his work have proven to be selfprophetic: “You mentioned that the key distinction between Oriental practice and Occidental practice is that the former is an internal process, the latter, an external. Given the cultural inundation of Western influences, how do you envision the future challenges for artists of your generation?”- R A Suri “This so-called “Oriental practice” as I mentioned, is more like an ancient Eastern philosophy. The ancient Chinese people (take the original national religion of China, Taoism, as an example) have been looking for ways to selfcultivation and regimen. Chinese qigong, yin-yang, and the Five Elements, are all philosophic thoughts of internal process to explore the inside universe of human beings, completely different directions against Western philosophy. However, regarding the current generation, I think the problem of philosophy is not the biggest issue. The whole world is moving closer to the Western philosophy system. In current society China is using a co-existent system of materialism and the Western system. But there is one thing we cannot change - our root and blood are Chinese, so the conflicts inevitably exist in the process of Western integration and globalization. Then, as an artist, the sense of cultural belonging would be a major topic. Chinese contemporary art has undergone more than 20 years of history. Following the artists being impacted by the Western world after the Cultural Reform both in economy and culture, the contemporary art has gone through a process from simple imitation, to the Youth Cruel, Political Spectrum, Self-mutilation, Self-mockery, and hesitate and cry without purpose.

Yang Yongliang Fields of Impermanence

own sake. The experiential vagrancy incurred from creative investigations in photographic replication and simultaneous rejection of his formative, conservative aesthetics demarcated a tendency for a new expressive form encapsulated in the discourse of medium and intrinsic thought. Arduous reflection, adaptation and diligent technical research are pivotal components in his creative demarche. An intriguing and variant use of light and shadow, the depths of black and bold appearance of white offer a caustic limitation in his initial intentions. The artist would later employ intense colour in his compositions, those which are neither unique to nor emblematic to Chinese traditions having revealed a more attentive author whom deliberated on the impact of tonal subtlety. Subjects, whether surreal landscapes reminiscent of traditional landscapes yet rendered as a travesty due to the plethora of architectural and urban forms which pervade their horizon, or more serene fields of photographic ink impregnating archival papers with quasi-abstract images attenuated to natural absence and disappearance, are indications of the internal movements of a lucid mind’s superimpositions upon a reality derived from the echoes of brutal demolition, alienation and urban cataclysm. The neo-scientific approach of the artist would justify an interpretation wherein conflictive elements in his compositions relate discordance with traditional aesthetics or the intrinsic sense of beauty as ascribed to them. Intentional deliberations and incessant experimentation engender a sense of the fragile beauty, or that which is perceived as being all the more implicit due to the flaws and marred lines, compositional depths and fields of coherency or uniformity in the implementation of colour spectrums. In observation of his works, the movement of the artists’ highly individual stylization might evoke the remark of L.B. Alberti, whom had defined beauty (aesthetic) as “that reasoned harmony of all the parts within a body, so that nothing may be added, taken away or altered, but for the worse”. This premise affords a due re-examination of the facile dichotomy of Eastern/Western discourse, Yang Yongliang is exemplary in the saturation of established

R A SURI

Yang Yongliang Fields of Impermanence

R A SURI 16

In an analysis of the conceptual photographic practice of Yang Yongliang two central aspects concur: one, of the transformation of traditional aesthetics and that of the preconceptions of beauty indigenous to the formal compositions inherent in Chinese landscape paintings and the second, the fusion of photographic content with a pronounced stylization wherein architectural landscapes merge with natural horizons. The emergence of this artist, now at the fore of the milieu of contemporary artistic practice, was heralded with the Phantom Landscape series, a first attempt by Yang Yongliang to depict the internal and external manifestations of destruction of cultural mores along with the actual, physical catastrophe of contemporary urban renewal: sources of conflict which proved traumatic and which led to the creative impulse to extemporalize the experience in a photographic articulation. The selection of medium was at first a venture into the unknown for the artist whose traditional education in Chinese painting and immersion in Oriental philosophy failed to satisfy the demands of expression called for with the immediacy of the cathartic barrage of information, whether actual, sensual or visceral. The subsequent result was an experiment which the artist initially attached little importance to, yet, denoted an emergent phase which would continue as a predominant strain in his creative trajectory as well as philosophical disillusion. Yang Yongliang intuited the dangers of a commercialized symbolism and evaded cynical realism and post-pop iconography in a conscientious manner, seeking to return to the aesthetic sanctuary which initially instigated a repulsion within the artist due to its’ formal constraints and the banal adherence of an elder generation whom sought to preserve tradition for its’

Yang Yongliang Fields of Impermanence

R A SURI

After the rational return, more and more works with cultural foundation sprung up. I think this is an inevitable process, and will also be a significant issue afterwards. Globalization trend is an objective rule, it is inevitable. What doubtable is if the current philosophy to unite the whole world is perfect or say flawless. Globalization have brought us simple fast life, comfortable” artificial environment”, and shortened the distance of time and space. Given this, our ancient national philosophy even gives in without a fight with powerful western philosophy. Nevertheless I persist that protection of traditional culture is crucial and exceedingly important. Global cultures staying on the edge of stagnancy, our environment becoming increasingly poor, all of these negative impacts were brought exactly by the globalization. Is that just like Boudrillard said in his book “The Perfect Crime” that humankind is turning the key towards selfdestruction? Is the ancient philosophy the last hope to rescue humankind once we face huge fatal disaster and our current dominant philosophy being totally helpless?” - Yang Yongliang

emergence of new cultural developments. Within the visual contrasts apparent in his works, the coherency remains in the fusion of elements rather than dissection of forms attributed to sources of origin; the photographic act necessitates a technical ascendance beyond the parametres of linguistic, philosophical or speculations of a spiritual import. Yang Yongliangs’ persistence in an introspective faculty of intuiting and the conscious deliberations in artistic and material processes raises truths which might otherwise remain submerged in the passage of time. Similar to the silt and debris of a river born of immensely powerful currents, the artistry of Yang acts as an attestment to the importance of the tributary source, of what is at once forgotten and remembered in the instance of capturing a fossile of light. The compositional absolute pales in the artistic advent of an expression which echoes non-permanence. Canadian born Rajath Suri is an autodidact artist/curator/critic/poet and writer. He began as a freelance journalist in 1987 followed by independent investigations and research in sociopolitical experiments in film and theatre. Currently based in China he works with emergent artists.

His perceptive regard towards the imminent and the actual have enacted an aesthetic (or, anti-aesthetic) discourse which returns to an art of subversion; subversive in the interplay between medium (digital/paint/photography) and interpretations of their applications in the unconscious minds intercourse with adept technical advent. Citing change as a principle in life which surpasses the importance of stasis (compositional/ spatial) Yang Yongliang achieves a pan-dimensional fracture of formal and traditional aesthetics in photography. His artistic trajectory illustrates the absurdity of a non-ubiquitous definition of photographic aesthetics and theoretical interpretation. Ascribed values of photographic art are subjugated to a process of creation which reveals an errant dichotomy wherein philosophical aesthetics of photography and an original aesthetic theory of photographic art is possibly distinctive. Subversion in the climate of economic, social and societal conflict resounds with the truths of syncretism and the

Reconstructing Images Critique on Reality Beyond Historical Dimension Interpretation of Yang Yongliangâ&#x20AC;&#x2122;s Photographic Art

NI WEIHUA

Mikala: After this training in traditional Chinese art and studies in graphic design and Western art how did you begin to blend these concepts together? Was there a process or did it just naturally develop?

Yang: Ever since I started engaging in artistic creation, I always felt I was destined to do so, driven by some invisible force coming from external environment as well as from my heart. Different experiences, identities and knowledge structures have helped me to achieve the expressive form of my works. Yes, as you just said, that is indeed a natural development.

In Conversation An interview with Yang Yongliang

Mikala: I think that the fact that you live in Shanghai must have influenced so much of your work. From the muddy swamp of Pudong has emerged this futuristic landscape within a decade. You witnessed this construction and reimagining of Shanghai as it changed before your eyes. This lived experience of a changing landscape appears in your works with cranes and rubbish refuge depicted throughout the images – do you feel that your works respond to this experience of changing Shanghai?

Yang: Shanghai, a special and peculiar city, has been undergoing drastic change at an unprecedented rate, it goes without saying that it would bring along negative impacts. It is hard for me to comment on it objectively. Some people might think my works are non-realistic, in fact, all the images I shoot are real, they are merged together in my works, and indeed are very objective. You can perceive what has happened in your own life through my works. Shanghai’s change is the origin of my creation. When I just started, I needed to collect lots of materials, the deeper I carried out shooting, I found the less the city was appreciated, some forgotten corners even appeared right in front of my eyes. That experience leads me to contemplate about important issues on the city such as imbalance of social development, huge economic differences, loss of culture and environmental pollution, etc., which I would like to reflect in my works. Some of them are common to all cities in the world. It is only because in Shanghai they take place so fast that they look particularly prominent. That’s why I avoid strong symbols of Shanghai to be shown in my works. Behind the camera I become an objective eye, can see clearly details nobody ever notice before.

Mikala: This process of close objective photography has no doubt allowed you to become aware of subtleties of Shanghai that the regular Shanghainese residents may not normally observe. You touch on the idea of the city’s social development

and, from the perspective of a social documenter, what direction do you see Shanghai heading towards?

Yang: Exactly. Maybe the place you are most familiar with is indeed the strangest place to you. When one lives in a city and becomes accustomed to its changes and development, he gets used to it eventually. “Habit” is something worrisome, once one gets used to something, he doesn’t think about it anymore. In a sense, habit means seeing things as if they are logical and reasonable. Little by little, one loses the ability to think. I went through a confusing stage when started as an artist, I asked myself what exactly is it or is there anything valuable that I could express for this city? I found that I couldn’t evade that question, I needed to keep on thinking. I tried to detach myself and looked at the once familiar surrounding objectively, gradually I found that I never really understood this city, perhaps only “habit” could explain it. I really can’t measure which direction Shanghai will be going, one thing I can be sure is that the damages brought about by over-development to the environment, history, culture and human values would be irreparable. That is not a problem to Shanghai alone but to the entire world.

Mikala: I think your work addresses these concerns. Where once traditional Chinese landscapes were filled with depictions of mountains and streams you depict the modern reality of buildings, powerlines and freeways. But before these works you took numerous series of still photography - do you still work with still photographs?

Yang: Yes, I don’t think I’ll stop. However, what medium to use is not a problem to me, what really matters is what to express and how. I don’t rule out the possibility of using other media to realize my ideas. So far, photography is still my major creative means.

Yang Yongliang: I’ve been studying the meaning of Chinese traditional art and culture in contemporary society in the past few years. Though being historical, it doesn’t mean that they are not modern whatsoever, on the contrary, when we look back, we find they are hugely significant to the modern society, which is the thought that my works reflect. When I was little, I had trainings on calligraphy, paintings, seal cutting and even picture mounting, my father’s background in Chinese medicine also has great influence on me. Digital photography is a very fashionable product of modern culture, it is simple and handy, can express my thought directly, that’s why I choose it as my major creative means.

MIKALA TAI

In Conversation An interview with Yang Yongliang

MIKALA TAI

Mikala Tai: In the last few years your work has begun to appear all over the international art stage. From Paris to Melbourne your crafted blend of traditional techniques and contemporary landscapes have mesmerized people. It is a rare quality in contemporary Chinese art as, for the most part, most Chinese artists are squarely focused on the new and the future while your work is inherently contemporary but grounded in tradition. Can you tell us a little about your training in traditional Chinese art and then how you came to use photography as your main medium?

Yang: In the future I’ll include video as my creative means. On one hand, video and photography share considerable similarities, on the other hand, video is photography added by the concept of time, this added attribute allows more possibilities and expressiveness in my works. I believe it will be the major means and direction of art in the future. To create works by combining traits of traditional Chinese landscape paintings with images is like bringing skills thousands of years apart together, it makes me very excited just think of it.

Mikala: I would like to believe in the future embodied in the works of On the Quiet Water. But the future is becoming something that is appearing more frequently in contemporary Chinese art. The new generation doesn’t seem to be as concerned with reframing and reflecting on China’s past and instead is looking ahead. As part of this new generation why do you think this has occurred?

Yang: A new generation of Chinese artists are standing at the turning point of tremendous social and environmental changes, and the culture is in the midst of fault zone between the east and the west, since most people are not able to return and have lost their sense of belonging, they can’t but turn towards the future.

Mikala: As part of this new generation of artists you also travel quite a bit – but always return home. Have your experiences in other countries influenced your works and how you work?

Yang: Yes, I’ve been to a few places. I visited Germany, France, Italy and Greece countries with a long history like China, I also went to the United States which is a relatively young and modern nation. From these trips I gradually string together the thread of entire western history of art, I saw the culture of my own country in other cultures, and I was able to look at the differences between east and west from a spectator’s point of view. It has been a great learning experience for my current research by looking at western art history that way. I also felt deeply sorry for, during these trips, our country for having done an awful job on preserving history and culture. A country carrying a long civilization and is full of traces of history shall have been replaced by a new, soulless kingdom which is littered with concrete cement! I can’t help mentioning this: I was born in a historical town called Jiading, in the town there was an ancient pagoda whose history could be traced back to Song dynasty, it looked like a dream to me. Along with the gradual modernization of the town, little changes ensued, one day the old pagoda was replaced all of a sudden by a brand-new tower with white paint, and the surrounding streets were also gone, replaced by new streets with archaistic decorations. History became nil in a split second, what was left was pompous ornaments with ancient replication, this kind of stupid restoration really makes my heart ache.

Mikala: I can’t even imagine what it would be like to witness something so familiar becoming instantly unfamiliar. This fast change and the loss of tangible elements of China’s past and culture have been widespread with even the quietest towns touched by nonsensical modernisation. Do you think this is slowing down? Do you feel that there are starting to be some attempt to preserve aspects of China’s tangible culture or is it all being bulldozed away?

Yang: I believe this change is becoming even more fierce and faster. As you know, Shanghai World Expo will be held soon, owing to this upcoming event, Jiangnan Shipyard, which had a long history in Shanghai, was torn down. Therefore, I am not optimistic about it. There are very few people care about those issues in China where economy develops so fast.

Mikala: Your work really highlights this issue of urbanisation and destruction and I think encourages a type of nostalgia for tradition and older culture. Art has the power to create both awareness and change and you have incorporated numerous issues into your work such as the Global Financial Crisis and McDonalidisation. How have people responded to your comments on these issues?

Yang: I do not wish people to have to interpret my works through large segments of text, so I use language that is simple and easy to understand, which doesn’t necessarily mean it cannot be profound. Therefore there are different dimensions in my works, this way my works become more solid, allow more audience to accept them. I cannot control how people would respond, also, it is not necessary for the audience to try to understand every layer of meaning of my works. However, according to my understanding, a good work of art shall be able to mobilize emotion and experiences in the audience themselves, which would inspire and wake them. Art shall never be used as a dogmatic tool. Translated by Fang Liu

In Conversation An interview with Yang Yongliang

MIKALA TAI

Mikala: Of course, like many artists, you have kept searching until the perfect medium to highlight your central concepts emerges. Last year you showed me a little video clip you have worked on, do you think you’ll be pursuing this further?

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Gyeonggido Museum of Modern Art, Ansan, Korea

Created as part of Art Now 2007, Danwon Arts Festival â&#x20AC;&#x201C; Contemporary Art Festival

Cigarette Ash Landscape 2007 Mixed media installation

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BIOGRAPHY

YANG YONGLIANG

2007 Art Now 2007, Danwon Arts Festival-Contemporary Art Festival, Gyeonggido

Education »»

Museum of Modern Art, Ansan, Korea Pingyao International Photography Festival, Pingyao, China

2003 Shanghai Institute of Design (Visual Communications), China Academy of Art,

Celebrating, Epson Imaging Gallery, Shanghai, Beijing, China

Shanghai, China

Studied Chinese traditional painting and calligraphy from youth under

JIADING,

Professor Yang Yang of Hong Kong Chinese University

LIVES SHANGHAI,

Break Loose Design and Art Exhibition, High Noon Art Space, Shanghai, China

China

1980,

SHANGHAI,

2006 Wang Tong, Yang Yongliang Photography Exhibition, OFOTO Gallery, Shanghai, China

1999 Shanghai Arts & Crafts Vocational College (Visual Communications) Shanghai,

BORN

Selected Solo Exhibitions »»

CHINA

Selected Collections »»

The British Museum, London, UK Bates College Museum of ART, Maine, USA Samuel P. Harn Museum of Art Gainesville, FL, USA

2010 Yang Yongliang, MiFA, Melbourne, Australia Views from China: Yang Yongliang and The Modern Metropolis, Nevada Museum of

Jordan Schnitzer Museum of Art University of Oregon, Portland, USA

Art, Nevada, USA

Ulrich Museum of Art Wichita State University, Wichita, USA

2009 Yang Yongliang Photographic Works Solo Exhibition, LIMN Art Gallery, San Francisco, USA On the Quiet Water, 45 Downstairs Gallery/Chinese Contemporary Art Consultants, Melbourne, Australia

Selected Publications »»

2007 Phantom Landscape, OFOTO Gallery, Shanghai 2007 On the Quiet Water/ Heavenly City, OFOTO Gallery, Shanghai

City of Phantom Visions, OFOTO Gallery, Shanghai, China 2008 Artificial Nature, MOCA ARTLAB, Shanghai, China Heavenly City & On the Quiet Water, OFOTO Gallery, Shanghai, China Collision Part II - TU LONG JI: Installation by Yang Yongliang, FQ Projects, Shanghai, China 2007 2007 Phantom Landscape Series 2&3, OFOTO Gallery, Shanghai, China 2006 2006 Phantom Landscape Series I, OFOTO Gallery, Shanghai, China

Selected Group Exhibitions »»

2010 Asia Now, MiFA, Melbourne, Australia 2009 Seoul International Photography Festival, Seoul, Korea Drama/Stage, Urban Photography in Shanghai, Liu Haisu Art Museum, Shanghai, China Stairway to Heaven: From Chinese Streets to Monuments and Skyscrapers, H&R Block Artspace Project Wall, Kansas City Art Institute, H&R Block, Artspace, Kansas City, Missouri, USA New Chinese Architecture, Institute Cervantes, Beijing, China New Chinese Architecture, Spanish Consulate General, Shanghai, China Heavenly City, Photo Beijing, The Agricultural Exhibition Center of China, Beijing, China 2nd Thessaloniki Biennale, Thessaloniki, Greece 40th Anniversary of the Rencontres d’Arles, Award for Discovery, Arles, France 2008 Two Points, 2008 Chinese Contemporary Art, Palazzo Frisacco, Tolmezzo, Italy Stairway to Heaven: From Chinese Streets to Monuments and Skyscrapers, Bates College Museum of Art, Maine, USA Material Link A Dialogue Between Greek and Chinese Artists, MOCA, ShanghaiAthens, Greece Contemporary Chinese Art, LIMN Gallery, AQUA Art Miami, Miami, USA

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Mixed Maze, Red Mansion Foundation, London, UK

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www.mifa.com.au

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