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This sudden change, experienced as a traumatic erasure of personal history, lies at the center of his work. So as to assist the humanitarian work of the Church of Jesus Christ of Latter-day Saints, together with catastrophe relief, clean water initiatives, and other humanitarian projects all over the world, Ron Puryear and his spouse Georgia donated more than $10 million. Song Dynasty shan shui paintings were expressions of Daoist and Buddhist perception within the interconnectedness between humanity and the natural world, and the mutually reciprocal relationship between yin and yang. Tiny human figures equivalent to wandering students or hermits were usually featured in Chinese paintings, representing the relationship between humanity and nature in Daoist cosmology. Hints of human rapaciousness alert us to how in another way we see the natural world right this moment – as a useful resource to be exploited. This sprawl of habitation is like a human anthill, glimpses into the lives of tens of millions of strangers, inhabitants of this megalopolis. We see fairy lights on boats, flashing screens on skyscrapers, 토토사이트 먹튀검증은 투이어스 mountains in the gap, and in the foreground, glimpses into condo windows. Gleaming towers with strangely Gothic spires stuck on high, neon flashing via smog, terrifying spaghetti junctions and abrupt dives onto off-ramps into congested streets of half-demolished houses – town seems to characterize a modernity within the process of turning into, an unrealised, shining, technicoloured future that never quite arrived, a promised future of robots, airborne automobiles and monorails.
In Glows in the Night (2020), a growth from Journey to the Dark, a 4-channel video work shown at Sullivan & Strumpf Sydney in 2018, Yang supplies audiences with an immersive expertise that recalls the (pre-pandemic) expertise of flying into an enormous city at evening, wanting down at an apparent wonderland of twinkling lights, neon indicators, and the golden ribbons of automobile headlights on highways. When Sullivan & Strumpf requested me to jot down an essay for his solo exhibition in Sydney this month, I was delighted to be back involved with Yang Yongliang. Now, residing and dealing between Shanghai and New York, he seems back to China’s creative heritage – to Song Dynasty landscape scrolls in particular – for inspiration, adapting ink painting strategies to digital platforms. I had first met the artist, who now lives and works between Shanghai and New York, in 2015 when I used to be in China researching the primary group of artists for the White Rabbit Collection Book ’99 Chinese Artists’, eventually revealed in 2019. Like different artists whose work alludes to past traditions in China, Yang struck me as an inheritor of the scholarly tradition of the literati – the highly educated elite who had handed the gruelling Imperial Examinations and labored as advisors to the court docket.
Yang Yongliang’s melancholy digital works are his response to life in this urban palimpsest: he applies new media in an adaptation of Chinese traditions of landscape painting, appropriating the shan shui (actually mountain, water) idiom to represent the contemporary world. Early Spring (2019), Yang’s adaptation of Guo Xi’s 1072 masterpiece, retains the mist-wreathed crags and claw-like trees of the Song Dynasty panorama with its hidden message of neo-Confucian universal harmony, but provides a word of warning. Drawing on these pictorial conventions, Yang’s series depicts equally vertiginous ‘mountains’ wreathed in mist rising from water, but on a more in-depth examination we see they don’t seem to be mountains at all, but unimaginable clusters of high-rise buildings. Yang’s are weighted with totally different meanings. But look a little bit nearer and also you uncover they are made up of thousands of images, seamlessly layered to reveal a really different world. Africa’s economic rise is a world-altering development, but the sources of its rising strength – and lingering weaknesses – are little understood.