Yang Fudong
A fan of the abstract and fragmented storyline, he tends to create sequences that are long and suspended, with the use of black-and-white as a constant.
[2] Yang's work has a nostalgic feel that incorporates the lyrical harmony of traditional handscrolls with the expressiveness of new wave cinema that is reminiscent of Jim Jarmusch, someone he admires.
[3] [4][5] [6] Yang Fudong's most popular works include: Seven Intellectuals in a Bamboo Forrest,[7] The Fifth Night, the 17th Biennale of Sydney, East of Que Village, An Estranged Paradise, Backyard- Hey!
His work has been exhibited in China through avant-garde exhibitions in the late 1990s and has been consequently shown in many countries including solo presentations in Parasol Unit, London (2011); National Museum of Contemporary Art, Athens (2010); Asia Society, New York (2009); Kunsthalle Wien, Vienna (2005); Castello di Rivoli, Torino (2005); and the Renaissance Society, Chicago (2004).
In 2013, Kunsthalle Zurich and Berkeley Art Museum & Pacific Film Archive co-organized his first retrospective exhibition.
Recent exhibitions include Yang Fudong at the Wolverhampton Art Gallery, UK; Moving Mountains, OCAT Xi'an, China (both 2017) and Filmscapes, at ACMI, Melbourne (Australian Centre for the Moving Image) which traveled to the Auckland Art Gallery Toi o Tamaki, New Zealand (2015-2016).
It shows a wild pack of dogs looking to scavenge in a small northern Chinese town on the outskirts of Beijing.
Yang Fudong shows a strong question of whether or not the contemporary movement in China is helping the country or making them weaker.
In this film, Yang describes the troubles and difficulties for young people face growing up in a world heading towards modernism.
No Snow on the Broken Bridge shows the experiences and emotions that Yang Fudong feels towards this movement and it portrays how his generation fells.
Yang Fudong shows the isolation and alienation young intellectuals feel is today's society.
Yang Fudong presented the piece extraordinarily and furthered his reputation as one of the greatest Chinese filmmakers and creative artists.
The seven intellectuals indulged in many things including; feasting on dried fish, drinking, and sexual activities.
Yang Fudong does not contaminate his film with subjects or vents that only one generation can understand; instead, he leaves most of it open to interpretation to each individual person.
Silence is an important part of his work, inspired by an Eastern tradition where meaning cannot be spoken but is understood by the heart.
The films bring together the old and the new, ancient wisdom and landscapes, and the idea of the collective with the more rootless and doubting approach of the urban individual.
Yang Fudong shows a sensitive and responsive approach in his work; his films touch upon questions around identity connected to history and heritage and the existential challenges of contemporary life.
His grand, slow and poetic cinematic language counters the natural scenery on the Arctic island in an extraordinary way.
