《浪漫之旅》，2016

混合媒介装置（数字微喷摄影，数字微喷墙纸，数字微喷透明胶片，广告架，广告版，照相机器，绿色幕布，相机，打印机，屏幕），2016年

“绿幕照相馆”是过去十余年内在中国涌现出的一种新型创业模式，一块绿色的背景布与一台装有内置镜头的机器构成商铺的主体。消费者可以选择上万种风格各异的背景图像：从各地名胜到明星写真，从卡通背景到到高端小区的3D制图，面对着荧幕上虚拟的理想之地，获得一张“到此一游”的照片。

其中，国际知名景区与一切具有“欧式风情”的画面是最受欢迎的背景选择；而在现实生活中，同类景观在过去十余年内亦在中国大陆变得普遍。两类“人为构建的现实”(constructed realities) 映照出当下国人普遍向往的一种理想生活，就如同我们渐渐趋同化的城市景观，这种“理想生活”的愿景也变得越来越相似，它们华美而虚幻，在巨大的气泡中的闪着金光。

「Blue Window, Two Roses」, 2016

mixed media installation (digital print on photo paper, digital print on wall paper, digital print on transparent film, advertisement board,  advertisement stand, photo machine, green canvas backdrop, camera, digital printer, mini-iPad) , 2016

“Green screen photo studio” is a new business mode that appeared in China during the past 10 years. The store simply consists of a green background and a machine with inserted camera. The costumers could choose their preferred backgrounds from more than ten thousands images – from worldwide tourist sites to celebrity portraits, from cartoon characters to 3D effect images of luxury residential areas. Facing their illusionary ideal places on the screen, the costumers happily stand and pose in front of a green screen, and receive a photo showing that they “have been” there.

Among all the background images, those of world famous tourist sites and of European styles are the most popular choices. Whereas in reality, this same type of landscape has also became common scenes all over Mainland China in the past ten years. Both the virtual backgrounds from the “Green screen photo studio” and the real buildings in our real world – these two types of “constructed realities” both reflect an ideal lifestyle of this era that generally yearned for by most people with different backgrounds. They are resplendent yet unreal, shining like gold in giant bubbles.

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《在沉船上》

2013-2017，混合媒介

《在沉船上》起始于我在2013年底于京郊一处废弃办公室展开的一系列行为，该长期项目在2017年以建筑的拆除划上句号。项目被划分为 “抵达”（2013）、”对话”（2013-2014）、”586路公交车”（2014-2016）、“接近尾声”（2015-2016）、“沉船的消失” （2016-2017）五个阶段，通过融合摄影、录像、文字的文献形式，意图探讨个体与城市空间之间多元而复杂的关系。

「On The Shipwreck」

2013-2017, mixed media

On The Shipwreck began in November 2013 with a series of performances conducted at an abandoned office building located on the outskirts of Beijing; the project finished in 2017 after the destruction of the building. The project is divided into five parts: Arrival (2013), Conversation (2013-2014), Bus Route 586 (2014-2016), Towards Epilogue (2015-2016) and Disappearance of the Shipwreck (2016-2017). The project is presented as a mixed-media archive that includes photography, video and text. The central idea is to explore the complex relationship between the individual and the city surroundings within the current dynamic social environment.

《几近抵达，几近具体，重庆》（系列）, 2014-2015

数字微喷摄影、旧相册，档案，混合材料 

在初到重庆之前，我在网上卖到一本60年代的重庆老相册，这本相册是某电信公司的内部档案，对其在重庆的办公大院、以及员工宿舍进行了归档。相册共包含了近三百张照片，所有照片的主体都是建筑。档案的整理者在几乎每张照片下面，都标注了相应的街名与街号。这本整理于50年前的相册自此成为了我在重庆的步行索引。我以照片下标注的街号作为线索，试图重访这些旧照的拍摄地点。很快我便意识到，这是一项不可能完成的搜寻——很多街道名称已经发生改变，而几乎所有照片上的建筑，都已消失不见。然而我依旧前往了相册上所标注的目前依旧可以找到的26条街道，寻找相应的街号，并在周遭区域展开拍摄。与此同时，我的拍摄地点还包括其他两种类型的区域：第一类是在近代对重庆的建设起到重要作用，然而当下已经衰败或已成废墟的三座工厂——二钢厂、九龙电厂、江渝船厂；第二类是几座正在核心地段处于建设中的楼盘工地。

我的意图并非是以一种类型学的方式将过去与当下的图像进行对照，而是通过将拍摄于两个年代、出现在不同媒介电视（不同年代的报纸广告）、以及处于不同形态下（建设工地与废墟）的建筑进行并置，并在其中穿插着与建筑相关 的人物的图像（肖像、调查文字以及档案资料），以此构建出一系列能够彼此发生对话与关联的图像。我希望这些图像之间可能发生的多重关系可以织成一张无形的网络，如同一个万花筒的切面，或许能够映射出这座城市当下并始终处于改变中的构成。 

「Nearly There, Nearly Concrete, Chongqing」(series), 2014-2015

digital prints, old photo album, archive, mixed media

Before a visit to Chongqing in 2014, Yang purchased an old photo archive that documented buildings belonging to a Chongqing-based telecommunications company in the 1960s (Cultural Revolution was from 1966 to 1976). Returning to Chongqing some 50 years later, Yang attempted to locate the buildings depicted in the photo album. While a marginal few still remained, most had been bulldozed to accommodate visions of modernity. Some of the streets with antiquated names, such as “Anti-Feudal Street” had vanished after 80s. Their stories are now just a figment of its historical narrative. For those addresses that were still locatable, Yang juxtaposes photographs of the current buildings with those from the past, strengthening its historicity and continuity of the metropolis’ story. The work leads itself to its second chapter when Yang encountered an old factory while searching for one street during the process, the second chapter is focus on two other types of locations: factories that played an important role in Chongqing’s recent development, but are currently abandoned or in disrepair; and large construction sites in the city center. Further, she juxtaposes portraits of workers that possibly belonging to the construction teams who built some of the historical buildings with the workers met upon her recent excavation of these regions, ultimately weaving a narrative that transcends a temporal-scape. 

《在视线交错之处》（系列），2015-2016

数字微喷摄影、小说、多种档案、混合材料

《在视线交错之处》的故事背景为巴西南部城市阿雷格里港。以几位在不同年代曾工作生活于此或短暂停留的摄影师为核心的调研线索，艺术家展开了一系列结合真实资料与虚构叙事的创作，通过对多个角色个体经验的研究与描述，意图探索在摄影史的进程中，摄影师、照片、城市、记忆、迁徙等多个元素之间错综复杂的关系。 

作品包含两个主体部分: 一本包含数个短篇故事的小说集,以及一系列与小说文本有着互文关系的、以摄影为主体的作品。《在视线交错之处》(上篇) 由以下五个篇章构成：《一封写于1975年的信》；《T的相册》；《三个与“异域的中国” 有关的片段》；《一篇以1863年的杀人案为起点展开的写作(一个小说家对摄影的思考)》；《摄影师与陌生人》。 

「At the Place of Crossed Sights」(series), 2015-2016

digital prints, novel, archival documents, mixed media

At the Place of Crossed Sight is set in Porto Alegre, Brazil. Based on researches revolving around several photographers who had lived and worked or briefly stayed in the city, the artist created a series of works combining factual materials and fictional narrations. Through the study and depiction of the characters’ individual experiences, the project intends to explore the complex relations be- tween various elements such as photographers, photographs, cities, migration, memory within the progression of the history of photography. 

The project consists of two main parts: a novel that comprises of a collection of short stories, and a series of photographic works with intertextual relation to the novel. At the Place of Crossed Sights (Part one) consists of the following 5 chapters: 1. A Letter Written in 1975; 2. T’s Photo Album; 3.Three Fragments Related to an “Exotic China” (Excerpts from Y’s travel diary); 4. A Piece of Writing Based on a Murder Case in 1863 (A Novelist’s Thoughts on Photography); 5. Photographers and Strangers. 

《大连幻景》（系列），2017-2019

以大连近代史为背景，通过摄影、装置、影像与声音多个媒介勾勒了一场以城市为舞台背景的“七幕剧”。来自不同时代的角色穿行在港口、楼梯、广场、旅舍、街道与剧场等空间中。在大连幻景的世界里，时空与国别的边界变得模糊，观者仿佛游走在过去与现在之间的平行世界，在多个异乡人如梦幻泡影般的独白中，隐隐回荡着一个跨越百年的无解疑问——“何为故乡？”。

项目的呈现由一系列摄影作品开始，照片中来自过去的轮廓等待着被细细识别，跟随着每一个时空的罗盘到达不同地点，与隐匿其中的人群相遇，城市空间在不同历史时期中功能和属性的转变在过程中被逐一呈现。在杨圆圆构建的空间蒙太奇中，时间与空间多重交叠，在此地经过的陌生人因对于同一座城市的情感和记忆而产生命运的交织。作品里每一个来自现实的过去时刻，亦幻亦真地构成此刻的世界。踏上展厅中央舞台的楼梯，穿过层层幔帐，进入杨圆圆创造的时空剧场：生于大连的日本作家用独白拉开序幕；黎明前圆形广场逐渐显露于人物的交叉叙述中；在大连耀眼的晨光下走进经历百年传奇的大和旅馆；中午在大和旅馆的餐厅里，对立面的两个时钟放佛映照出多个时间的刹那；城市中的第一座建筑于正午十二点印入眼帘；下午在不同的街道中漫步；夜晚来临后去到连锁街的剧场常盘座；遥望着黑暗的海面，驻足在海市蜃楼般的大连港等待着下一个黎明。杨圆圆意图使观者跟随剧中的十个人物，去经历这座城市来自不同时间却又永恒轮回的一天。

Dalian Mirage(series), 2017-2019

With Dalian’s modern history as its background, Luka Yuanyuan Yang’s project Dalian Mirage is a “seven-act” play is presented in a theatre set of the city through multiple media including photography, installation, video and sound. Characters of different times are passing through distinctive urban spaces such as harbour, staircase, square, hotel, street and theatre. In the world of Dalian Mirage, the boundaries of times and nations have blurred, viewers could walk freely as if being within the parallel time and space of the past and the present. Among the fragmented monologues of various “foreigners”, there is an unfathomable question that echoes throughout hundreds of years – “what is ‘home’”? 

This exhibition is first conceived from a series of photographs. The silhouettes in these images from the past awaited for careful identification, with which we may arrive at different destinations with the compass of time, and encounter with those people hidden within them, meanwhile, the functions and properties of the various urban spaces from different historical periods surface throughout this process. In this spatial montage Yang Yuanyuan has constructed, time and space overlap in various ways, even the fate of complete strangers seem to connect as they come into it, and discover the same sentimentalities and memories they have in common of the same city. Every moment from the past, a fragment of reality, constitutes the world at this moment. Stepping on the stairs to the central stage in the exhibition space and passing through the layers of curtains, one comes into the time theatre Yang Yuanyuan mounts: it opens with the monologue of a Japanese writer born in Dalian; a round public square shot at dawn gradually emerges into the various narratives of a few characters; the images then takes the viewer into the Yamato Hotel, an establishment has weathered hundreds of years history, under the blazing morning sun in Dalian; at noon, in the dining hall of the Yamato Hotel, the two clocks at the front seem to string multiple moments into a trance; the first building of this city meets the eye at noon; in the afternoon, a stroll through various streets; with the arrival of dusk, one comes to the Tokiwaza theatre on Chain-Shop Street; looking out to the sea in darkness, one waits for dawn to arrive in the mirage at the Dalian port. Yang Yuanyuan hopes to take the viewers along with these ten characters of the play, to experience the city at different times of a day, that seem to merge into an endless cycle.