Photography

所有作品均选自于《浪漫之旅》系列（2016），如需完整作品集，可联系艺术家或AIKE画廊

All photograph works shown here are selected from “Blue Window, Two Roses” series (2016). To request a complete portfolio, please contact the artist or AIKE Gallery

 

沉船的消失（2016-2017）

Disappearance of the Shipwreck (2016-2017)

项目的最终阶段“沉船的消失”（2016-2017）包含一件名为《沉船的残余》的装置作品，一份我与原建筑的设计者安东先生的对谈记录，以及一段拍摄于2018年的16毫米黑白胶片影像《在沉船上：我还记得 / 在我忘记之前》。

The last part of the project, “Disappearance of the Shipwreck” (2016-2017), includes an installation piece called Remains of The Shipwreck, a video documentation of my conversations with the architect Antonio Ochoa, who designed the original office building, and a film shot with 16mm b&w titled “On the Shipwreck: I still remember / before I forget”.

 

接近尾声（2015-2016）

Towards Epilogue（2015-2016）

“缓缓接近尾声”断断续续地纪录了2015-2016期间建筑的改变。在2016年底，“沉船”被拆除，一家餐馆坐落于此并于2个月之内完成了装修并开张。

“Towards Epilogue” includes documentations of changes that happened to the architecture throughout 2015-2016. By the end of 2016 “The Shipwreck” was fully demolished and a restaurant was built from scratch on the site; it was decorated and opened to the public within two months.

 

586路公交车（2014-2016）

Bus route 586 (2014-2016)

“586路公交车”是我前往“沉船”的主要交通工具，该路线全程位于北京的东北五环外的城乡结合部区域。项目的第三阶段包含了一件录像作品与一组摄影，记录了沿途周遭的景象在2014-2016年期间发生的改变。 

Bus route 586 was the main transportation I used for going to “The Shipwreck”; the journey shuttled through the rural-urban fringe zone out of the northeast fifth ring road of Beijing. The third part of the project consists of a video piece and a group of photographs that document changes that happened to the surroundings of the bus route throughout 2014-2016. 

 

对话（2013-2014）

Conversation (2013-2014)

在第二阶段“对话”中，我邀请了7组客人来到这个特殊的空间喝酒聊天。我们对话的出发点通常围绕该建筑展开，并延伸至各自在城市变迁中不同的体验。同时，两位音乐人也在此对特定的声音采样作出回应，并在现场进行了一次即兴演出。

In the second part of the project, “Conversation” (2013-2014), I invited seven groups of guests to the location for a drink and chat. Our conversations usually began with topics related to the architecture, and later expanded to cover experiences related to city changes in general. Aside from the conversations, two musicians made a musical work from sound samples, improvising a performance on site.

 

抵达（2013）

Arrival (2013)

 “抵达”是一系列纪录了我在“沉船”最初阶段的“工作日志”：在一个多月的时间里，我开始每周定期到此“工作”：打扫、观察周遭、与在附近活动的人展开对话，试图将建筑曾作为办公室的功能再次激活。

 

“Arrival” (2013) consists of a series of “work journal” entries that document the activities that happened on “The Shipwreck” in the early stage after my arrival. During the first month I visited “The Shipwreck” on a regular basis and performed a series of “jobs” include cleaning the space, collecting found objects, observing the area and having conversations with people around the area – through these activities I attempted to gradually reactivate the building’s previous function as an office space.

 

在现在过去时中将影子追述

Tracing (Chasing) Shadows within the Present Past

《在现在过去时中将影子追述》

2013，行为，录像装置（7寸平板显示屏，木框，投影仪，白纸，铅笔，摄像机，铅笔画），尺寸可变

 

作品分为两个部分，第一部分是处于空间外的录像，第二部分是在空间内的混合媒介装置。

观众首先会看到一件装在画框中的录像，录像内容记录的是一张宝利来照片的显影过程，而照片所拍摄的内容是世界上现今最老的创作于40800年前的岩洞壁画。在6分钟的时长中，空白底片上的岩洞壁画逐渐显现又逐渐消失，周而复始。

然后观众将进入作品的第二部分 —— 录像作品背后的房间。在让眼睛逐渐适应房间中的黑暗后，观众会看见在艺术家站在房间的尽头的白纸/荧幕前，而荧幕上投射的是此情此景的无限镜像，这既是房间另一端的投影仪所投射的画面，也是摄像机正在记录的画面。艺术家手持铅笔，试图将自身投射在纸上的运动轨迹留下印记 —— 一个无止尽的，并且不可能完成的行为。在房间的左右两侧的墙壁上贴满了大大小小的铅笔画，所有的绘画都是重复同样行为所留下的产物，而每一次的结果却不尽相同。在每一张绘画的下脚都记录着每次表演（录像过程）的时长，从几分钟到数个小时。

 

「Tracing (Chasing) Shadows within the Present Past」

2013, performance, video installation (7-inch monitor, wooden frame, projector, paper, pencils, video camera, drawings), dimensions variable

 

The work is divided into two parts, the video piece on the wall outside and the installation in the darkened space inside. 

In the first part on the outside space, the viewer will encounter a framed video screen that looks like a still image – a polaroid image of the oldest cave painting from 40800 years ago. During the duration of 6 minutes, the viewer would witness the development of the Polaroid image, appearing then disappearing, repeating endlessly. 

Then the viewer will enter the darkened space behind the framed picture, which is the second part of the installation. After certain amount of time of letting the eyes adjust to the darkness, the viewer will see the artist standing in front of a white paper at the end of the room, using a pencil tracing her own shadow within the endless reflection created by the projector and the camera. On the left and right hand sides of the room are drawings in different sizes, scattered on the wall. All of these drawings were created by the artist’s repetition of the same process, however in different spaces and under different psychological states. At the bottom of each piece states the duration of every performance, which varies from few minutes to almost an hour.

Installations

杨圆圆，《窗之螺旋》（选自“在视线交错之处”系列） 2016, 360cm*360cm*135cm, 29条尺寸不等的数字印花雪纺，铝条，窗帘轨道

 

Luka Yuanyuan Yang, 「Spiral of Windows」 (from series At the Place of Crossed Sights) 2016, 360cm*360cm*135cm，29 digital prints on chiffon in various sizes, aluminium, curtain rails 

Installations

杨圆圆《一扇门的12次时间》 2019，环形灯箱，单向玻璃膜，亚克力 

Luka Yuanyuan Yang, 12 Times of a Door 2019, ringshaped light box, unidirectional glass film, acrylic 

 

杨圆圆，《作家的梦：空中楼阁》，2019，绢面数字微喷，亚克力条，100*272cm

Luka Yuanyuan Yang, A Writer’s Dream: Castle in the Air, 2019, digital print on satin, acrylic bar, 100*272cm 

 

杨圆圆，《作家的梦：返乡之旅》，2019，绢面数字微喷，亚克力条，100*272cm 

Luka Yuanyuan Yang, A Writer’s Dream: Homecoming trip 2019, digital print on satin, acrylic bar, 100*272cm