...at The Moore Space, along with a series of videos by Chinese artist Yang
Fudong also shown at the Venice Bienniale, is one of several on view in
open-to-the-public venues founded by South Florida private collectors.
The film and videos by Chinese artist Yang Fudong, featured in a
selection curated here by Hans Ulrich Obrist, also have a Janus-faced
air,looking to the past and present. But the past intrudes much more
forcefully in Fudong's art, evoking a culture in painful transition. His
meditations on China's urban and quasi-capitalist present are wrought with
painterly landscapes revisited with mist-gray nostalgia, abrupt sex, leering
surveillance cameras and memories of Mao Zedong's destructive Cultural
Revolution (rape is more like it) in the 1960s.
Fudong's art moves slowly, often adapting, the artist suggests, the
black-and-white awkwardness common to 1930s Chinese movies. His images have
the disjointed quality of partly remembered dreams.
Liu Lan combines a sad loveliness with acerbic props. In this film, a young
man and woman exchange soulful gazes as they boat among a reedy lake,a
delicate setting that resembles Chinese screen paintings. The couple wear
dress that seems a calculated mix of traditional Chinese style and the
affected trappings of Western beauties and dandies; the woman even wears a
veiled, broad-brimmed hat Katherine Hepburn would have found convenient in
The African Queen. But the couple's air of soulful loss is, the artist seems
to say, enervating.
While the Moore Space could do much more in the way of educational
materials to illuminate these exhibits, these solo shows for Fudong and
Lambie offer an impressive resource to contemporary art lovers.