Yang Shaobin

Yang Shaobin: X-Blind Spot

2008.09.4 – 10.18

Long March Space, Beijing

 

Yang Shaobin: X-Blind Spot

Long March Capital III: Visual Economy

Chen Jie, Chen Qiulin, Guo Fengyi, Hong Hao, Jiang Jie, Lin Tianmiao, Liu Wei, Ma Han, Mu Chen and Shao Yinong, Qin Ga, Qiu Zhijie, Shi Qing, Wang Gongxin, Xiao Lu, Xiao Xiong, Xu Zhen, Yu Hong, Yang Shaobin, Yang Zhenzhong, Zhu Yu, Zhan Wang, Zhang Hui, Zhou Xiaohu
2008.5.17 – 8.25
Long March Space, Beijing

 

Long March Capital III: Visual Economy

Long March Project: Yang Shaobin: 800 Meters Under

2006.9.2 – 10.15

Long March Space, Beijing

 

Long March Project: Yang Shaobin: 800 Meters Under

Long March Project: Building Code Violations

Anonymous Artist, Guo Fengyi, Hu Xiangcheng, Lu Jie, Qiu Zhijie, Wang Gongxin, Xu Zhen, Yang Shaobin, Zhao Gang, Zheng Guogu, Zhou Xiaohu

2006.4.8 – 5.16

Long March Space, Beijing

 

Long March Project: Building Code Violations
 

Screen Test: Chinese Video Art Since 1980s

Chen Chieh-jen, Wang Jianwei, Xu Zhen, Zhou Xiaohu

2016.7.2 – 8.28

CAFA Art Museum, Beijing, China

Screen Test: Chinese Video Art Since 1980s

Audacious: Contemporary Artists Speak Out

Yang Shaobin
2016.2.21 – 2017.2.26
Denver Art Museum, Denver, USA

Audacious: Contemporary Artists Speak Out

Fragmentary Narratives

Yang Shaobin

2016.1.18 – 3.6

Stanford Art Gallery, California, USA

Fragmentary Narratives

China 8 – Contemporary Art From China at Rhine & Ruhr

Yang Shaobin, Yu hong, Zhan Wang
2015.5.15-9.13
Rhine & Ruhr, Germany

China 8 - Contemporary Art From China at Rhine & Ruhr

The Power of the Public Realm

Chen Chieh-jen, Hu Xiangqian, Liu Wei, Wang Jianwei, Yang Shaobin
2014.6.25 – 10.10
Beijing Minsheng Art Museum, Beijing, China

The Power of the Public Realm

Re-View —Opening Exhibition of Long Museum West Bund

Liu Wei, Yang Shaobin

2014.3.29 – 8.31

Long Museum, West Bund, Shanghai, China

Re-View —Opening Exhibition of Long Museum West Bund

Blue Room: Yang Shaobin

Yang Shaobin

2013.6.22 – 9.22

ARKEN Museum for  Moderne Kunst, Copenhagen, Denmark

Blue Room: Yang Shaobin

Sharjah Biennial: Re:emerge, Towards a New Cultural Cartography

Hu Xiangqian, Liu Wei, Wang Jianwei, Yang Shaobin, Zhang Hui
2013.3.13 – 5.13
Sharjah Biennial, Sharjah, UAE

Sharjah Biennial: Re:emerge, Towards a New Cultural Cartography
 

Blue Room(Yang Shaobin)

2013.9.17_Copenhagen art week

The Blue Room by YANG Shaobin at the ARKWN Museum of Modern Art in Danemark

2013.9.17_artmediaagency

杨少斌蓝屋在丹麦

2013.09_艺术财经_by 北皓

杨少斌 套锁下的蓝色搏击

2013.08_TARGET商品评介_by 北皓

杨少斌 占领华尔街

2012.09_艺术财经

 

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“I am constructing a sort of borderless ideal, this type of ideal is an complementary relation”

–Yang Shaobin

 

Yang Shaobin (b. 1963), Tangshan, Hebei Province rose to initial prominence in the late 1990s with a series of oil paintings that powerfully spoke an emotional honesty in the portrayal of a troubled soul through a distorted body. These monochromatic oil portraits silently scream in tortured anguish and frustration – reminders of bloody war, revolution, and of agonizing restraints imposed on the individual by contemporary society.

 

The fundamental anchor to Yang Shaobin’s practice has been his awareness of a social consciousness. Early explorations engage with the corporeal experience of the individual in society and collective memory. Later work often enters into the political realm, where familiar faces of Western, Soviet and Middle Eastern leaders haunt the surface of canvases, and scenes from media reports are interspersed with Yang’s violent abstractions. In recent years he has turned his attention back to his roots. Born to a coal-mining family, Yang Shaobin is highly concerned with the state of the coal-mining industry in China. His work, in collaboration with the Long March Project, delves into the underground world of exploitation, labor conditions and the physical repercussions suffered by the coalmining community. Through a diverse range of media including oil painting, video and installation, Yang Shaobin shares his personal encounter with the viewer, revealing the juxtaposition of hardship and happiness, despondency and courage in the lives of these coal miners.

 

From “Blue Room” (2010), monochromatic blue tone started dominating Yang’s canvases: portraits of world leaders, policy makers and players are juxtaposed with the innocent victims of ecological disaster, signifying the powerlessness of human condition and the violence of the reality we live in. From 2013-2014, Yang completed an epic series of six large paintings, “I am my tool – Wall Street”, powerfully visualizing passages of a tumultuous confrontation. Men with helmets haunt the surface of the canvases; scenes from the Occupied Wall Street movement are interspersed with Yang’s perceptible abstractions and modifications.

 

 

 

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