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Multimedia artist discusses film project
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FOR his short film “Disguise,” Shanghai-based multimedia artist Yang Zhenzhong was honored late last month with the Premio Eramanno Casoli, a prize meant to promote the work of young artists.
Yang’s award-winning film grew out of a two-month artist-in-residence program with Elica, a manufacturer of high-end kitchen and home products. During his stint with the Italian brand, Yang staged workshops at its factory in Shengzhou, Zhejiang Province, where he filmed employees going about their jobs wearing white masks created with 3D scanning technology.
“Disguise” is on display at Elica’s Shanghai Showroom until June 9.
Born in 1968 in Hangzhou, capital city of Zhejiang Province, Yang has long used his artwork to critique Chinese society and poke fun at the era in which we live.
For a long time, he has been compared with Yang Fudong, who’s considered one of China’s most well-known cinematographers and photographers.
Since 1994, Yang Zhenzhong has worked in a variety of media, including photography, video and instillations. His work has been exhibited at major art biennials around the world, including the Venice Biennial in 2003 and 2007.
Shanghai Daily recently caught up with this talented artists to discuss his work.
Q: What is your video “Disguise” about?
A: The video shows the employees wearing masks at various stages of the production process. They express a sort of dynamic action, despite having to adhere to the rules of their respective roles within the company.
With their faces covered by masks, their movements take on a new relationship to the assembly line. During this metamorphosis though, the scene acquires the grace of a liberating dance.
Q: What inspired you to use masks in this work?
A: The inspiration comes from observations when I visited the plant and the people working besides the assembly line.
Q: For workers who don’t understand contemporary art, how did you explain to them the meaning of your project?
A: It was difficult to achieve a mutual understanding in such a short period of time. I tried to have discussions with them and sometimes asked for help from their leaders. There were different responses from each worker — some were very interested and some were defensive.
Q: Do you feel that Chinese viewers have become more accepting of multimedia art over the past decade? Are there more Chinese collectors venturing into multimedia as well?
A: More and more Chinese have started to accept multimedia as an art form. In fact, many Chinese collectors have moved into different areas of art, but in general there has been more focus on Chinese contemporary art in recent years.
Q: Technology is a critical component in multimedia art work, how do you keep up with the latest technology trends?
A: Multimedia art perhaps is a convenient term, but art is never a single media. I never think about trends in technology. Technology is only a tool. I always keep an open attitude. I use whatever is convenient and effective.
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