命中率2
Fatality II
2009/2021
装置
展厅的天顶内被艺术家安置了上万个印有600个形容词的乒乓球。它们透过数根透明塑料管道并行连接至发射器，乒乓球每隔十几秒被喷射出来，散落在展厅的各个角落。观众或有“幸”被击中，或是在其中穿行，挑拣，踩踏。附着于乒乓球表面，描述事物形状、性质和状态的的形容词提供了作品与观众建立深度连接的基础，在拾起阅读的过程中自发地建立文字与自身的关联，从而在体验作品中回归自身属性的思考。
相关展览：图像的旋踵：一次关于媒介身份的研究
installation
Thousands of ping pong balls, with over 600 adjectives printed on them, are installed on the ceiling of the exhibition gallery and connected to a transmitter through transparent plastic pipes. The ping pong balls are ejected out of the pipes approximately every ten seconds and dropped around the room. The viewer might be “lucky” enough to be hit by the ping pong balls, or they might walk through them, pick them up, or step on them. The adjectives describe the shape, property, and condition of things, connecting the viewer to the artwork. As they pick up and read the words, the viewer may also form associations with these adjectives, and in turn, reflect on their own nature in relation to the experience of this work.
Related Exhition: The Circulation of Images: a Study on Medium Identity
展厅的天顶内被艺术家安置了上万个印有600个形容词的乒乓球。它们透过数根透明塑料管道并行连接至发射器，乒乓球每隔十几秒被喷射出来，散落在展厅的各个角落。观众或有“幸”被击中，或是在其中穿行，挑拣，踩踏。附着于乒乓球表面，描述事物形状、性质和状态的的形容词提供了作品与观众建立深度连接的基础，在拾起阅读的过程中自发地建立文字与自身的关联，从而在体验作品中回归自身属性的思考。
相关展览：图像的旋踵：一次关于媒介身份的研究
installation
Thousands of ping pong balls, with over 600 adjectives printed on them, are installed on the ceiling of the exhibition gallery and connected to a transmitter through transparent plastic pipes. The ping pong balls are ejected out of the pipes approximately every ten seconds and dropped around the room. The viewer might be “lucky” enough to be hit by the ping pong balls, or they might walk through them, pick them up, or step on them. The adjectives describe the shape, property, and condition of things, connecting the viewer to the artwork. As they pick up and read the words, the viewer may also form associations with these adjectives, and in turn, reflect on their own nature in relation to the experience of this work.
Related Exhition: The Circulation of Images: a Study on Medium Identity
春分/露台计划5
The Equinox/Project Terrace V
2021.3.20开幕
柳树、桑树、水泥盆、营养土
Willow, mulberry, cement pots, nutrient soil
柳树 Willow: 220 x 180 x 346 | 桑树 Mulberry: 150 x 210 x 290
正向艺术研究会 Positive Art Research Centre
Willow, mulberry, cement pots, nutrient soil
柳树 Willow: 220 x 180 x 346 | 桑树 Mulberry: 150 x 210 x 290
正向艺术研究会 Positive Art Research Centre
2020.11.19-2020.11.25
2021.3.12
2021.3.20 春分/开幕日 opening day
2021.4.3
2021.4.17
2021.5.1
2021.5.10
现形 F
Exposure F
2020石雕/装置/青石
Stone Sculpture / Installation / Bluestone
92x50x48cm
Stone Sculpture / Installation / Bluestone
92x50x48cm
现形 V
Exposure V
2020石雕/装置/青石
Stone Sculpture / Installation / Bluestone
105x87x48cm
Stone Sculpture / Installation / Bluestone
105x87x48cm
现形 S
Exposure S
2020石雕/装置/青石
Stone Sculpture / Installation / Bluestone
展示尺寸可变, Display size variable
Stone Sculpture / Installation / Bluestone
展示尺寸可变, Display size variable
现形 H
Exposure H
2020石雕/装置/青石
Stone Sculpture / Installation / Bluestone
Stone Sculpture / Installation / Bluestone
现形 M
Exposure M
2020石雕/彩霞石
Stone Sculpture/ Installation / Rosy Clouds Stone
31x21x12cm
展示尺寸可变, Display size variable
Stone Sculpture/ Installation / Rosy Clouds Stone
31x21x12cm
展示尺寸可变, Display size variable
现形 D
Exposure D
2020石雕/装置/青石
Stone Sculpture / Installation / Bluestone
展示尺寸可变, Display size variable
Stone Sculpture / Installation / Bluestone
展示尺寸可变, Display size variable
现形 Q
Exposure Q
2020石雕/彩霞石
Stone Sculpture/ Installation / Pink Clouds Stone
展示尺寸可变, Display size variable
Stone Sculpture/ Installation / Pink Clouds Stone
展示尺寸可变, Display size variable
现形 N
Exposure N
2020石雕/彩霞石
Stone Sculpture/ Installation / Pink Clouds Stone
展示尺寸可变, Display size variable
Stone Sculpture/ Installation / Pink Clouds Stone
展示尺寸可变, Display size variable
现形 ∞
Exposure ∞
2020石雕/青石
Stone Sculpture / Installation / Bluestone
55x12x24cm
展示尺寸可变, Display size variable
Stone Sculpture / Installation / Bluestone
55x12x24cm
展示尺寸可变, Display size variable
现形 L
Exposure L
2020石雕/彩霞石
Stone Sculpture/ Installation / Pink Clouds Stone
152x11x10cm
展示尺寸可变, Display size variable
Stone Sculpture/ Installation / Pink Clouds Stone
152x11x10cm
展示尺寸可变, Display size variable
现形 g
Exposure g
2020石雕/彩霞石
Stone Sculpture/ Installation / Pink Clouds Stone
展示尺寸可变, Display size variable
Stone Sculpture/ Installation / Pink Clouds Stone
展示尺寸可变, Display size variable
现形 Y
Exposure Y
2020石雕/彩霞石
Stone Sculpture/ Installation / Pink Clouds Stone
展示尺寸可变, Display size variable
Stone Sculpture/ Installation / Pink Clouds Stone
展示尺寸可变, Display size variable
立方
Cube
2020.8.
“我与博伊斯”项目，上海昊美术馆“Me & Beuys”, How Art Museum, Shanghai
装置+偶发
消防管，单向反射镜面玻璃，监控系统，电视
Installation + Happening art
Fire hose, Single-sided reflective mirror, CCTV system, TV sets
我会死的/歌手篇
I Will Die/Performer Chapter
2019.5.
“我会死的”项目从2000年开始持续至今，点击进入项目。
The "I Will Die" project started in 2000 and is still ongoing today, click to enter the project.
单频录像 5‘59“
杨振中持续创作二十年的影像项目《我会死的》参与由Tatjana Gürbaca执导、作曲家Aribert Reimann的歌剧新作《The Invisible》，剧作在德国布伦瑞克最古老的剧院Staatstheater Braunschweig上演。观众在剧院门厅和舞台背景的大屏幕上，看到来自世界各地的，无论何种语言、信仰或国籍的人们讲述同一句真理：“我会死的”。在布伦瑞克驻留期间，杨振中拍摄《我会死的》的又一章节：来自不同地区的歌手和演员们将使用各自的母语表演，如英语、希伯来语、汉语、韩语、德语、塞尔维亚语、比利时语、乌克兰语等说出或唱出这句“我会死的”。
singel channel video 5‘59“
“I Will Die”, Yang Zhenzhong’s 20 year ongoing video project be part of Tatjana Gürbaca’s production of Aribert Reimann’s latest opera “The Invisible” at the Staatstheater Braunschweig. On screens in the foyer and on stage, people from all over the world, no matter what language, belief, or nationality will be seen saying the truth: I will die.In Braunschweig Yang Zhenzhong also be creating a new chapter of IWD with the singers/actors of the opera who was speak or sing the words “I will die” in their native languages, such as English, Hebrew, Chinese, Korean, German, Serbian and Ukrainian etc.
To Be or Not To Be
2018.11.2
航拍视频（8Min.)
航拍视频（3Min.）
相关展览：仙境的边缘, 泰国双年展 2018 Related Exhibition: Thailand Biennale 2018
Aerial video (8Min.)
Aerial video (3Min.)
link: Edge of the Wonderland, Thailand Biennale Krabi 2018
2018年泰国双年展，在泰国甲米。杨振中在当地挑了10棵榕树，都完整地连根挖起，然后将它们倒立，树冠种回地里。
几个月后，10棵树有8棵长出新芽成活。
作品坐落在泰国甲米岛孔卡码头（Kong Ka Pier, Krabi）步道边的草坪上。
Thailand Biennale 2018, in Krabi, Thailand. Yang Zhenzhong picked 10 banyan trees in the area, all dug up intact with their roots, and then planted them upside down with their crowns back in the ground.
A few months later, 8 out of 10 trees had sprouted new shoots and were alive.
Located on the lawn beside the pathway of Kong Ka Pier, Krabi.
几个月后，10棵树有8棵长出新芽成活。
作品坐落在泰国甲米岛孔卡码头（Kong Ka Pier, Krabi）步道边的草坪上。
Thailand Biennale 2018, in Krabi, Thailand. Yang Zhenzhong picked 10 banyan trees in the area, all dug up intact with their roots, and then planted them upside down with their crowns back in the ground.
A few months later, 8 out of 10 trees had sprouted new shoots and were alive.
Located on the lawn beside the pathway of Kong Ka Pier, Krabi.
从网络收集半年以来海量的各种官媒主流新闻、自媒体新闻、公众号文章、八卦传言、谣言和辟谣、小道消息和大路报道，保留他们原有的图文并茂的形态，拼贴在一起制成不重复的墙纸。贴满公寓里所有的房间、过道、门厅的墙面每个角落（不包括现有的门窗、橱柜）。
我们这些被手机和网络控制的人，这半年来经历了什么？现实远远比艺术更强大、更刺激、更复杂、更引人入胜和荒诞。这些现实拼贴成的纹样，既可以作为这套特殊的公寓内部的装饰背景墙，也值得观众花点时间细细阅读和讨论。
The project begins with collecting a large number of mainstream media news, self-media news, articles from public blogs, sensational stories, gossips, rumors and refutations, from the internet over a period of half year. The collected items will then be collaged into a wallpaper with non-repetitive motives, retaining their original graphic forms. The wallpaper covers the wall of all the rooms, aisles, every corner of the foyer in the apartment.
For those of us virtually controlled by the network and mobile phone, what have we experienced in the past six months? Reality is far more powerful, more exciting, more complex, more fascinating and absurd than art. These realistic collages can serve simultaneously as a decorative wall for the interior of this specific apartment and a background wall that is worth the time of the viewers to read and discuss.
我们这些被手机和网络控制的人，这半年来经历了什么？现实远远比艺术更强大、更刺激、更复杂、更引人入胜和荒诞。这些现实拼贴成的纹样，既可以作为这套特殊的公寓内部的装饰背景墙，也值得观众花点时间细细阅读和讨论。
The project begins with collecting a large number of mainstream media news, self-media news, articles from public blogs, sensational stories, gossips, rumors and refutations, from the internet over a period of half year. The collected items will then be collaged into a wallpaper with non-repetitive motives, retaining their original graphic forms. The wallpaper covers the wall of all the rooms, aisles, every corner of the foyer in the apartment.
For those of us virtually controlled by the network and mobile phone, what have we experienced in the past six months? Reality is far more powerful, more exciting, more complex, more fascinating and absurd than art. These realistic collages can serve simultaneously as a decorative wall for the interior of this specific apartment and a background wall that is worth the time of the viewers to read and discuss.
监控室:栅栏
Surveillance Room: Fence
2018.9.
相关展 linked Exhibition
相关作品 Linked Work
视频装置, 12通道
2017.6.14至9.11在北京箭厂空间的“栅栏”装置作品中的监控设备录制的三个月视频内容，分成12个监视屏幕展示。
video installation, 12 channals
The video content recorded by the surveillance equipment in the installation "Fence" at Arrow Factory Space in Beijing from 14.6.2017 to 11.9.2017 was divided into 12 surveillance screens for display.
静物与风景
Still life & Landscape
2017-2018
特定空间装置
杨振中用一堵与周边同样颜色单调的墙和一扇铁栅栏窗替代了原本的玻璃推拉门。窗户的大小和高低很容易让人联想到普通民居的门窗，然而站在街头的观看者在其中看到的不是家庭场景而是纵向铁栅栏后一面双面镜中的自己。在玩弄内外对立的二分法中，笼窗提供了一种不明确的表述，即哪一面是栅栏之内而哪一面又是栅栏之外？杨暗中在双面镜后安装了一个监视器，进一步指向了我们的自我痴迷和被监视下的状态。在整个展览过程中，路人不明就里的情况下，监视器将记录日日夜夜里的一切举动，并显示在隔壁的咖啡馆中。因此，观看者不被监视的话就无法看到这件作品。这种观看体验——从自我到自己的镜像到作为“偷窥者”的监视器，编织出一个错综复杂的“眼网”，使所有人都同时是观看者又是被观看之物，谨慎地看与被看。
Site-specific Installation
Yang has replaced Arrow Factory’s original glass façade with a stark wall and barred fenestration. The size and placement of the window is reminiscent of residential dwellings, however instead of a domestic scene within, the view through the vertical bars features a two-way mirror confronting visitors with their own reflected image. Toying with dichotomies of inside versus outside, the caged window provides an ambiguous statement as to which side of the barrier is the interior and which is the exterior. Yang further addresses our selfie-obsessed and surveillance-engulfed condition by surreptitiously mounting a security camera behind the two-way mirror. Undetectable to passersby, the camera records all movements day and night over the course of the exhibition. The live footage is recorded and displayed on a monitor housed inside a neighboring café. As a result, it is impossible to view the work without it secretly watching you back. This layering of the viewing experience—from the self to the self-reflected to the camera as voyeur—spins an intricate web of eyes, turning all into simultaneous viewers and subjects, cagily watching and being watched.
杨振中用一堵与周边同样颜色单调的墙和一扇铁栅栏窗替代了原本的玻璃推拉门。窗户的大小和高低很容易让人联想到普通民居的门窗，然而站在街头的观看者在其中看到的不是家庭场景而是纵向铁栅栏后一面双面镜中的自己。在玩弄内外对立的二分法中，笼窗提供了一种不明确的表述，即哪一面是栅栏之内而哪一面又是栅栏之外？杨暗中在双面镜后安装了一个监视器，进一步指向了我们的自我痴迷和被监视下的状态。在整个展览过程中，路人不明就里的情况下，监视器将记录日日夜夜里的一切举动，并显示在隔壁的咖啡馆中。因此，观看者不被监视的话就无法看到这件作品。这种观看体验——从自我到自己的镜像到作为“偷窥者”的监视器，编织出一个错综复杂的“眼网”，使所有人都同时是观看者又是被观看之物，谨慎地看与被看。
Site-specific Installation
Yang has replaced Arrow Factory’s original glass façade with a stark wall and barred fenestration. The size and placement of the window is reminiscent of residential dwellings, however instead of a domestic scene within, the view through the vertical bars features a two-way mirror confronting visitors with their own reflected image. Toying with dichotomies of inside versus outside, the caged window provides an ambiguous statement as to which side of the barrier is the interior and which is the exterior. Yang further addresses our selfie-obsessed and surveillance-engulfed condition by surreptitiously mounting a security camera behind the two-way mirror. Undetectable to passersby, the camera records all movements day and night over the course of the exhibition. The live footage is recorded and displayed on a monitor housed inside a neighboring café. As a result, it is impossible to view the work without it secretly watching you back. This layering of the viewing experience—from the self to the self-reflected to the camera as voyeur—spins an intricate web of eyes, turning all into simultaneous viewers and subjects, cagily watching and being watched.
雕塑
钢材、镜面不锈钢
340×480x600cm
在本次展出的作品中,阴影从概念到结构,从叙事到虚构,从物质到存在,以无数不同的形态显示。首先看到的是杨振中的巨大户外雕塑装置《完美的几何形》(2016),探索之旅以一种暧昧的方式开始。作品一半在水中,正反面的比例为标题中的五星讲述了全然不同的故事。作品正面,通过在下半部分使用镜子,展示了一个五角星的完整形状,从而制造出一种完整性的幻想。然而一旦观看者移动到了作品后面,却分明看到这块腐烂的巨大雕塑已然坠落,完整性被它的瓦解状态所打破了。如同大多数的真相,事实就呈现在面前,线索就摆在那里等待被发现。我们需要做的,就是能够看清。
——凯伦 史密斯：“充满光亮的影中世界”，“真实的假象” P288, 2016
杨振中通过打造视觉游戏鼓励观者去探索更全面或更有意义的图像,并且以不同的视角来看待周围事物。他对“影子”的探讨,或更加确切地说,对“镜影”的探讨,呈现为在美术馆的入口处的一个“纪念碑”。这是为此次展览度身定制的唯一一件户外作品。这件新的雕塑简单地采用一块铁片做成五角星的形状。实际上,从正面来看,它只是半个星形,而通过与不锈钢底座反射的镜像才组合构成一个整体。这里的镜像如同其实体的钢铁材料一样坚固可靠,又拥有如星星般的灵性;它支撑着那个沉重的实体,它的尖角在镜面反射中指向一个无限的天空。
——姜节泓：“真实的假象” P59, 2016
sculpture
steel, stainless steel
340×480x600cm
In the works that have been selected for this exhibition, shadows are manifest in myriad form from concept and construct, to narrative and fiction, material and substance. The exploration begins in an obtuse way with Yang zhenzhong’s massive Fallen Five Star (The Perfect Pentagram),an exterior sculptural installation, part submerged in water, where the front and back portions tell a very different story of the titular star. From the front of the work the full form of the five-point star is invoked by means of mirror plates on the lower half of the facade. This creates an illusion of wholeness which is undone once the viewer moves around to the back side, where the state of disintegration into which this rusting monolith has fallen, is fully revealed. As with most truths, the facts are present before us, the clues there to be read. All that is required is that in looking we are able to see clearly.
_ Karen Smith:”World of Shadow Teeming with Brilliance”, “The Shadow never Lies” p281, 2016
Yang Zhenzhong (p 247-249), too, creates visual games, which encourage viewers to explore a fuller or more meaningful image and to look at things around them differently. He approaches the issue of the shadow, or precisely the specular image, through building a ‘monument’ right at front of the museum entrance, the only outdoor work of this exhibition. This new sculptural piece, simply features an iron sheet in the shape of a star. In fact, it is only a half star, which reflected in its stainless steel base forms a complete image of a star. The specular is as strong, reliable as iron, and as spiritual as the star, lifting the heavy material and pointing into the infinity of a reflected sky.
_ Jiang Jiehong: “The Shadow never Lies” p34, 2016
钢材、镜面不锈钢
340×480x600cm
在本次展出的作品中,阴影从概念到结构,从叙事到虚构,从物质到存在,以无数不同的形态显示。首先看到的是杨振中的巨大户外雕塑装置《完美的几何形》(2016),探索之旅以一种暧昧的方式开始。作品一半在水中,正反面的比例为标题中的五星讲述了全然不同的故事。作品正面,通过在下半部分使用镜子,展示了一个五角星的完整形状,从而制造出一种完整性的幻想。然而一旦观看者移动到了作品后面,却分明看到这块腐烂的巨大雕塑已然坠落,完整性被它的瓦解状态所打破了。如同大多数的真相,事实就呈现在面前,线索就摆在那里等待被发现。我们需要做的,就是能够看清。
——凯伦 史密斯：“充满光亮的影中世界”，“真实的假象” P288, 2016
杨振中通过打造视觉游戏鼓励观者去探索更全面或更有意义的图像,并且以不同的视角来看待周围事物。他对“影子”的探讨,或更加确切地说,对“镜影”的探讨,呈现为在美术馆的入口处的一个“纪念碑”。这是为此次展览度身定制的唯一一件户外作品。这件新的雕塑简单地采用一块铁片做成五角星的形状。实际上,从正面来看,它只是半个星形,而通过与不锈钢底座反射的镜像才组合构成一个整体。这里的镜像如同其实体的钢铁材料一样坚固可靠,又拥有如星星般的灵性;它支撑着那个沉重的实体,它的尖角在镜面反射中指向一个无限的天空。
——姜节泓：“真实的假象” P59, 2016
sculpture
steel, stainless steel
340×480x600cm
In the works that have been selected for this exhibition, shadows are manifest in myriad form from concept and construct, to narrative and fiction, material and substance. The exploration begins in an obtuse way with Yang zhenzhong’s massive Fallen Five Star (The Perfect Pentagram),an exterior sculptural installation, part submerged in water, where the front and back portions tell a very different story of the titular star. From the front of the work the full form of the five-point star is invoked by means of mirror plates on the lower half of the facade. This creates an illusion of wholeness which is undone once the viewer moves around to the back side, where the state of disintegration into which this rusting monolith has fallen, is fully revealed. As with most truths, the facts are present before us, the clues there to be read. All that is required is that in looking we are able to see clearly.
_ Karen Smith:”World of Shadow Teeming with Brilliance”, “The Shadow never Lies” p281, 2016
Yang Zhenzhong (p 247-249), too, creates visual games, which encourage viewers to explore a fuller or more meaningful image and to look at things around them differently. He approaches the issue of the shadow, or precisely the specular image, through building a ‘monument’ right at front of the museum entrance, the only outdoor work of this exhibition. This new sculptural piece, simply features an iron sheet in the shape of a star. In fact, it is only a half star, which reflected in its stainless steel base forms a complete image of a star. The specular is as strong, reliable as iron, and as spiritual as the star, lifting the heavy material and pointing into the infinity of a reflected sky.
_ Jiang Jiehong: “The Shadow never Lies” p34, 2016
我会死的（网络征集版）
I Will Die (Crowdsourced)
2016.7.-
“我会死的”项目从2000年开始持续至今，点击进入项目。
The "I Will Die" project started in 2000 and is still ongoing today, click to enter the project.
16:9单频高清录像 22’07”
该项目核心来源于艺术家杨振中始于2000的单视频录像作品“我会死的”， 十多年来艺术家游历十多个国家拍摄了500 多位不同年龄、不同身份、不同种族的人用11 种不同国家的语言，面对艺术家的摄像机说：“我会死的”。
从2016年7月开始，杨振中工作室与Cc基金会合作，将此项目开放到互联网平台，全球征集网友自拍，每个人都可以参与到项目中来。
16:9 single channel HD video 22’07”
“I Will Die” is an ongoing video project initiated by artist Yang Zhenzhong since 2000. For over a decade, the artist has travelled around a dozen of countries and collected over 500 video clips of people of different ages, identities and cultures saying “I will die” to the camera in 11 different languages.
Since 2016, In collaboration with Cc Foundation, Yang Zhenzhong Studio now for the first time launches an online open call for people to participate to “I Will Die” .
消毒
Disinfect
2015
绘画装置
布上丙烯/木结构
Installation
Acrylic painting on canvas/Wooden structure
217×155x155cm
布上丙烯/木结构
Installation
Acrylic painting on canvas/Wooden structure
217×155x155cm
5屏录像装置
“伪装”在创作过程中3D扫描了50个工人的脸，再3D打印成面具戴在每个工人自己的脸上。拍摄时，员工们头戴面具在车间工作。他们的行动被记录下来并制成影像作品。
这些面具复制了佩戴者的脸，与其说它们遮盖了表情，不如说他们夸张了表情。即使工人们在流水线上只是按照要求行动，他们机械般的动作施展却也像自由的缓慢舞步。工厂仍旧保持着正常生产的氛围，但也正在转变为一个神秘的地方。
5 channel video installation
Before shooting the video work “Disguise”, 50 staff’s facial masks were printed after scanned by a 3D printing machine. Then those 50 people were asked to wear masks which accurately outline their facial appearances and performed the routine work in the factory. Their behaviour during working in the factory is recorded then made into a multi-channel video installation.
Exact duplicates of each face that they wear, these masks dramatise rather than veile motion. Even as they move according to the demands of the assembly line, the mechanical movements of workers unfurl like a slow dance of liberation. The factory still has an atmosphere of regular production, but it is transforming into a mysterious place.
“伪装”在创作过程中3D扫描了50个工人的脸，再3D打印成面具戴在每个工人自己的脸上。拍摄时，员工们头戴面具在车间工作。他们的行动被记录下来并制成影像作品。
这些面具复制了佩戴者的脸，与其说它们遮盖了表情，不如说他们夸张了表情。即使工人们在流水线上只是按照要求行动，他们机械般的动作施展却也像自由的缓慢舞步。工厂仍旧保持着正常生产的氛围，但也正在转变为一个神秘的地方。
5 channel video installation
Before shooting the video work “Disguise”, 50 staff’s facial masks were printed after scanned by a 3D printing machine. Then those 50 people were asked to wear masks which accurately outline their facial appearances and performed the routine work in the factory. Their behaviour during working in the factory is recorded then made into a multi-channel video installation.
Exact duplicates of each face that they wear, these masks dramatise rather than veile motion. Even as they move according to the demands of the assembly line, the mechanical movements of workers unfurl like a slow dance of liberation. The factory still has an atmosphere of regular production, but it is transforming into a mysterious place.
请坐
Please Sit down
2014
特定空间装置
会议沙发（内部改装），木茶几，全向轮，定制感应设备
当观众坐上沙发，沙发就启动随机在空间中移动，当观众离开座位，沙发自动返回茶几左右。
Site-specific Installation Conference sofa (internal modification), wooden coffee table, omni-directional wheels, custom induction equipment
When the audience sits on the sofa, the sofa starts to move randomly in the space, and when the audience leaves the seat, the sofa automatically returns to the left and right of the coffee table.
相关展览 Related exhibition
我会死的／俄语
I Will die / Russian
2014
“我会死的”项目从2000年开始持续至今，点击进入项目。
The "I Will Die" project started in 2000 and is still ongoing today, click to enter the project.
单屏录像 15:18 HD
莫斯科
不同年龄，不同身份的人面对摄像机说：“我会死的”。
single channel video 15:18 HDMoscow
People of different ages and status make the statement, “I will die”
过道 No.11/12/15
Passage No.11/12/15
2014
装置|金属板上绘画
油漆, 2mm不锈钢板
Installation|Painting on metal plate
Paint on 2mm stainless steel plate
油漆, 2mm不锈钢板
Installation|Painting on metal plate
Paint on 2mm stainless steel plate
快感穿过肉身
Pleasant Sensation Passing Through Flesh
2014
装置 按摩靠枕，传感器
28x40x13cm
Installation Massage cushion, sensor
Massage device and sensor
28x40x13cm
Installation Massage cushion, sensor
Massage device and sensor
大V
Big V
2013
机械装置
Mechanical installation
external link
功能的抽离或转换——杨振中的《大V》和《过道》
相关展览
Related exhibition
闯入
Trespass
2013
栅栏
Fences
2013
装置
镜面不锈钢，钢材，铸铁凳，日光灯
installation
Mirror stainless steel, steel, cast iron stool, fluorescent lamp
相关展览
Related exhibition
镜面不锈钢，钢材，铸铁凳，日光灯
installation
Mirror stainless steel, steel, cast iron stool, fluorescent lamp
相关展览
Related exhibition
一二一
Left Right Left
2012.12
电子装置 （尺寸可变）
改装100 套人行道动态红绿灯沿着建筑结构线排列安装。
首次展览于“见所未见：第四届广州三年展”（正佳广场项目）
Electronic installation 100 sets of pedestian lights showing a red and a green man were installed along structure line of the building where the work was displayed.
First displayed in The Unseen, Fourth Guangzhou Triennial, The Grand View project, Grandview Mall, Guangzhou, China.
改装100 套人行道动态红绿灯沿着建筑结构线排列安装。
首次展览于“见所未见：第四届广州三年展”（正佳广场项目）
Electronic installation 100 sets of pedestian lights showing a red and a green man were installed along structure line of the building where the work was displayed.
First displayed in The Unseen, Fourth Guangzhou Triennial, The Grand View project, Grandview Mall, Guangzhou, China.
东方红
The Red East
2012.9.
装置 60×60x120cm
将LED显示器改装成吊灯，每个像素是一个灯珠，每个像素灯的颜色随后台播放的录像色彩而变幻。
首次展览于“编辑– 图片强迫症”（上海香格纳画廊H空间）。
The Red EastInstallation 60×60x120cm
The work is modified from a LED screen with each pixel presented by a LED light. They twinkle and changes colors under the control of a video displayed behind.
First displayed in EDIT: Image Fetish and Phobia, ShanghART H-Space,Shanghai, China
将LED显示器改装成吊灯，每个像素是一个灯珠，每个像素灯的颜色随后台播放的录像色彩而变幻。
首次展览于“编辑– 图片强迫症”（上海香格纳画廊H空间）。
The Red EastInstallation 60×60x120cm
The work is modified from a LED screen with each pixel presented by a LED light. They twinkle and changes colors under the control of a video displayed behind.
First displayed in EDIT: Image Fetish and Phobia, ShanghART H-Space,Shanghai, China
过道
Passage
2012
绘画装置NO.1 - NO.8
首次展览于“过道– 杨振中个展”（上海M50西部桃浦创意园）
oil painting on Wood installationNO.1 - NO.8
First displayed in Passage -Yang Zhenzhong Solo Exbihition, TOP Creative Park, Shanghai,China.
首次展览于“过道– 杨振中个展”（上海M50西部桃浦创意园）
oil painting on Wood installationNO.1 - NO.8
First displayed in Passage -Yang Zhenzhong Solo Exbihition, TOP Creative Park, Shanghai,China.
过道
Passage
2012.09
单屏录像
14′19”
《过道》呈现的是狭窄的画面视野并配以最低限度的画外音，即编辑为慢速的人类呼吸；画面场景穿行于一系列位于学校、机场、地铁、饭店、人行天桥、宿舍、公园和图书馆等公共空间中的走廊、隧道、过道、自动扶梯和间隔等形态各异的人造空间结构中。
首次展览于“过道– 杨振中个展”（上海M50西部桃浦创意园，2012）
single channel video
14′19”
Passage only provides the audience with a narrow frame of vision and minimal external noise,digitally altered low speed human breathing. The setting laid out by YANG is a series of man-made spaces and structures including corridors, tunnels, passages, elevators, gaps found in schools, airports, subways, hotels, pedestrian bridges, dormitory, parks and libraries.
First displayed in Passage - Yang Zhenzhong Solo Exhibition, TOP Creative Park,Shanghai, China (2012).
14′19”
《过道》呈现的是狭窄的画面视野并配以最低限度的画外音，即编辑为慢速的人类呼吸；画面场景穿行于一系列位于学校、机场、地铁、饭店、人行天桥、宿舍、公园和图书馆等公共空间中的走廊、隧道、过道、自动扶梯和间隔等形态各异的人造空间结构中。
首次展览于“过道– 杨振中个展”（上海M50西部桃浦创意园，2012）
single channel video
14′19”
Passage only provides the audience with a narrow frame of vision and minimal external noise,digitally altered low speed human breathing. The setting laid out by YANG is a series of man-made spaces and structures including corridors, tunnels, passages, elevators, gaps found in schools, airports, subways, hotels, pedestrian bridges, dormitory, parks and libraries.
First displayed in Passage - Yang Zhenzhong Solo Exhibition, TOP Creative Park,Shanghai, China (2012).
直线
Straight Line
2012.09
单屏录像
7′22”
固定机位拍摄了一个手持拐杖的老人行走在人行道边缘，用长镜头记录了老人走向镜头直至走出屏幕的过程。
首次展览于“过道– 杨振中个展”（上海M50 西部桃浦创意园）
single channel video
7′22”
The fixed frame of the camera shows an old man holding a stick and walking in balance on the narrow border of a pathway. Shot with perspectival depth, it shows him approaching the camera (and with our gaze) and walking by until he finally exits the scene.
First displayed in Passage -Yang Zhenzhong Solo Exhibition, TOP Creative Park, Shanghai,China.
7′22”
固定机位拍摄了一个手持拐杖的老人行走在人行道边缘，用长镜头记录了老人走向镜头直至走出屏幕的过程。
首次展览于“过道– 杨振中个展”（上海M50 西部桃浦创意园）
single channel video
7′22”
The fixed frame of the camera shows an old man holding a stick and walking in balance on the narrow border of a pathway. Shot with perspectival depth, it shows him approaching the camera (and with our gaze) and walking by until he finally exits the scene.
First displayed in Passage -Yang Zhenzhong Solo Exhibition, TOP Creative Park, Shanghai,China.
合个影
Take a Photo
2011
仿真蜡像160×70x50cm
首次展览于“关系／北京今日美术馆 HOMEWORK”(北京今日美术馆）
Simulation Wax160×70x50cm
First displayed in GUAN XI / Beijing Today Art Museum HOMEWORK , Beijing, Today Art Museum.
首次展览于“关系／北京今日美术馆 HOMEWORK”(北京今日美术馆）
Simulation Wax160×70x50cm
First displayed in GUAN XI / Beijing Today Art Museum HOMEWORK , Beijing, Today Art Museum.
“我的共产主义”海报
”My Communism” poster
2011
海报
180X120cm x3
这3件”海报”作品是大量当月报纸信息的拼贴，很多关键字眼用红笔圈记出来。海报的标语分别是：“我们消灭这些词”、“我们不认识这些词”。如果我们被灌输的概念中的共产主义实现了，这些被圈中的概念我们就不应该认识或者不应该存在。
首次展览于“我的共产主义”海报展（上海桃浦当代艺术中心）
Poster
200X180cm x3
The three “posters” by YANG Zhenzhong are collages carrying a large number of newspaper information of the very month when the works were produced, while many key words were circled in red. The “slogans” on the “posters” include: “We eliminate these words”, “We don’t know these words” and in English “WE DON’T KNOW THESE WORDS”. If communism as we were taught were realized, we simply wouldn’t know the concept of these circled words. Nor would it even exist at all.
The work was first displayed in “My Communism” Poster Exhibition, TOP Creative Park,Shanghai, China.
180X120cm x3
这3件”海报”作品是大量当月报纸信息的拼贴，很多关键字眼用红笔圈记出来。海报的标语分别是：“我们消灭这些词”、“我们不认识这些词”。如果我们被灌输的概念中的共产主义实现了，这些被圈中的概念我们就不应该认识或者不应该存在。
首次展览于“我的共产主义”海报展（上海桃浦当代艺术中心）
Poster
200X180cm x3
The three “posters” by YANG Zhenzhong are collages carrying a large number of newspaper information of the very month when the works were produced, while many key words were circled in red. The “slogans” on the “posters” include: “We eliminate these words”, “We don’t know these words” and in English “WE DON’T KNOW THESE WORDS”. If communism as we were taught were realized, we simply wouldn’t know the concept of these circled words. Nor would it even exist at all.
The work was first displayed in “My Communism” Poster Exhibition, TOP Creative Park,Shanghai, China.
桃浦大楼＋未来的节日 系列纪录片
TOP Events + Future Festival Documentary series
2011
点击在线观看（youku)
click to review the documentary video online (YouTube)
桃浦大楼＋未来的节日 系列纪录片
这是一个与2011年在上海的＂桃浦大楼＂艺术活动和＂未来的节日＂论坛同步进行，同步展示的系列纪录片项目。在＂桃浦大楼＂活动将近四个月时间的进程中，纪录片也在不断地更新，增补，修改，实时记录大楼里往来的人和发生的事。系列纪录片包括7个部分：
一。不同意“未来的节日”的举手
二。脚手架
三。“桃浦大楼”一期活动
四。反刍1
五。“桃浦大楼”二期活动
六。反刍2
七。“桃浦大楼”三期活动：“我的共产主义”海报展
This is a series of documentaries filmed and exhibited as part of the art activities “TOP Events” and the symposiums “Future Festival” in Shanghai in 2011. During these four months of “TOP Events”, these documentaries have been unceasingly updated, modified and completed, recording people and activities coming and going in the building..
This documentary series is composed of seven parts:
1 - If you disagree with “Future Festival” please raise your hand
2 - Scaffoldings
3 - “TOP Events” First Session Activities
4 - Rumination 1
5 - ”TOP Events” Second Session Activities
6 - Rumination 2
7 - “TOP Events” Third Session Activities: “My Communism” Poster Exhibition
这是一个与2011年在上海的＂桃浦大楼＂艺术活动和＂未来的节日＂论坛同步进行，同步展示的系列纪录片项目。在＂桃浦大楼＂活动将近四个月时间的进程中，纪录片也在不断地更新，增补，修改，实时记录大楼里往来的人和发生的事。系列纪录片包括7个部分：
一。不同意“未来的节日”的举手
二。脚手架
三。“桃浦大楼”一期活动
四。反刍1
五。“桃浦大楼”二期活动
六。反刍2
七。“桃浦大楼”三期活动：“我的共产主义”海报展
This is a series of documentaries filmed and exhibited as part of the art activities “TOP Events” and the symposiums “Future Festival” in Shanghai in 2011. During these four months of “TOP Events”, these documentaries have been unceasingly updated, modified and completed, recording people and activities coming and going in the building..
This documentary series is composed of seven parts:
1 - If you disagree with “Future Festival” please raise your hand
2 - Scaffoldings
3 - “TOP Events” First Session Activities
4 - Rumination 1
5 - ”TOP Events” Second Session Activities
6 - Rumination 2
7 - “TOP Events” Third Session Activities: “My Communism” Poster Exhibition
团结万岁
Long Life the Great Unity
2011
装置
W:7m, L:10m. H:3.5m
9个三维的建筑组件元素，看似混乱的方式陈列于展厅中，但各部件的大小、比例、角度和位置实际上是经过了严格精细的计算。观众可以走入空间内，但只有当他们站在某个确切的点位时，整个作品才能从视觉上被重新拼合成为完整的画面。
首次展览于“关系／广东美术馆”
Installation
W:7m, L:10m. H:3.5m
Though seemingly displayed in a chaotic way in exhibiting space, the size, proportion,perspective and position of all 3 -D components were in fact strictly and meticulously calculated. Viewers could walk in the space, but only when they stood on a certain precise spot, would the 9 parts be visually recomposed into a whole single piece.
First displayed in GUAN XI /Guangdong Museum of Art, Guang Zhou, Guangdong Museum of Art.
W:7m, L:10m. H:3.5m
9个三维的建筑组件元素，看似混乱的方式陈列于展厅中，但各部件的大小、比例、角度和位置实际上是经过了严格精细的计算。观众可以走入空间内，但只有当他们站在某个确切的点位时，整个作品才能从视觉上被重新拼合成为完整的画面。
首次展览于“关系／广东美术馆”
Installation
W:7m, L:10m. H:3.5m
Though seemingly displayed in a chaotic way in exhibiting space, the size, proportion,perspective and position of all 3 -D components were in fact strictly and meticulously calculated. Viewers could walk in the space, but only when they stood on a certain precise spot, would the 9 parts be visually recomposed into a whole single piece.
First displayed in GUAN XI /Guangdong Museum of Art, Guang Zhou, Guangdong Museum of Art.
反了
Wrong Way Round
2011
系列摄影 No.01-No.24
首次展览于“2011 不要动／杨振中个展”(香格纳北京空间）
Photo No.01-No.24
First displayed in 2011 Don’t Move / Yang Zhenzhong Solo Show，ShanghaiART Beijing space.
首次展览于“2011 不要动／杨振中个展”(香格纳北京空间）
Photo No.01-No.24
First displayed in 2011 Don’t Move / Yang Zhenzhong Solo Show，ShanghaiART Beijing space.
坐在墙角的红色维纳斯
Red Venus Sitting In A Corner
2010
雕塑，不锈钢，汽车烤漆
220×208x118cm
首次展览于“有效期2010”(上海香格纳画廊H空间）
sculpture, stainless steel, baking varnish
220×208x118cm
First displayed in Useful Life 2010，ShanghART H-Space,Shanghai,China.
临时演员
Extras
2010
摄影, No.01-No.25, 100×100cm x25
25幅肖像摄影，肖像的制作方法是拍摄各种年龄的当代人，模仿中国五六十年代的海报和宣传画里人物的精神状态：高亢，自信，满足，幸福，充满希望，光彩照人。
首次展览于“有效期2010”（上海香格纳画廊H空间）。
Photo, No.01-No.25, 100×100cm x25
This series presents 25 portrait photos in which people of various ages in contemporary societyare captured imitating figures in propaganda posters or paintings back in 1950s and 1960s.With their shining faces, all of them look highly spirited, fully confident and satisfied, an dincredibly happy and hopeful.
First displayed in Useful Life 2010, ShanghART H-Space, Shanghai, China.
机密
Secret
2010
装置
在“个人前线”（北京ia32 Space，2010）展览中，让所有参展艺术家写下各自的机密，装进资料袋，签名、戳章、密封、锁进保险柜；之后保险柜的钥匙砸坏，密码调乱，机密被永远锁在保险箱里。
installation
In exhibition Personal Frontier ( ia32 Space, Beijing, 2010), all artists were invited to write down their top secrets, put the paper in big envelopes which were signed and stamped before they were locked into a safe. Later key to the safe was destroyed and password reset so that all secrets were left forever in the safe.
在“个人前线”（北京ia32 Space，2010）展览中，让所有参展艺术家写下各自的机密，装进资料袋，签名、戳章、密封、锁进保险柜；之后保险柜的钥匙砸坏，密码调乱，机密被永远锁在保险箱里。
installation
In exhibition Personal Frontier ( ia32 Space, Beijing, 2010), all artists were invited to write down their top secrets, put the paper in big envelopes which were signed and stamped before they were locked into a safe. Later key to the safe was destroyed and password reset so that all secrets were left forever in the safe.
命中率
Fatality
2009
装置
在展厅楼梯上方的玻璃天顶内安置了3万个印有200多种致命病症的乒乓球；透过数根透明塑料管道并连接至发射器，乒乓球每隔3－5秒被喷射出来，散落在展厅的各个角落；观众或有“幸”被击中，或是在其中穿行，挑拣，踩踏。
首次展览于“当代艺术展在松江（资产阶级化了的无产阶级）”（松江创意工房，上海）。
Installation
About Thirty thousand of ping pong balls, with over two hundred kinds of fatal illness printed on them, were installed in the glass -roof over the stairs in the exhibition room, connected to a transmitter through a few of transparent plastic pipes. The ping pong balls were ejected out of the pipes every 3 to 5 seconds, and dropped around the show room. Visitors might be “lucky”enough to be hit by certain disease or just walk through them.
First displayed in Contemporary Art Exhibition in Songjiang (Bourgeoisified Proletariat), Songjiang Creative Studio, Shanghai,China.
在展厅楼梯上方的玻璃天顶内安置了3万个印有200多种致命病症的乒乓球；透过数根透明塑料管道并连接至发射器，乒乓球每隔3－5秒被喷射出来，散落在展厅的各个角落；观众或有“幸”被击中，或是在其中穿行，挑拣，踩踏。
首次展览于“当代艺术展在松江（资产阶级化了的无产阶级）”（松江创意工房，上海）。
Installation
About Thirty thousand of ping pong balls, with over two hundred kinds of fatal illness printed on them, were installed in the glass -roof over the stairs in the exhibition room, connected to a transmitter through a few of transparent plastic pipes. The ping pong balls were ejected out of the pipes every 3 to 5 seconds, and dropped around the show room. Visitors might be “lucky”enough to be hit by certain disease or just walk through them.
First displayed in Contemporary Art Exhibition in Songjiang (Bourgeoisified Proletariat), Songjiang Creative Studio, Shanghai,China.
CC画廊2009
CC Gallery 2009
2009
CC画廊在2009上海当代艺博会
(Booth W19), 上海展览中心, 2009.10.9 - 12
CC画廊成立于2004年，制作和出售世界各地当代著名摄影艺术家作品。从网络下载世界各地当代著名摄影艺术家作品，按照原尺寸放大出售。
CC Gallery in Shcontemporary 2009
(Booth W19), Shanghai Exhibition Center, Shanghai, Chin, 9 - 12 september 2009
CC Gallery was established in 2004, Photographic reproductions of work by internationally famous artists were produced and sold. All the photographic works that were sold by CC Gallery were download from the internet, and printed at the original size.
(Booth W19), 上海展览中心, 2009.10.9 - 12
CC画廊成立于2004年，制作和出售世界各地当代著名摄影艺术家作品。从网络下载世界各地当代著名摄影艺术家作品，按照原尺寸放大出售。
CC Gallery in Shcontemporary 2009
(Booth W19), Shanghai Exhibition Center, Shanghai, Chin, 9 - 12 september 2009
CC Gallery was established in 2004, Photographic reproductions of work by internationally famous artists were produced and sold. All the photographic works that were sold by CC Gallery were download from the internet, and printed at the original size.
2009年夏天
The Summer of 2009
2009
摄影装置
由一张被切割的巨大摄影组成，画面展示了桌下的女性腿部，从各个角度去看都只能看到分裂的形象，而只有从摄影前方摆放的板上的小孔中看去才是统一而完整的。
首次展览于“上海滩1979－2009”（上海局门路436号）。
Photography installation
Summer 2009 contained a large disjointed photograph of women’s legs underneath a table.From all sides one could only see the image as segmented, but when viewed from behind onenarrow hole the picture was whole.
First displayed in Shanghai History in Making from 1979 till 2009, 436 Jumen Rd., Shanghai,China.
由一张被切割的巨大摄影组成，画面展示了桌下的女性腿部，从各个角度去看都只能看到分裂的形象，而只有从摄影前方摆放的板上的小孔中看去才是统一而完整的。
首次展览于“上海滩1979－2009”（上海局门路436号）。
Photography installation
Summer 2009 contained a large disjointed photograph of women’s legs underneath a table.From all sides one could only see the image as segmented, but when viewed from behind onenarrow hole the picture was whole.
First displayed in Shanghai History in Making from 1979 till 2009, 436 Jumen Rd., Shanghai,China.
装置
黑板，镜面不锈钢板，钢筋
在一块黑板上嵌入镜面，又在镜面上固定铁条。当观者观看作品，如同自己被关进了黑色栏杆紧锁的监狱。
首次展览于“黑板”群展（上海香格纳画廊H空间）。
Black Boardinstallation
black board, Mirror stainless steel, Reinforced
The work displays sets of bars attached to the front of mirrors fixed on a blackboard. As the viewer approaches the art they see themselves reflected as behind bars as if locked in prison.
First displayed in Blackboard, ShanghART H-Space, Shanghai, China.
黑板，镜面不锈钢板，钢筋
在一块黑板上嵌入镜面，又在镜面上固定铁条。当观者观看作品，如同自己被关进了黑色栏杆紧锁的监狱。
首次展览于“黑板”群展（上海香格纳画廊H空间）。
Black Boardinstallation
black board, Mirror stainless steel, Reinforced
The work displays sets of bars attached to the front of mirrors fixed on a blackboard. As the viewer approaches the art they see themselves reflected as behind bars as if locked in prison.
First displayed in Blackboard, ShanghART H-Space, Shanghai, China.
路口
crossing
2008
摄影
130×100cm
首次展览于“失眠”摄影展（上海比翼艺术中心）。
Photography
130×100cm
First displayed in “Insomnia” Photographs Exhibition, Bizart Art Center, Shanghai, China.
130×100cm
首次展览于“失眠”摄影展（上海比翼艺术中心）。
Photography
130×100cm
First displayed in “Insomnia” Photographs Exhibition, Bizart Art Center, Shanghai, China.
天桥
Overpass
2008
摄影装置
利用透视原理，将平面的照片拆解成大小、形状各异的15 个块面，散置于一个三维空间之中。当观众置身于这些高低错落，朝向不一的照片之中时，只能捕捉到一些影像碎片；但是如果站在特定看台上通过一个专门的小孔观看，就会发现所有的碎片将重新组成一张完整的照片。
首次展览于“天桥– 杨振中个展”（荷兰阿姆斯特丹Canvas International Art 画廊，2008）。
photograph installation
Functioning under the law of perspective, the installation presents a photo split into 15 pieces of various sizes and shapes and placed in show space. While audience walks through these fragmented photos installed at different heights and angles, s/he is only able to capture patches of the whole image. Standing behind a peephole designated by artist on a podium, however, one finds all parts are visually recomposed into a single complete piece.
First displayed in 2008 Overpass, Canvas International Art, Amsterdam, the Netherlands (2008).
利用透视原理，将平面的照片拆解成大小、形状各异的15 个块面，散置于一个三维空间之中。当观众置身于这些高低错落，朝向不一的照片之中时，只能捕捉到一些影像碎片；但是如果站在特定看台上通过一个专门的小孔观看，就会发现所有的碎片将重新组成一张完整的照片。
首次展览于“天桥– 杨振中个展”（荷兰阿姆斯特丹Canvas International Art 画廊，2008）。
photograph installation
Functioning under the law of perspective, the installation presents a photo split into 15 pieces of various sizes and shapes and placed in show space. While audience walks through these fragmented photos installed at different heights and angles, s/he is only able to capture patches of the whole image. Standing behind a peephole designated by artist on a podium, however, one finds all parts are visually recomposed into a single complete piece.
First displayed in 2008 Overpass, Canvas International Art, Amsterdam, the Netherlands (2008).
Still Untitled
2008装置
罗弗敦国际艺术节地处挪威斯沃尔韦尔，位于北极圈以内，当时正出于极昼期，气候无常。在一个靠近河流的展览场地，大量的书从二楼的窗口倾泻而出，任它日晒雨淋，或是随风吹到各处，为期3个月。
首次展览于”LIAF-罗弗敦国际艺术节 “
Installation
Lofoten International Art Festival (LIAF) was held in Svolvaer, Norway, a city located within the Arctic Circle. And the festival was open to public during polar days, a period of time when weather became extremely changeable. An enormous number of books were poured outside of a window on second floor of an exhibition building along a river. The book were exposed to sunshine or raining or taken away by winds. The show lasted for three months.
First displayed in LIAF-Lofoten International Art Festival 2008, Svolvaer, Norway.
罗弗敦国际艺术节地处挪威斯沃尔韦尔，位于北极圈以内，当时正出于极昼期，气候无常。在一个靠近河流的展览场地，大量的书从二楼的窗口倾泻而出，任它日晒雨淋，或是随风吹到各处，为期3个月。
首次展览于”LIAF-罗弗敦国际艺术节 “
Installation
Lofoten International Art Festival (LIAF) was held in Svolvaer, Norway, a city located within the Arctic Circle. And the festival was open to public during polar days, a period of time when weather became extremely changeable. An enormous number of books were poured outside of a window on second floor of an exhibition building along a river. The book were exposed to sunshine or raining or taken away by winds. The show lasted for three months.
First displayed in LIAF-Lofoten International Art Festival 2008, Svolvaer, Norway.
长征总闸
Long March General Electric Circuit Breaker
2008
装置
在长征空间“违章建筑”展览中，安装一个放大的总电闸，控制整个展厅的照明电源，让任何观众可以控制电源。
Installation
Longmarch Space
A considerably enlarged electric circuit breaker was installed in the show room of Building Code Violations ( Long March Space, 2008 ). Connected to lighting system of the entire show, it was subject to control of any visitors.
在长征空间“违章建筑”展览中，安装一个放大的总电闸，控制整个展厅的照明电源，让任何观众可以控制电源。
Installation
Longmarch Space
A considerably enlarged electric circuit breaker was installed in the show room of Building Code Violations ( Long March Space, 2008 ). Connected to lighting system of the entire show, it was subject to control of any visitors.
那雄那儿
Na Xiong Na Er
2007
单频录像
10:16:48
录像展示了高楼大厦以不断变化的节奏上上下下，镜头自然起落，与略微失焦的画面一并犹如一场爱情动作戏。与视觉运动并列的背景音则是女性的持续呻吟，声音高低起伏，与建筑的运动节奏协调吻合。全片临近结束，伴随高潮的是背景中的绚烂礼花。
相关展览：
NONO，
个人的态度，
2008 杨振中个展等
Video,single channel
10:16:48
In the video one follows a camera as it moves, at varying paces, up and down popular Shanghai skyscrapers. The camera is natural and unfocused, relevant to the overall theme of intercourse.The motion of the camera is juxtaposed to the sound of a woman moaning in the process of sex. As the woman’s voice gets faster and slower so does the motion of the camera on each building. The film finishes and the woman’s climax is illustrated with fireworks.
related exhibitions:
NONO,
Individual Position,
2008 Yang Zhenzhong Solo Exhibition, etc.
梦游疗法 III
Sleepwalking is a Therapy III
2007
单频录像
录像从一段黑暗中的喘息声开始，镜头冲出黑洞进入一个城市的日常场景，然后开始寻找下一个黑洞，反复地冲进嘈杂世界又不停地寻找喘息的黑洞。整段录像有二、三十个场景的切换，循环播放。
首次展览于NONO — 11 位艺术家自主策划的最新作品展, 长征空间, 北京, 中国。
Video, single channel
Every scene in the video begins and ends in black fadeouts, accompanied by the sound of a person breathing rapidly. After a blackout the camera sneaks into a scenario of urban daily life, wandering as attempting to find the next dark hole before entering the noisy city over and over again. Displayed in loop, the entire video are connected by twenty to thirty such scenes and blackouts in between.
First displayed in NoNo-Self -curated Exhibition of latest artworks by 11 individualartists, Long March Space, Beijing, China.
看店
Watching store
2006
事件、装置
2006
在展厅附近的一个小杂货店各个部位隐蔽安装六套摄像头，在展厅中安置监控室。展览期间（五天内）小店无人看管，并在展厅实时监控小店所发生的变化。
首次实施于“杭州“没事”当代艺术展”（杭州河坊街，2006）
Site specific art, event & installation
There is a little grocery store which closed to the exhibition hall was arranged for taking charge by nobody in the five days during the exhibition. Meantime, the visotor could watch the store from the monitors in the exhibiton hall, which conected to the six sensors hiding in the store.
First displayed in It’s All Right,Hangzhou,China(2006)
2006
在展厅附近的一个小杂货店各个部位隐蔽安装六套摄像头，在展厅中安置监控室。展览期间（五天内）小店无人看管，并在展厅实时监控小店所发生的变化。
首次实施于“杭州“没事”当代艺术展”（杭州河坊街，2006）
Site specific art, event & installation
There is a little grocery store which closed to the exhibition hall was arranged for taking charge by nobody in the five days during the exhibition. Meantime, the visotor could watch the store from the monitors in the exhibiton hall, which conected to the six sensors hiding in the store.
First displayed in It’s All Right,Hangzhou,China(2006)
垃圾筒
Trashcan
2006
装置
特制一些垃圾筒分散安装在张江各区不同人口密度的马路旁，以人性化的方式介入日常的科技园区生活。这种垃圾筒平时都在“睡觉”，并且持续发出打呼噜的声音，扔垃圾的开口是关上的。当行人想扔垃圾时，必须拍打它，把它叫醒，开口才自动张开并停止打呼。行人就可以往里扔垃圾。几分钟后，垃圾筒再次关闭，继续睡觉、打呼噜。
首次展览于“城市进行式／现场张江”（上海浦东张江高科技园，2006）
Installation
The trashcans specially made and placed on intersections of different densities as a way of entering into the daily life of the high-tech park in a humane way.
These trashcans are normally “asleep”, and make some snoring sounds, with their lids closed. When someone wants to throw out a piece of trash, they must hit the trashcan, waking it up, whereupon it opens its mouth and stops yawning. Pedestrians can throw their trash inside. After several minutes, the trashcan closes again, continuing to sleep and yawn.
First displayed in City in Progress / Live from Zhang Jiang,Zhang Jiang High-Tech Park,Shanghai,China(2006)
特制一些垃圾筒分散安装在张江各区不同人口密度的马路旁，以人性化的方式介入日常的科技园区生活。这种垃圾筒平时都在“睡觉”，并且持续发出打呼噜的声音，扔垃圾的开口是关上的。当行人想扔垃圾时，必须拍打它，把它叫醒，开口才自动张开并停止打呼。行人就可以往里扔垃圾。几分钟后，垃圾筒再次关闭，继续睡觉、打呼噜。
首次展览于“城市进行式／现场张江”（上海浦东张江高科技园，2006）
Installation
The trashcans specially made and placed on intersections of different densities as a way of entering into the daily life of the high-tech park in a humane way.
These trashcans are normally “asleep”, and make some snoring sounds, with their lids closed. When someone wants to throw out a piece of trash, they must hit the trashcan, waking it up, whereupon it opens its mouth and stops yawning. Pedestrians can throw their trash inside. After several minutes, the trashcan closes again, continuing to sleep and yawn.
First displayed in City in Progress / Live from Zhang Jiang,Zhang Jiang High-Tech Park,Shanghai,China(2006)
我有一个梦
I Have a Dream
2006
声音装置
演讲台上有一个话筒，观众可以对着话筒任意说话。他说话的声音被实时转换成一群人的声音。
首次展览于“38个个展”
Sound installation2006
Visitors are invited to speak in to the microphone. Individual voices are then transformed by the microphone into the sound of many people speaking.
First displayed in 38 Solo Exhibition,2577 Creative Garden,Shanghai,China.
演讲台上有一个话筒，观众可以对着话筒任意说话。他说话的声音被实时转换成一群人的声音。
首次展览于“38个个展”
Sound installation2006
Visitors are invited to speak in to the microphone. Individual voices are then transformed by the microphone into the sound of many people speaking.
First displayed in 38 Solo Exhibition,2577 Creative Garden,Shanghai,China.
自行车保健操 II
Cycle Aerobics II
2005
数码摄影
100×100mm x8
首次展览于“逼真”（北京泰康顶层空间，2005）
Digital photograph2005
100×100mm x8
First displayed in True to Life,Top Space Gallery,Beijing,China(2005)
100×100mm x8
首次展览于“逼真”（北京泰康顶层空间，2005）
Digital photograph2005
100×100mm x8
First displayed in True to Life,Top Space Gallery,Beijing,China(2005)
塑料花
Plastic Flower
2005
事件,装置
召集志愿者在QQ或MSN上与陌生的异性聊天，并约对方见面。来赴约的网友最后发现参观了一个展览，并且他们的聊天纪录都被打印出来悬挂在展览上。
展览：出事了
Event&installation
Volunteers chat with strangers on QQ and MSN, and make a date to meet each other. When chat-pals go to the rendezvous point, they find out that they are in an exhibition, where their chatting records are shown.
召集志愿者在QQ或MSN上与陌生的异性聊天，并约对方见面。来赴约的网友最后发现参观了一个展览，并且他们的聊天纪录都被打印出来悬挂在展览上。
展览：出事了
Event&installation
Volunteers chat with strangers on QQ and MSN, and make a date to meet each other. When chat-pals go to the rendezvous point, they find out that they are in an exhibition, where their chatting records are shown.
把开心进行到底
Let’s Carry the Happiness until the End
2005
短信、录像互动装置
任何人的手机都是这个录像装置的遥控器。现场观众和场外观众都可以通过发短信来和录像中的女孩互动；观众每发一条短信，女孩就说一个笑话。
首次展览于“第二届广州三年展－别样：一个特殊的现代化实验空间”（广东美术馆）
SMN, video interactive installation
Anybody’s mobile phone is a controller of this video device. Audience can interact with the girl in the video via sending message. Every time a message is sent, the girl will tell a joke.
First displayed in The Second Guangzhou Triennial - BEYOND: an extraordinary space of experimentation for modernization, Guangdong Museum of Art, Guangzhou, China.
任何人的手机都是这个录像装置的遥控器。现场观众和场外观众都可以通过发短信来和录像中的女孩互动；观众每发一条短信，女孩就说一个笑话。
首次展览于“第二届广州三年展－别样：一个特殊的现代化实验空间”（广东美术馆）
SMN, video interactive installation
Anybody’s mobile phone is a controller of this video device. Audience can interact with the girl in the video via sending message. Every time a message is sent, the girl will tell a joke.
First displayed in The Second Guangzhou Triennial - BEYOND: an extraordinary space of experimentation for modernization, Guangdong Museum of Art, Guangzhou, China.
灯箱
Light Box
2005
摄影，照相机绘画
艺术家设计了一个连接照相机的画笔装置，当夜晚面对灯景作画时，照相机所拍摄下来的风景照中所有的灯都将变成所绘图案、文字的景观。
首次展览于“让一些念头被看见”（杭州师范大学当代艺术馆）
Photograph, drawing by camera
The artist devised the installation of a paint brush connected to a camera.When the brush is used at night,the camera captures all lights,rendering a spectacle of what is painted and written.
First displayed in Let Some Ideas be Seen,Hangzhou,China
艺术家设计了一个连接照相机的画笔装置，当夜晚面对灯景作画时，照相机所拍摄下来的风景照中所有的灯都将变成所绘图案、文字的景观。
首次展览于“让一些念头被看见”（杭州师范大学当代艺术馆）
Photograph, drawing by camera
The artist devised the installation of a paint brush connected to a camera.When the brush is used at night,the camera captures all lights,rendering a spectacle of what is painted and written.
First displayed in Let Some Ideas be Seen,Hangzhou,China
我会死的/意大利语
I Will Die/Italian
2005
“我会死的”项目从2000年开始持续至今，点击进入项目。
The "I Will Die" project started in 2000 and is still ongoing today, click to enter the project.
录像 23‘55“ 罗马/那波利
不同年龄，不同身份的人面对摄像机说：“我会死的”。
video 23‘55“ Rome/Napoli
People of different ages and status make the statement: “I will die”.
身世
Life Experience
2004
表演 照片口述
15个快递员分别在快递展览时，出示他的家庭照片并向观众介绍他自己的身世。
首次展览于2004年上海＂快递＂展。
Performance
15 couriers show photos of their family and introduce their life’s experiences to the audience. Artwork shown in the “Courier” exhibition, in 2004
First displayed in Dial 62761232:Express Art Exhibition,Shanghai,China
15个快递员分别在快递展览时，出示他的家庭照片并向观众介绍他自己的身世。
首次展览于2004年上海＂快递＂展。
Performance
15 couriers show photos of their family and introduce their life’s experiences to the audience. Artwork shown in the “Courier” exhibition, in 2004
First displayed in Dial 62761232:Express Art Exhibition,Shanghai,China
西安动物园公共汽车站
Xi-An Zoo Bus Stop
2004
装置
在西安动物园公共汽车站边上，仿制椅个外观与真车站一模一样的假车站；假车站上的所有信息包括城市地图、站牌都时错误百出。几天后，因市民投诉、媒体曝光，该车站被迫拆除。
首次展览于“什么艺术”展（西安）
Site specific art, installation
A fake bus stop is displayed beside a real bus stop at Xi-An Zoo. It resembles the real one exactly, but all the information on it, including the map, is completely incorrect.A couple of days later the stop was forced to be removed under the complaints of citizens and report of mass media.
First displayed in Is It Art?-Black Show,Noanoa Center,Xi’an,China
在西安动物园公共汽车站边上，仿制椅个外观与真车站一模一样的假车站；假车站上的所有信息包括城市地图、站牌都时错误百出。几天后，因市民投诉、媒体曝光，该车站被迫拆除。
首次展览于“什么艺术”展（西安）
Site specific art, installation
A fake bus stop is displayed beside a real bus stop at Xi-An Zoo. It resembles the real one exactly, but all the information on it, including the map, is completely incorrect.A couple of days later the stop was forced to be removed under the complaints of citizens and report of mass media.
First displayed in Is It Art?-Black Show,Noanoa Center,Xi’an,China
CC画廊
CC Gallery
2004
装置
CC画廊制作和出售世界各地当代著名摄影艺术家作品。从网络下载世界各地当代著名摄影艺术家作品，按照原尺寸放大出售。
Event, installation
Photographic reproductions of work by internationally famous artists were produced and sold.All the photographic works that were sold by CC Gallery were download from the internet, and printed at the original size.
CC画廊制作和出售世界各地当代著名摄影艺术家作品。从网络下载世界各地当代著名摄影艺术家作品，按照原尺寸放大出售。
Event, installation
Photographic reproductions of work by internationally famous artists were produced and sold.All the photographic works that were sold by CC Gallery were download from the internet, and printed at the original size.
围
Surrounded
2004
录像装置
艺术家设计了一个8台摄像机同时工作的360度环形录像拍摄装置。拍摄时，他坐在拍摄装置的轮椅上，位于一圈围着他的人群的中心点；他不断地试图向外冲出包围圈，又不断地被周围的人推回中心点；8台摄像机同时拍下这椅过程。8个录像投影同步播放呈现在环形展厅。
首次展出于”道与魔：里里外外”（法国里昂当代美术馆，2004）
Video installation
An installation devised with 8 video cameras capable of capturing 360-degree panorama.During filming, the artist sits one the wheelchair and is placed in the center of a circle of people surrounding him.While the artist deeps trying to dash out of the circle, he ends up being pushed back to the center over an over again.8 cameras work simultaneously and record this process.Finally the images are displayed synchronically in a round-shaped show room.
First displayed in Le Moine et Le Demon, Musee d’Art Contemporain de Lyon,France(2004)
艺术家设计了一个8台摄像机同时工作的360度环形录像拍摄装置。拍摄时，他坐在拍摄装置的轮椅上，位于一圈围着他的人群的中心点；他不断地试图向外冲出包围圈，又不断地被周围的人推回中心点；8台摄像机同时拍下这椅过程。8个录像投影同步播放呈现在环形展厅。
首次展出于”道与魔：里里外外”（法国里昂当代美术馆，2004）
Video installation
An installation devised with 8 video cameras capable of capturing 360-degree panorama.During filming, the artist sits one the wheelchair and is placed in the center of a circle of people surrounding him.While the artist deeps trying to dash out of the circle, he ends up being pushed back to the center over an over again.8 cameras work simultaneously and record this process.Finally the images are displayed synchronically in a round-shaped show room.
First displayed in Le Moine et Le Demon, Musee d’Art Contemporain de Lyon,France(2004)
睁一只眼闭一只眼
Turning a blind eye
2003
油画
画一根柱子的四面，在一定的角度上可以看到这个柱子消失了。
首次展览于“讨厌”绘画展（上海比翼艺术中心）
Oil painting on the wall
Each side of a column is painted to resemble their respective backgrounds so that the column “disappears” from certain angles.
First displayed in Nasty:Painting,BizArt Center,Shanghai,China
画一根柱子的四面，在一定的角度上可以看到这个柱子消失了。
首次展览于“讨厌”绘画展（上海比翼艺术中心）
Oil painting on the wall
Each side of a column is painted to resemble their respective backgrounds so that the column “disappears” from certain angles.
First displayed in Nasty:Painting,BizArt Center,Shanghai,China
春天的故事
Spring Story
2003
录像 13:05
本片作为西门子公司艺术项目内部文化交流处“他们在干什么？” 系列项目的一部分，拍摄了上海西门子移动通讯有限公司一千五百多员工合作朗诵对中国经济改革开放具有重要意义的《邓小平南巡讲话》。
模仿工厂流水线的作业方式，杨振中把“邓小平南巡讲话”拆解为短句，并请每位工人在镜头前说出由短句分配而成的字词，最终重新组成那篇讲话。
video 13:05
This video is part of the project series “What are they doing here?” by the Internal Cultural Communications Department of Siemens Arts Program.
It was shot in cooperation with over 1,500 employees of Siemens Shanghai Mobile Communications Ltd, who recited the Deng Xiaoping’s “Southern Tour Speech”.
Mimicking the workings of a factory assembly line, Yang Zhenzhong breaks down the "Deng Xiaoping's Southern Tour Speech" into short sentences and asks each worker to say the words assigned to the short sentences in front of the camera, eventually reconstructing the speech.
后来爱迪生的直流电输给了交流电
Then Edison’s Direct Current was surrendered to the Alternating Current
2003
装置
在这组装置中，6部按摩椅被剥除光鲜表皮和柔软填充物，形态酷似电刑椅：通电时，按摩椅各自进行揉捏、轻敲等机械动作，共同产生了有力甚至富有欢快节奏的声响。
首次展览于“二手现实”（北京今日美术馆）
Installation
This installation consists of six massage chairs whose exteriors are peeled away and soft fillings removed,consequently resembling a row of electric chairs.Once turned on,they begin automatically and respectively to knead and pat,producing a string of rhythmic sounds,powerful and even delightfully energetic.
First displayed in Second Hand Reality Contemporary Art Exhibition,Today Art Gallery,Beijing,China(2003)
在这组装置中，6部按摩椅被剥除光鲜表皮和柔软填充物，形态酷似电刑椅：通电时，按摩椅各自进行揉捏、轻敲等机械动作，共同产生了有力甚至富有欢快节奏的声响。
首次展览于“二手现实”（北京今日美术馆）
Installation
This installation consists of six massage chairs whose exteriors are peeled away and soft fillings removed,consequently resembling a row of electric chairs.Once turned on,they begin automatically and respectively to knead and pat,producing a string of rhythmic sounds,powerful and even delightfully energetic.
First displayed in Second Hand Reality Contemporary Art Exhibition,Today Art Gallery,Beijing,China(2003)
轻而易举II
Light as Fuck II
2003
录像 1分钟反复播放
艺术家颠倒了一段在外滩拍摄的城市景观录像，把城市的重要建筑头朝下，底朝天的举了起来，顶了手指上玩平衡游戏。
首次展览于”自制天堂“,Le Parvwis当代艺术中心，波城，法国
Video, 1 min, loop2003
When the sights in a city no longer bear the historical significance, its images in my memory will become more and more misty (light). Such cities, like Shanghai, make people feel excited and depressed.”–Yang ZhenzhongThen
First displayed in Fabricated Paradises,Le Parvis centre d’art contemporain,Pau,France
艺术家颠倒了一段在外滩拍摄的城市景观录像，把城市的重要建筑头朝下，底朝天的举了起来，顶了手指上玩平衡游戏。
首次展览于”自制天堂“,Le Parvwis当代艺术中心，波城，法国
Video, 1 min, loop2003
When the sights in a city no longer bear the historical significance, its images in my memory will become more and more misty (light). Such cities, like Shanghai, make people feel excited and depressed.”–Yang ZhenzhongThen
First displayed in Fabricated Paradises,Le Parvis centre d’art contemporain,Pau,France
我会死的/英语
I Will Die/English
2003
“我会死的”项目从2000年开始持续至今，点击进入项目。
The "I Will Die" project started in 2000 and is still ongoing today, click to enter the project.
录像，13’10”，洛杉矶/圣地亚哥
不同年龄，不同身份的人面对摄像机说：“我会死的”。
Video , 13’10”, San Diego/Los Angeles
People of different ages and status make the statement: “I will die”.
我吹！
Let’s Puff!
2002
录像装置
两个同步投影录像在一个黑暗空间中面对面投放(如图)。
A录像：拍摄一个人面对镜头吹气，控制吹气节奏或长或短。
B录像：拍摄外景，从外滩穿过南京路步行街，一段一段的倒退着拍。
后期编辑，将后退节奏与A录像吹气节奏同步相合.（每次吹气时画面快速退远）
2002上海双年展
2003威尼斯双年
Video iInstallation
Two synchronized videos project face to face in a dark space.
Video A shows a girl blowing air at the camera. The rhythm of the video is controlled by the length of every puff blown.
Video B follows the Bund to Nanjing Road in Shanghai shot backwards. It was then edited to be in synch with Video A: as the girl puffs, the scene moves back quickly as if the girl is pushing the Bund farther and father gradually.
2002, Shanghai Biennale;
2003, Venice Biennale
两个同步投影录像在一个黑暗空间中面对面投放(如图)。
A录像：拍摄一个人面对镜头吹气，控制吹气节奏或长或短。
B录像：拍摄外景，从外滩穿过南京路步行街，一段一段的倒退着拍。
后期编辑，将后退节奏与A录像吹气节奏同步相合.（每次吹气时画面快速退远）
2002上海双年展
2003威尼斯双年
Video iInstallation
Two synchronized videos project face to face in a dark space.
Video A shows a girl blowing air at the camera. The rhythm of the video is controlled by the length of every puff blown.
Video B follows the Bund to Nanjing Road in Shanghai shot backwards. It was then edited to be in synch with Video A: as the girl puffs, the scene moves back quickly as if the girl is pushing the Bund farther and father gradually.
2002, Shanghai Biennale;
2003, Venice Biennale
轻而易举
Light as Fuck
2002
摄影 2002
首次展览于“轻而易举！－杨振中个展”（上海比翼艺术中心，2002
Photo 2002
First displayed in 2002 Light as Fuck-Yang Zhenzhong Solo Show,Bizart Art Center,Shanghai,China
首次展览于“轻而易举！－杨振中个展”（上海比翼艺术中心，2002
Photo 2002
First displayed in 2002 Light as Fuck-Yang Zhenzhong Solo Show,Bizart Art Center,Shanghai,China
轻而易举I
Light as Fuck I
2002
录像 2002
首次展览于“轻而易举！－杨振中个展”（上海比翼艺术中心，2002
video 2002
First displayed in 2002 Light as Fuck-Yang Zhenzhong Solo Show,Bizart Art Center,Shanghai,China
首次展览于“轻而易举！－杨振中个展”（上海比翼艺术中心，2002
video 2002
First displayed in 2002 Light as Fuck-Yang Zhenzhong Solo Show,Bizart Art Center,Shanghai,China
梦游疗法Ⅱ
Sleepwalking is a Therapy II
2002
（上海－汉城－东京-北京）录像装置 2002
录制反复沉入水中憋气、再出水呼吸的声音。影像部分是拍摄街道、人流、身体等各种公共和私人空间。
每一段影像在拍摄过程中都是从场景中的黑洞或阴影开始，再从黑洞或阴影中离开场景，再把很多这样的段落自然连接在一起。和声音部分编辑在一起后，每一段影像黑色的间隙都是出水呼吸的声音。
(Shanghai-Seoul-Tokyo-BeiJin)Video installation 2002
Installation: rear-screen projection that has to be viewed from holes those are very close to the screen.
Sound：Looped recording of someone drowning under water and trying to catch his breath out of water.
Video Image: Shots of different public and private spaces, such as the street, crowds, bodies etc. Every scene begins and ends in black fadeouts, comprising a series. During every black fadeout, the sound of a person trying to catch his breath out of water can be heard. As if he could get the breath in the dark.
录制反复沉入水中憋气、再出水呼吸的声音。影像部分是拍摄街道、人流、身体等各种公共和私人空间。
每一段影像在拍摄过程中都是从场景中的黑洞或阴影开始，再从黑洞或阴影中离开场景，再把很多这样的段落自然连接在一起。和声音部分编辑在一起后，每一段影像黑色的间隙都是出水呼吸的声音。
(Shanghai-Seoul-Tokyo-BeiJin)Video installation 2002
Installation: rear-screen projection that has to be viewed from holes those are very close to the screen.
Sound：Looped recording of someone drowning under water and trying to catch his breath out of water.
Video Image: Shots of different public and private spaces, such as the street, crowds, bodies etc. Every scene begins and ends in black fadeouts, comprising a series. During every black fadeout, the sound of a person trying to catch his breath out of water can be heard. As if he could get the breath in the dark.
24:30 当代艺术家交流展 , 比翼艺术中心, 上海
24:30 Contemporary Art Exhibition , Bizart Art Center, Shanghai, China
背投影，观众从洞中近距离观看。
Installation: rear-screen projection that has to be viewed from holes those are very close to the screen.
Installation: rear-screen projection that has to be viewed from holes those are very close to the screen.
施工中: 亚洲当代艺术展 , 日本国际交流基金/东京歌剧院画廊, 日本东京
Under Construction: New Dimensions of Asian Art , Tokyo Opera City Art Gallery, Tokyo, Japan
Under Construction: New Dimensions of Asian Art , Tokyo Opera City Art Gallery, Tokyo, Japan
我会死的/日语
I Will Die/Japanese
2002
“我会死的”项目从2000年开始持续至今，点击进入项目。
The "I Will Die" project started in 2000 and is still ongoing today, click to enter the project.
录像, 8’58”，东京
不同年龄，不同身份的人面对摄像机说：“我会死的”。
Video , 8’58”, Tokyo
People of different ages and status make the statement, “I will die”.
如果你养了一只鹦鹉，你教他（她）说什么？
If you have a parrot, what words would you teach him (her)?
2001
录像装置 2001
拍摄不同的人用短句回答这个问题“如果你养了一只鹦鹉，你教他（她）说什么？”，画面中只出现说话的嘴。展览时在播放录像的监视器上豢养一只鹦鹉，现场教授。
首次展览于“附体：摄影和录像”（杭州，2011）
Video installation 2001
In this film the artist has recorded multiple people answering the same question:”if you had a parrot what would you teach him to say?”When watching the video one can only see the mouth of the person speaking,and can only hear the words or phrases each participant chose.While on exhibition,the artist presented the video on a horizontally set monitor,on top of the monitor was placed a parrot.While the participants answer the question they also teach the parrot in reality.
First displayed in Mantic Ecstasy,Digital Image and Video Art(Hangzhou,2001)
拍摄不同的人用短句回答这个问题“如果你养了一只鹦鹉，你教他（她）说什么？”，画面中只出现说话的嘴。展览时在播放录像的监视器上豢养一只鹦鹉，现场教授。
首次展览于“附体：摄影和录像”（杭州，2011）
Video installation 2001
In this film the artist has recorded multiple people answering the same question:”if you had a parrot what would you teach him to say?”When watching the video one can only see the mouth of the person speaking,and can only hear the words or phrases each participant chose.While on exhibition,the artist presented the video on a horizontally set monitor,on top of the monitor was placed a parrot.While the participants answer the question they also teach the parrot in reality.
First displayed in Mantic Ecstasy,Digital Image and Video Art(Hangzhou,2001)
不要动
Don’t Move
2001.9.
录像装置 上海复兴公园
用十二种不同的运动方式拍摄同一张脸（上下、左右、前后、旋转、推拉、抖动、明暗、变焦等）被拍摄者不停的说“不要动”。现场十二台录象机、十二台电视机呈小弧型排列，十二台电视机声道同时打开。
首次展览于“港口”当代艺术展（上海复兴公园）
Video installation, Fuxing Park, Shanghai
This video shows a man saying “Don’t move” by shooting with 12 different movement of camera.Installation: 12 TV monitor arranged in small radian, 12 sound channels playing in synch.
First displayed in Homeport,Fuxing Park,Bizart Art Center,Shanghai,China.
用十二种不同的运动方式拍摄同一张脸（上下、左右、前后、旋转、推拉、抖动、明暗、变焦等）被拍摄者不停的说“不要动”。现场十二台录象机、十二台电视机呈小弧型排列，十二台电视机声道同时打开。
首次展览于“港口”当代艺术展（上海复兴公园）
Video installation, Fuxing Park, Shanghai
This video shows a man saying “Don’t move” by shooting with 12 different movement of camera.Installation: 12 TV monitor arranged in small radian, 12 sound channels playing in synch.
First displayed in Homeport,Fuxing Park,Bizart Art Center,Shanghai,China.
我会死的/法语
I Will Die/French
2001
“我会死的”项目从2000年开始持续至今，点击进入项目。
The "I Will Die" project started in 2000 and is still ongoing today, click to enter the project.
录像，7‘07“，布鲁塞尔
不同年龄，不同身份的人面对摄像机说：“我会死的”。
Video, 7‘07“, Brussels
People of different ages and status make the statement, “I will die”.
我会死的/荷兰语
I Will Die/Dutch
2001
“我会死的”项目从2000年开始持续至今，点击进入项目。
The "I Will Die" project started in 2000 and is still ongoing today, click to enter the project.
录像，7‘59“，布鲁塞尔
不同年龄，不同身份的人面对摄像机说：“我会死的”。
Video, 7‘59“, Brussels
People of different ages and status make the statement, “I will die”.
我会死的/韩语
I Will Die/Korean
2001
“我会死的”项目从2000年开始持续至今，点击进入项目。
The "I Will Die" project started in 2000 and is still ongoing today, click to enter the project.
录像，7’34”，首尔
不同年龄，不同身份的人面对摄像机说：“我会死的”。
Video , 7’34”, Seoul
People of different ages and status make the statement, “I will die”.
五步蛇
A Living Viper
2000.8.
彩色复印 尺寸：A3
用彩色复印机复印一条五步蛇。
首次展览于“惰性与伪装：纸上作品展”（上海油雕院，2000）
Colours photocopy Size: A3
Copy a Living viper with a Color Copy Machine.
The work was first displayed in nertia&Mask:Works on Paper,Shanghai Oil Painting&Sculpture Institute,Shanghai,China(2000)
用彩色复印机复印一条五步蛇。
首次展览于“惰性与伪装：纸上作品展”（上海油雕院，2000）
Colours photocopy Size: A3
Copy a Living viper with a Color Copy Machine.
The work was first displayed in nertia&Mask:Works on Paper,Shanghai Oil Painting&Sculpture Institute,Shanghai,China(2000)
我会死的/
I Will Die/Chinese
2000
“我会死的”项目从2000年开始持续至今，点击进入项目。
The "I Will Die" project started in 2000 and is still ongoing today, click to enter the project.
录像，11’38”，上海/杭州
不同年龄，不同身份的人面对摄像机说：“我会死的”。
Video, 11’38”, Shanghai/Hangzhou
People of different ages and status make the statement, “I will die”.
922颗米
922 Rice Corns
2000
录像，
07:59
内容：一只公鸡和一只母鸡吃完一堆米，通过数他们点头的次数，得出这一堆米有多少颗。
配音：男声数公鸡点头的次数；女声数母鸡点头的次数。
字幕：左边的字幕随公鸡点头的次数同步跳数；右边的字幕随母鸡点头的次数同步跳数；中间的字幕数值时总数。
首次展览于2000年都林双年展，都林，意大利
Video, 07:59
Content:A cockerel and a hen peck at a small mound of rice on the ground. Each peck prompts three digital read outs at the bottom of the screen to tickers on the bottom of the screen to display the exact number of grains eaten.
SOUND:Male and female voiceover count accordingly.
SUBTITLES:The left is for the cockerel, the right for the hen, and the middle one indicates their combined total.
First displayed in BIG Torino 2000,Torino,Italy
内容：一只公鸡和一只母鸡吃完一堆米，通过数他们点头的次数，得出这一堆米有多少颗。
配音：男声数公鸡点头的次数；女声数母鸡点头的次数。
字幕：左边的字幕随公鸡点头的次数同步跳数；右边的字幕随母鸡点头的次数同步跳数；中间的字幕数值时总数。
首次展览于2000年都林双年展，都林，意大利
Video, 07:59
Content:A cockerel and a hen peck at a small mound of rice on the ground. Each peck prompts three digital read outs at the bottom of the screen to tickers on the bottom of the screen to display the exact number of grains eaten.
SOUND:Male and female voiceover count accordingly.
SUBTITLES:The left is for the cockerel, the right for the hen, and the middle one indicates their combined total.
First displayed in BIG Torino 2000,Torino,Italy
自行车保健操I
Cycle Aerobics I
1999
Cycle Aerobics I
1999
摄影
52.5×42mm x8
首次展览于“物是人非”摄影展（上海天钥桥路859号）
Photograph
52.5×42mm x8
First displayed in The Same but also Changed-Photography Exhibition,Shanghai,China.
52.5×42mm x8
首次展览于“物是人非”摄影展（上海天钥桥路859号）
Photograph
52.5×42mm x8
First displayed in The Same but also Changed-Photography Exhibition,Shanghai,China.
你所忍耐的不能被你的忍耐消除
What You Endure can not be Dispelled by Your Enduring
1999
录像, 10’
跟踪拍摄一男子在人流拥挤的闹市区急走，到处寻找厕所，最后终于解决了内急。
首次展览于不合作方式，上海，1999
Video, 10‘
The camera follows a man frantically running through crowds,looking for a toilet,and relieves himself finally.
First displayed in Fuck Off,Shanghai,China(1999)
跟踪拍摄一男子在人流拥挤的闹市区急走，到处寻找厕所，最后终于解决了内急。
首次展览于不合作方式，上海，1999
Video, 10‘
The camera follows a man frantically running through crowds,looking for a toilet,and relieves himself finally.
First displayed in Fuck Off,Shanghai,China(1999)
上海的脸
Shanghai Face
1999
录像装置
摄像机前挂一小面具，在上海人流最拥挤的南京路和西藏路路口环形天桥上，绕行拍摄。投影录像透过水投射到天花板上的投影屏上，声音信号通过电子转换器震动玻璃缸中的水。影像间歇的随着水的波动而破碎变形。
首次展览于“超市艺术展”（上海广场）
Video installation
Filmed above the crowds on the bridge at the intersection of Nanjing Road and Xizang Road in Shanghai, the scene is viewed through the eyes of a mask that is placed in front of the camera.
The video is then projected from underwater filled glass pan to a screen on the ceiling. The installation is set up in such a way that the vibrations emitted from the soundtrack will disrupt the surface of the water, which in turn disrupts the projected image.
First displayed in Art for sale,Shanghai Plaza,Shanghai,China.
摄像机前挂一小面具，在上海人流最拥挤的南京路和西藏路路口环形天桥上，绕行拍摄。投影录像透过水投射到天花板上的投影屏上，声音信号通过电子转换器震动玻璃缸中的水。影像间歇的随着水的波动而破碎变形。
首次展览于“超市艺术展”（上海广场）
Video installation
Filmed above the crowds on the bridge at the intersection of Nanjing Road and Xizang Road in Shanghai, the scene is viewed through the eyes of a mask that is placed in front of the camera.
The video is then projected from underwater filled glass pan to a screen on the ceiling. The installation is set up in such a way that the vibrations emitted from the soundtrack will disrupt the surface of the water, which in turn disrupts the projected image.
First displayed in Art for sale,Shanghai Plaza,Shanghai,China.
印迹
Trace
1998
录像装置
电视机(29寸)、录像机、180分钟VHS录像.录像内容为一块伤筋膏药从皮肤上撕下的片断，重复拷贝，色调渐变。灯箱桌上是两张用药前后的皮肤照片，和膏药的实物，均被灯光透射。
首次展览于“晋元路310号”（上海）
Video installation
29′TV, 180 min VHS tape, with sound
This video shows a close-up of plaster being torn off hairy skin. As the scene repeats, the color gradually shifts through the entire color spectrum. Shown with the video installation on a table are before and after photos of the skin and the used piece of plaster itself.
First displayed in Jin Yuan Lu 310,Shanghai,China.
电视机(29寸)、录像机、180分钟VHS录像.录像内容为一块伤筋膏药从皮肤上撕下的片断，重复拷贝，色调渐变。灯箱桌上是两张用药前后的皮肤照片，和膏药的实物，均被灯光透射。
首次展览于“晋元路310号”（上海）
Video installation
29′TV, 180 min VHS tape, with sound
This video shows a close-up of plaster being torn off hairy skin. As the scene repeats, the color gradually shifts through the entire color spectrum. Shown with the video installation on a table are before and after photos of the skin and the used piece of plaster itself.
First displayed in Jin Yuan Lu 310,Shanghai,China.
平衡
Balance
1998
互动录像装置
三台电视机、一台录象机、一小监视器、一运动感应器.三台电视机均播放着艺术家自己微笑着的标准半身像；当有观众靠近中间的电视机时，该画面就自动切换成位观众的监视录像；他（她）会发现只有倾斜身体，才能得到直立的标准半身像，一如两旁的电视机中的画面。
首次展览于“杨振中：江南系列展之一”（加拿大温哥华Access艺术中心）
Video installationJiang.Nan, Access Gallery, Vancouver
Three monitors, a video machine, a little camera, a movement sensor.Three television sets display stimultaneously the artist maintaining a smile as if for standardized portrait photo.When audience approaches the monitor in the middle,the image is switched automatically to that of audience under surveilance.Soon s/he realized that a standardized portrait like these shown in the other two monitors only emerges when s/he leans his/her body to either side.
First displayed in”Jiang Nan“, Access Gallary/Vancouver
三台电视机、一台录象机、一小监视器、一运动感应器.三台电视机均播放着艺术家自己微笑着的标准半身像；当有观众靠近中间的电视机时，该画面就自动切换成位观众的监视录像；他（她）会发现只有倾斜身体，才能得到直立的标准半身像，一如两旁的电视机中的画面。
首次展览于“杨振中：江南系列展之一”（加拿大温哥华Access艺术中心）
Video installationJiang.Nan, Access Gallery, Vancouver
Three monitors, a video machine, a little camera, a movement sensor.Three television sets display stimultaneously the artist maintaining a smile as if for standardized portrait photo.When audience approaches the monitor in the middle,the image is switched automatically to that of audience under surveilance.Soon s/he realized that a standardized portrait like these shown in the other two monitors only emerges when s/he leans his/her body to either side.
First displayed in”Jiang Nan“, Access Gallary/Vancouver
梦游疗法 I
Sleepwalking is a Therapy I
1997.8.录像，30’
摄像机固定在一辆遥控模型汽车上，在一公寓房内地板上运动拍摄。连续拍摄不切换，现场录音。
首次展览于“97中国录像艺术观摩展”（北京）
Video, 30’
A video camera is fixed on a remote control car, which moves around the floor of an apartment. The images and sound are not edited.
First displayed in”Demonstration of Video Art’97” China, Beijing
摄像机固定在一辆遥控模型汽车上，在一公寓房内地板上运动拍摄。连续拍摄不切换，现场录音。
首次展览于“97中国录像艺术观摩展”（北京）
Video, 30’
A video camera is fixed on a remote control car, which moves around the floor of an apartment. The images and sound are not edited.
First displayed in”Demonstration of Video Art’97” China, Beijing
鱼缸
Fish Bowl
1996
录像装置
三台电视机(21″)、一台录像机、一只玻璃鱼缸、2.5×2.5cm方钢。鱼缸做成凹字形，凹处大小恰可放入电视机。三台电视机为垂直叠放。鱼缸注满水，放入4个小气泵。
录像内容：近摄一反复说“我们不是鱼”的嘴。
首次展览于“现象.影像：15位艺术家的录像作品展”（中国美术学院画廊）
Video installation1996
In a large fish bowl filled with water and 4 small water pumps, monitors are placed inside that show a human mouth repeating, “We are not fish”.
First displayed in “Image an Phenomena,96′Video Art Exhibition“(Gallery of China National Academy of Fine Arts,Hangzhou) Three monitors, a video machine, a concave glass fish bowl, iron.
三台电视机(21″)、一台录像机、一只玻璃鱼缸、2.5×2.5cm方钢。鱼缸做成凹字形，凹处大小恰可放入电视机。三台电视机为垂直叠放。鱼缸注满水，放入4个小气泵。
录像内容：近摄一反复说“我们不是鱼”的嘴。
首次展览于“现象.影像：15位艺术家的录像作品展”（中国美术学院画廊）
Video installation1996
In a large fish bowl filled with water and 4 small water pumps, monitors are placed inside that show a human mouth repeating, “We are not fish”.
First displayed in “Image an Phenomena,96′Video Art Exhibition“(Gallery of China National Academy of Fine Arts,Hangzhou) Three monitors, a video machine, a concave glass fish bowl, iron.
洗澡
Shower
1995
录像, 3:59
行为纪录改编成录像短片，配合诙谐的进行曲，片中的作者穿着衣服，十分认真地冲凉擦身洗澡。
首次展览于1999年，“观念.概念展”，上海
Video, 3:59
A video adapted from documentary of a performance. With the humorous march music, the guy who wears shirt, pants and hat is taking shower seriously.
First displayed in “Idea&Concepts“,Shanghai,China(1999)
行为纪录改编成录像短片，配合诙谐的进行曲，片中的作者穿着衣服，十分认真地冲凉擦身洗澡。
首次展览于1999年，“观念.概念展”，上海
Video, 3:59
A video adapted from documentary of a performance. With the humorous march music, the guy who wears shirt, pants and hat is taking shower seriously.
First displayed in “Idea&Concepts“,Shanghai,China(1999)
全家福
Lucky Family
1995
摄影，100x60cm, 60x60cmx3
首次展览于“中国当代摄影艺术展，新柏林艺术协会”。
Photograph, 100x60cm, 60x60cmx3
First displayed in “Contemporary Photo Art from China,NBK/Berlin“,Darmstad,Germany
首次展览于“中国当代摄影艺术展，新柏林艺术协会”。
Photograph, 100x60cm, 60x60cmx3
First displayed in “Contemporary Photo Art from China,NBK/Berlin“,Darmstad,Germany
祖堂
Grand Grandpa
1995.3.
摄影, 120×180mm
应“45度作为理由”方案交流活动所提交的作品。用近乎巫术的方式，臆想的配方，提取“人类祖先”猴子的精液作为主要原料，来制作一种治疗牙疼的特效药。
Photograph, 120×180mm
The artwork was submitted for a project entitled ”45 Degrees as a Reason”. The artist proposed to produce a miraculous medicine for toothache,using sperm of monkey as its major ingredient, for the animal being ancestor of humans. It is an imaginary formula devised in a manner bordering on witchcraft.
应“45度作为理由”方案交流活动所提交的作品。用近乎巫术的方式，臆想的配方，提取“人类祖先”猴子的精液作为主要原料，来制作一种治疗牙疼的特效药。
Photograph, 120×180mm
The artwork was submitted for a project entitled ”45 Degrees as a Reason”. The artist proposed to produce a miraculous medicine for toothache,using sperm of monkey as its major ingredient, for the animal being ancestor of humans. It is an imaginary formula devised in a manner bordering on witchcraft.
圣诞礼物
Christmas Gift
1994.12.25
摄影120×180mm1994.12.25
你知道吗？今天是圣诞节，是一个教人们相爱的圣人降生的日子。打我见到你的那天起，就想要带给你一个惊喜讨你的欢心，在这个日子里孩子们都应该得到一个童话老人的礼物，他不会让人失望。在这个时刻我相信它是你最愿意见到的，这是所有我们包括那个圣人到这来的第一餐，而你的经历如此奇特，太阳透过窗户洒在你身旁，圣诞快乐。
Photograph120×180mm1994.12.25
On Christmas Day of 1994, a Christmas gift-a wax-moulded breast, was presented to a dead infant who was exhibited in the pathological specimen room of a hospital.
你知道吗？今天是圣诞节，是一个教人们相爱的圣人降生的日子。打我见到你的那天起，就想要带给你一个惊喜讨你的欢心，在这个日子里孩子们都应该得到一个童话老人的礼物，他不会让人失望。在这个时刻我相信它是你最愿意见到的，这是所有我们包括那个圣人到这来的第一餐，而你的经历如此奇特，太阳透过窗户洒在你身旁，圣诞快乐。
Photograph120×180mm1994.12.25
On Christmas Day of 1994, a Christmas gift-a wax-moulded breast, was presented to a dead infant who was exhibited in the pathological specimen room of a hospital.
生日快乐
Happy Birthday
1994.11.26.摄影120×180mm
这天是阴天上午九点一刻我把蛋糕放在一个黑包里在湖滨坐上一辆红色夏利出租车穿过玉皇山隧道来到南山公墓十点零五分我找到了他的墓今天是你的生日祝你生日快乐我点上三株香把蛋糕打开放在墓前还有一些纸钱洒墓的周围正好现在公墓里没人你安静享用两只蚂蚁爬来你是否愿意和它们分享我没有管它们希望你能接受这是我最美的意愿打扫了些落叶我把纸钱烧了相逢何必曾相识现在是十一点三十分蛋糕就留在这里我走了
首次展览于“1994年11月26日作为理由”
Photograph120×180mm
The artwork was submitted for a project entitled”The Date 26 Nov.1994 as a Reason”.At Hangzhou Nanshan cemetery,the artist found a stranger who was born on the same date and held a birthday ceremony for him in front of his tomb,leaving a cake specially made of wax,eggs,flour,suger,spices and pigment.
First displayed in “The Date 26 Nov. 1994 as a Reason”: Conceptual collaboration work organized by Geng Jianyi with artists from Hangzhou-Shanghai-Beijing , Hangzhou, Shanghai, Beijing, China
这天是阴天上午九点一刻我把蛋糕放在一个黑包里在湖滨坐上一辆红色夏利出租车穿过玉皇山隧道来到南山公墓十点零五分我找到了他的墓今天是你的生日祝你生日快乐我点上三株香把蛋糕打开放在墓前还有一些纸钱洒墓的周围正好现在公墓里没人你安静享用两只蚂蚁爬来你是否愿意和它们分享我没有管它们希望你能接受这是我最美的意愿打扫了些落叶我把纸钱烧了相逢何必曾相识现在是十一点三十分蛋糕就留在这里我走了
首次展览于“1994年11月26日作为理由”
Photograph120×180mm
The artwork was submitted for a project entitled”The Date 26 Nov.1994 as a Reason”.At Hangzhou Nanshan cemetery,the artist found a stranger who was born on the same date and held a birthday ceremony for him in front of his tomb,leaving a cake specially made of wax,eggs,flour,suger,spices and pigment.
First displayed in “The Date 26 Nov. 1994 as a Reason”: Conceptual collaboration work organized by Geng Jianyi with artists from Hangzhou-Shanghai-Beijing , Hangzhou, Shanghai, Beijing, China