Simultaneous, 2022

Towards the World, 2022

Horizon, 2022

An Islander Who Hasn't Been to Kowloon, 2022

Choice, 2018

Goddess, 2018

Goddess, 2018

Xin Yunpeng
Goddess
2018
41 broken E Ink displays
16 x 451 cm
Xin Yunpeng’s Goddess comprises 41 broken Kindle screens aligned against a wall. The broken screens were damaged for different reasons by different people across different times, but all coincidentally share the same image now permanently fixed onto their broken surfaces – a woman standing under the moonlight. The visual nuances on each image are consequences of the screens being broken in different ways. The arbitrary damages made to each Kindle create a sense of personality within each identical image. By preserving the moment of damage, Xin unravels our sense of the present and our understanding of time.
辛雲鵬
《女神》
2018
41個破碎的電子墨水屏
16 x 451 cm
「女神」是一件由41件電子書閱讀器屏幕組成展示而來的藝術品。當閱讀器屏幕受外力所破壞,屏幕上的顯示畫面也隨之停頓凝結。而在閱讀器受到破壞的一瞬間,屏幕也會定格於辛雲鵬意圖為此展現的畫面:一位體態優雅的女人佇立在一弦彎月下。因著或抽像或具體的隨機毀壞,電子噪音也會隨著「女神」畫面而出現。這偶發的破壞揭示了每一幅貌似相像的畫面下的不同「性格」。一幅幅殘破的閱讀器屏幕被藝術家順著毀壞的次序靜默的列掛在牆上,使觀眾透過凝視其作品,而被喚醒這有如紀念碑般遺留下的存在和作品本不被關注的外觀下的可能性。在一刻歷史性的凝視中,「女神」從「破碎」的形體中誕生。

Faucet, 2018

Xin Yunpeng
Faucet​​​​​​​
2018
Dual channel video

02’35” each
Dimensions variable
Displayed here on two screen,18 x 31 cm each
Edition of 3 + 1 AP
In the production of this work, the artist records a single video of a faucet being turned on and off at various strengths. He then takes this video and splits it into two halves. Each half is played on a separate screen and is looped out-of-sync with the other.
辛雲鵬
《水龍頭》
2018
雙頻錄像
每段 02'35"
尺寸可變

顯示在兩個屏幕,每個18 x 31 cm
版數 3 + 1 AP
製作這段影像,藝術家拍攝了一段用不同力度開關水龍頭的影片。然後他把這段視頻並將其分成兩部分。每部分分別播映在單一屏幕,與另一個屏幕重複開水到水嘈。

Military Boxing, 2018

Xin Yunpeng
Military Boxing
2018
Dual channel video
02’01” each
Dimensions variable
Displayed here on two screen, 148 x 86 cm each
Edition of 3 + 1 AP
In the production of this work, the artist records a single video of middle school children practicing their military boxing. He then takes this video and splits it into two halves. Each half is played on a separate screen and is looped out-of-sync with the other. In this piece, the screens are separated from one another, leaving space between them.
辛雲鵬
《軍體拳》
2018
雙頻錄像
每段02’01”
尺寸可變
顯示在兩個屏幕,每個148 x 86 cm
版數:3版 + 1 AP
製作這段影像,藝術家拍攝了一段用不同力度開關軍體拳的影片。然後他把這段視頻並將其分成兩部分。每部分分別播映在單一屏幕,與另一個屏幕重複開水到水嘈。

Mother, 2017

Xin Yunpeng
Mother
2017
Film installation, single channel video, HD, color, audio, 1:1.33 frame, double-channel stereo, two near-field monitoring speakers, two far-field monitoring speakers, speaker stands, soundproof materials, etc.
11’34”
Dimensions variable
Edition of 1 + 1 APs 
Displayed in a pitch-black room designed to create an immersive sound environment, the video featured is taken from a fixed camera, which, in a single long-take, recorded a thunderstorm outside a window. For all but the final moment of the film, the viewers are left to wonder what story might explain the audio they are experiencing: a quiet whispering voice, creaking bed springs, occasional bursts of thunder, and the soft pitter-patter of rain. In the final moments of the video, viewers see the reflection of the artist in the window as he enters the room. He then says, “ Mom, have you finished the prayer? It’s almost stopped raining. I should go now.”
辛雲鵬
《母親》
2017
單頻影像,HD,彩色,有聲,1:1.33畫框,雙聲道立體聲,近場監聽音箱2支,遠場監聽音箱2支,音響支架,吸音材料等
11’34”
尺寸可變
版數1 +1 AP
影像放映在漆黑的房間營造精緻細膩的監聽環境。影像使用固定鏡頭,透過窗戶拍攝一段雷雨的長鏡頭。除影像的最後時刻之外的所有時間,長鏡頭與完整的敘事讓觀眾想知道故事或會解釋他們正在聽到的音響:一把靜靜低語的聲音、吱吱作響的床的彈簧、偶爾會有的陣陣雷聲,還有劈劈啪啪的雨聲。在影像最後的片段,觀眾在窗戶看到藝術家的倒影走進房間。他說:「媽,禮完啦?雨差不多停了,我要走了啊。」

Progress, 2017

Xin Yunpeng
Progress
2017
Dual channel video

8'21"
Xin Yunpeng recorded objects in parallel movement on a tableware-recycling device (similar to a conveyor belt for sushi) and displays the resultant video on a customized doubled-screen device forming what he calls “two consecutive patterns.” Although the videos on each side are identical, they play at different times and therefore convey an illusion of continuity. This illusion, combined with spatial logic and the progressive movement from left to right, create the effect of a montage. The isolation of the two screens produced a visual illusion of “Progress.”
辛雲鵬
《進步》
2017
雙頻視頻
8'21"
藝術家將同一錄像畫面(類似於迴轉壽司一樣平行運動的宜家回收餐具設備)這種軌道上平行運動物體的影像分別錄入到定制的雙屏幕內,形成圖像上的“二方連續”。雖然左右兩邊的影像是完全一致的但通過播放時間上的錯位使畫面內容在左右兩個屏幕之間的運動具有連續性的錯覺。這種錯覺鏈接著空間的邏輯,從左到右的排列遞進運動構成了“蒙太奇”的效應。雙屏幕之間的孤立因為作者的意圖產生“進步”的視覺假象。

144m2, 2017

Xin Yunpeng
144m2
2017
Muslim Carpet
200 x 160 cm
For 144m2, Xin references his Islamic Hui roots by layering a large Islamic style carpet for Salah onto a room of the gallery. The carpet not only lies on the floor but also runs across the walls. As the carpet is too big for the space, it completely engulfs the room. Xin plays again with questions of space and borders. The carpet’s design also hints at another interpretation: patterned across the carpet is a series of doors that traditionally dictated the position of prayer towards Mecca and the Kaaba. However, upon entering this room, the viewer becomes disorientated and loses the sense of spatiality that the carpet usually provides. This spatial confusion directs the viewer to Xin’s ruminations on the propensity of spaces and borders, both physical and nonphysical, dictating our behavior and fostering interpersonal difference.
辛雲鵬
《144平方米》
2017
穆斯林地毯
200 x 160 cm
至於作品《144平方米》,辛雲鵬追溯了他伊斯蘭教回族的根源,並把一張巨大的伊斯蘭教禮拜毯放置在畫廊的一個展廳內。由於地毯比該空間體量大得多,使它完全吞噬了房間,為此這張地毯不僅鋪滿了整個地面並覆蓋了周圍的牆體。辛雲鵬於此再次提出空間與邊界的問題。另外,地毯的設計暗含另一種解釋,貫穿於地毯中的圖案是一系列傳統上決定祈禱者朝向麥加(Mecca)和克爾白(Kaaba)之方位的門道。然而,當進入這個房間時觀者開始迷失方向,進而失去了地毯往往能夠給予的空間感。這樣一種空間上的迷惑把觀者引向辛雲鵬對可影響我們行為並促成人與人之差異的,空間和邊界之物質與非物質習性的深思。

Left and Right, Hesitation, 2017

Xin Yunpeng
Left and Right, Hesitation
2017
Dual channel video
10'43"
Edition of 3 + 1 AP
Left and Right, Hesitation is a single recording (window curtains moved by the wind) played on a customized double-screen and begun at the same time. Yet, due to errors in the signal, it is difficult to ensure the two screens continue to play at the same time. When outer forces do not disturb the curtains, they visually appear to be in the same time and in the same moment, however when the wind blows the curtains and breaks the state of still motion, the differences between the two screens are shown. By splitting the same picture into a multiple-screen device Xin Yunpeng puts movement and time in a binary relationship. This departure between time and the standard of way watching conveys the Eastern non-eschatological concept of time.
辛雲鵬
《左右猶豫》
2017
雙頻影像
10'43"

3版 + 1 AP
藝術家將同一錄像內容(一扇左右對開的窗簾被風吹動的畫面)分開在兩個定制的屏幕內同時播放,因為電信號的誤差,無法保障左右屏幕播放時間上的一致。當影片中的窗簾沒有受到外界的干擾時,在視覺上是同一時間內的同一時刻的存在,而當一陣風吹拂起窗簾從而打破了畫面的靜止狀態,左右畫面的時差被顯現出來。辛雲鵬通過多屏幕的錄像裝置將同一畫面分割並將運動與時間感放置於這種左右的二元的關係中,這種時間感出離於現實鐘錶時刻的標準,蘊含著東方非末日論的時間觀念。

Two Roads, Two Mountains No.1, 2017

Xin Yunpeng
Two Roads, Two Mountains No.1
2017
Oil on canvas
200 x 160 cm
Two Roads, Two Mountains No.1 is a set of canvas panels installed in the main space of the gallery. In creating these works, Xin first attached the canvases to corrugated metal panels, commonly used to cordon off construction sites and as other forms of physical separations. He then scraped paint down the face of the canvas, transferring the rust and marks from the metal onto the canvas. As signifiers of borders, these painted panels create two roads and two spaces, one in which the viewer can walk and the other beyond reach. Not visible but the presence of which is nonetheless signified.
辛雲鵬
《兩條路兩座山 No.1》
2017
布面丙烯
200 x 160 cm
《兩條路兩座山》是一組安裝在畫廊主空間內的布面油畫。在創作這些作品時,辛雲鵬先將帆布覆蓋在尋常用於隔離建築工地和用作其他物理隔離之形式的波浪形金屬板上,然後刮掉畫布表面的油彩,如此一來,金屬上的鏽跡與印記被轉移至畫布當中。作為邊界的能指和象徵符號,這些彩鋼板創造出兩條路、兩個空間,一類是觀者能夠行走其中的而另一類則是觀者無法觸及的,後者雖不可見卻又是所指道路與空間的某種存在。

20140128, 2014

Xin Yunpeng
20140128
2014
Mixed media: fiberglass, wood, metal, motor
225 x 100 x 100 cm (88 1/2 x 39 1/4 x 39 1/4 inch)
Two cowboy statues stand in a gun duel, and are placed one in front of the other at a distance. The piece echoes sentiments of a classic American Western movie. The two sculptures also slowly rotate in different directions, constantly reiterating the disposition of a "Mexican standoff."
辛雲鵬
《20140128》
2014
混合材質:玻璃纖維,木材,金屬,馬達
225 x 100 x 100 cm (88 1/2 x 39 1/4 x 39 1/4 inch)
兩個牛仔舉槍決鬥的雕像,它們被相對的放置以構成二元有機的整體。這種類型化的畫面讓人不難理解其戲劇性的特徵——來源於美國西部電影中的畫面。而它們下方緩慢轉動的底座破壞了這種戲劇性,似的它們之間的舞台擴張到與觀眾的關係上,隨著兩個具有衝突性質的雕塑人物不間斷的鏡像旋轉,關係也在從對立變化為孤立。

Shot, 2014

Xin Yunpeng
Shot
2014
Single channel video
25’06”
In this video, a man is standing in casual garments in front of a green visual effects screen. Quickly after the video starts, the sound of a gunshot emits, and the actor falls to the ground. The actor remains on the floor and is recorded through a fixed lens for more than 20 minutes. Xin Yunpeng, who was the director, did not give any instruction to the actor after the bang. As the actor waited for the Xin Yunpeng to yell cut, he was left for so long that he eventually fell asleep.
辛雲鵬
《中槍》
2014
單頻影像
25'06"
錄像由一聲槍響,演員應聲倒地開始,作者通過固定鏡頭記錄下長達二十多分鐘的「假死」。作為導演,在拍攝過程中作者並沒有給予演員任何停止的口令,以致於躺在地上的演員在等待中睡著。

Kick the tree, 2013

Xin Yunpeng
Kick the tree
2013
Dual channel video
00'27" each
Dimensions variable
Edition of 3 + 1 AP
​​​​​​​
In this work the artist records a single video and splits it into two halves. Each half is played on a separate screen and is looped out-of-sync, which creates a striking visual, spacial, and temporal disconnect as the artist engages with the environment.
辛雲鵬
《踢樹》
2013
雙頻影像
各 00'27"
尺寸可變

3版 + 1 AP
此作品是將一段錄像分割成左右兩個屏幕播放,作者要求美術館在開啟兩部播放設備時,保持固有的時間順序,而不刻意同步。隨後,影片場景便會在突髮變化的瞬間顯露出:這一事實所導致的錯位。

Handsome, 2011

Xin Yunpeng
Handsome
2011
Single channel video
06'34"
Dimensions variable
Edition of 6 + 1 AP
“Handsome” is a video made by Xin Yunpeng during a residency program in Hong Kong. In the video we see the artist riding a taxi with a steering wheel that he brought from Beijing, using it as if he was the driver on the left side of the car. Everything seems normal in the eyes of Mainland Chinese individuals, but because the driving seat in Hong Kong is located on the right side of a vehicle residents of the city notice the discrepancy. Along with this misdirection, the movement of his steering wheel doesn’t match with the movements of the car, turning the video into a goofy performance of sorts. Relying on his Mainland identity in Hong Kong’s unique political environment and through this witty presentation, Xin Yunpeng unpacks notions of identity, place, culture, and history.
辛雲鵬
《靚仔》
2011
單頻影像
06'34"
尺寸可變

6版 + 1 AP
《靚仔》是一件帶有表演性質的錄像作品。辛雲鵬在香港駐留期間,在一輛出租車上使用從北京帶去的方向盤道具並坐在副駕駛的位置上表演開車,並用攝影機記錄下全過程。由於香港車輛駕 駛員的座位在右側與大陸正好相反,而錄像畫面又裁剪了真實駕駛員的位置-這一切看起來像是辛雲鵬在中國大陸正常的駕駛著汽車。隨著表演出錯,方向盤轉動與車輛行駛軌蹟的不一致,穿幫的畫面漸漸暴露了表演開車的成分。藝術家的大陸身份在香港這個特殊的政治環境中的位置——辛雲鵬通過詼諧的行為將錄像畫幅中有限的而截然相反的“判別”融合在同一的視覺語言裡。之後,此件作品也曾在北京展出。
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