Solo Shows

DE SARTHE
Hong Kong, China​​​
Simultaneous 
2022

Simultaneous
Installation | 560 x 560 x 230 cm 
Featuring a new body of installation and video works in the exhibition, Xin Yunpeng focuses on the intertextual juxtaposition of visual space and time. Through the artworks, the artist reconstructs his personal memory and evokes collective resonance under a site-specific context. 

辛雲鵬的第三次個展「同時」展出一系列新的裝置及影像作品，集中將影像空間與裝置時間互文並置，並在特定場域下重構了其私人記憶，以觸動若水之隔的共同經驗。
C5CNM
Beijing, China
Friendship First, Competition Second
2020
Titled Friendship first, Competition second, Xin Yunpeng's solo exhibition at C5CNM ran from 18 June - 19 July 2020.
"C5CNM is an experimental space located in 798 Art District in Beijing. It measures 4.75 by 5.25 meters and 3.5 meters in ceiling height. Its modest though beautiful proportions invite artists to conceive an exhibition as one singular art work. C5CNM is an art work in itself, in violation of the modernist orthodoxy of the white box."(Official text form C5CNM)
辛雲鵬的個展《友誼第一，比賽第二》於2020年6月18日至7月19日在C5CNM展出。
「C5CNM是一個地處北京798藝術區的實驗性藝術空間。長寬4.75 x 5.25米，挑高3.5米，它小而獨特的空間比例適合藝術家將展覽整體視作一件作品去構想。C5CNM的空間本身即是一件作品，有意違背了當代藝術展示空間中使用的中性和純粹性的白盒子原則。藝術家金寧寧的設計是種交互性質的邀請，如同創造一個遊戲環境。參展的藝術家需要考慮在他人的世界中實現自己意圖，在合作或抗拒中找到新的展示方式。」（以上文字來自C5CNM)
THE BUNKER
Beijing, China
Hope
2018
Choice (front)
Video | 5’44”
Xin Yunpeng re-examines this specific history through three videos and one site-specific installation, in which the time and space are deliberately undermined.
Xin Yunpeng utilizes the specific geographical location of the bunker space and thr closed, confrontational features of its military fortification to juxtapose the mirror images of history and reality, enabling the viewer to contemplate and experience this underground space, the driving “hope” and the dilemma in history, reality, society and life.
希望
2018
《猜拳》（身前）
影像作品 | 時長: 5’44”
藝術家辛雲鵬把對3.18事件的回望與思考凝練成三段影像和一個空間裝置。
展覽的四個部分利用掩體空間所處的特定地理位置以及它作為軍事工事特有的封閉、對抗特徵使歷史與現實的鏡像在此地重疊，使觀者身處掩體感悟「希望」的驅動，體會歷史、現實、社會、人生的困境。
DE SARTHE
Hong Kong, China
Xin Yunpeng Solo Exhibition
2018
Mother
Video | 11’34”
Xin Yunpeng’s second solo exhibition with de sarthe gallery and first solo presentation in Hong Kong, opening on Saturday, 22 September. The show features both new and old work that utilizes constructed social experiments, meticulously edited film, and simple technological manipulations. 
Through these works, Xin Yunpeng wrestles with latent socio-political issues and expresses a studied visual language.
辛雲鵬個展
2018
《母親》
影像作品 | 時長: 11’34”
辛雲鵬於德薩畫廊的第二個個展——德薩香港空間的首個個展。此次展覽精選了辛雲鵬過往的影像作品，從中可見藝術家自2011年至今的影像創作脈絡。
辛雲鵬巧用建構的社會性實驗， 並採用嚴謹的編排和簡潔的技術操作，以表達他對潛在的社會政治問題以及影像語言上的見解與思考。
DE SARTHE
Hong Kong, China
Xin Yunpeng Solo Exhibition
2017
Two Roads, Two Mountains
Oil on canvas 
200x76cm  Dimensions Variable
Xin Yunpeng’s first solo exhibition at the Beijing de sarthe gallery. The exhibition features a completely new body of work and run through November 12th, 2017.
Many of the works in this exhibition see Xin making use of the physical space of the gallery to ignite considerations of spaces beyond the tangible physicality offered by his artworks— for instance, Two Roads, Two Mountains, 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, two spaces, one in which the viewer can walk and the other beyond reach, not visible but the presence of which is nonetheless signified.
辛雲鵬個展
2017
《兩條路兩座山》
布面油畫 
200x76 cm 尺寸可變
辛雲鵬在北京徳薩畫廊的首次同名展，此次展覽展出其全新創作，展覽持續至2017年11月12日。
從這次展覽中的多件作品可見，辛雲鵬利用畫廊的物理空間，進而在其作品所帶來的真實物質形體之上引發對空間的思考，如一組安裝在畫廊主空間內的布面油畫《兩條路兩座山》。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它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。
HUNSAND SPACE
Beijing, China
All Men Are Created Equal
2016
Two Sculptures
Gypsum
35 x 28 x 80 cm each
Xin Yunpeng’s exhibition All Men Are Created Equal opened the 7th of April 2016 and closed the 23rd of April 2016. The exhibition presented recent works including sculptures, installations, and videos. 
Xin Yunpeng’s work gives an impression of being hard to digest. He elaborates on how concept fits in the realm of art, from the perspective of artist, and expresses contemplation on the topic through installations. 
Following his work Unimportant (Taikang Space, Beijing, China, 2010), the artist continued to unveil the hardships that emerge from interpersonal differences, and has built up certain political metaphors through means of installations or videos. His works Take Care (Chunchi Art, Beijing, China, 2011) and Handsome (1A Space, Hong Kong, China, 2011) illumine his method of determining what is correct in a complicated living environment.
人人生而平等
2016​​​​​​
《兩個雕塑》
石膏
每個 35 x 28 x 80 厘米
本次展覽涵蓋辛雲鵬的雕塑，裝置，影像等新作品。辛雲鵬一貫的作品給人「難以消化」的感覺，他以一個藝術家的視角詮釋著理念「墜落」到藝術範疇內的含義。通過裝置語言來表達對於現實困境的思考。從其作品《不重要》（泰康空間51㎡：8＃，北京，2010年）開始，藝術家就已經涉足於呈現人與人之間的差異所造成的沉重關係，並通過裝置或者影像的手段構造某種政治隱喻的現場。 《兩個》（慢走，蓴萃當代藝術空間，北京，2011）和《靚仔》（我喺啟德機場隔離等你話我知！1A空間，香港，2011），又生動表達了藝術家在復雜生存體驗下權衡「正確」意義的「槓桿」。
A4 Contemporary Arts Center
CHEUNGDU, China
 I Don't Know Where to Take You Yet
2013
 I Don't Know Where to Take You Yet
90 square meters，Studio: 8000x5000x3000mm
In this exhibition, the artist aimed to create a work closely related to the space, it uses the overall space as a video recording site, he expected audiences to walk in, meanwhile a camera was arranged to shoot down the process, these things will become his material, later would be used in other works.
It was said that Xin Yunpeng's "green shed" is not just a single space, it is a real-time workplace. It is a container, open anduncertainty platform. The viewer is not only an observer but also an intruder. Their action can be seen as a "performance". And background of the “performance" will be pulled away, showing unknown and ever-changingpossibilities. This may be the artist's double question for the  viewer and the art
——What will art give us and where should we go
我還不知道將你帶到何方
2013
《我還不知道將你帶到何方》現場裝置
90平方米，影棚8000x5000x3000mm
在這個展覽中，辛雲鵬希望這是一個跟空間有著密切關係的作品，它把空間整體佈置成一個拍攝錄像的現場，他期望觀眾能夠走進去，然後被安排好的攝影機拍攝下來，這些東西將成為他的素材，以後也許會被他的其他作品用到。
有人說，辛雲鵬的“綠棚”並非只是單一的空間營造而更是一個實時進行的工作場所。它是一個容器，開放的且充滿不確定性的平台。觀者即是旁觀者，也是闖入者，他們被影像記錄的行動將被視作“表演”。而“表演”的背景將會被抽離，呈現未知的、萬變的可能。這也許是藝術家面對觀者和藝術的雙重提問
——藝術將帶給我們什麼，我們又該去向何方？
LOOK ART SPACE
Beijing, China
Hello, World
2013
Hello,World
Wooden door and stair, mixed media
Dimensions Variable
Xin Yunpeng, after painting the door of exhibition space with the film chroma key green, brings his grandma to the green door and takes a picture for her. Grandma's dream finally comes true thanks to the digital image processing which combines grandma's image and Mecca scene.
Hello, World
2013
Hello,World
木料、混合媒體
尺寸可變
辛雲鵬使用影視摳像綠漆(chroma key green )粉刷了展覽空間的門，並將自己的奶奶帶到這扇“綠門”前合影。最終通過數字摳像技術將奶奶的身影合成到“聖地麥加”的場景裡。實現了奶奶的心願。
taikang space
Beijing, China
51 m2: 8# Xin Yunpeng
2010
Not Important 
Joinball, plasterboard and mixed media
Dimensions variable
In Not Important, a plank hangs from the ceiling and is constantly shaken by an external force. The distance between the center of the plank and the ground is the same as the height of the artist. Centered on this point, the ceiling is capable of adjusting its own height depending on external forces.
Depending on a visitor’s build, their experience with this project varies from one to another. Whenever someone tall walks through, his head might graze the ceiling.
Yet someone shorter would be able to look around with ease.
51 m2: 8# Xin Yunpeng
2010
《不重要》
萬向軸承，石膏板，綜合材料
尺寸可變
《不重要》是在展廳內安放了一個可以向四面傾斜的「屋頂」。 「屋頂」中心到地面的高度是以辛雲鵬的身高1米65為基準，觀眾則不論高矮都可以走進來，或者選擇低頭弓腰，或者昂首挺胸但對面的觀眾就會被迫躬身。這是一個涉及觀看制度和展覽本體探索的作品，藝術家藉此固定而又富彈性刻度的裝置將人們矽脂一處，從而思考和探索我們發明的權利政治空間，以及為此設立的規則。
↑Back to Top