What I believe is that all things will become a kind of memory and imagination.
And the memory will become more and more obscure and unknown.
I believe that the collapse and the expansion will be approaching at the same time.
The act is a response to another space which is created by human in 100 years. From animals to the god, we are learning what human being means.
By Peng Xu
At the beginning of Base, Young Ran’s work of video art, we see the artist appearing in the dark. She raises a huge umbrella from a dark corner, and start to carry it forward. In the background, one can see glimmering lights of the city and here the occasional sound of a car engine. We are somewhere in the city. From here, the artist starts to carry the umbrella up on a high slope, in what appears as an effort to plant it. The huge umbrella rotates in response to the artist’s movements, the canopy is lower and lower, and the artist follows it. Finally, we see Yang Rang completely covered by the umbrella, as in some kind of metaphorical protective hug.
In her production, Young Ran often take an imaginative setting as the jumping off point for artistic experimentation. The creative process is grounded on a critical examination of the relationship between the personal and the collective dimensions. In particular, her work concentrates on the affective sphere: How do individual feelings and thoughts relate to social norms? The result is a powerful mix of images, behaviors, and words. Base is firmly footed in the trajectory of Young Ran’s work, and could be interpreted as a new behavioral experiment investigating current social changes in the face of the pandemic.
By holding an umbrella in the dark, the artist creates some kind of barrier, in what appears as an act of self-protection.
In the dark, we find ourselves, we find shelter, and we find a way to create our own world. If identity is just a continuous cycle of memories, then remembering is constitutive of who we are. In Young Ran’s highly abstract behavior, the process of remembering is reduced to its structural representation: In those universal gestures, we can all find our own unique story throughout these social changes. The emotional undertone of the individual experiences represented on screens is though realized through of common patterns of behavior.
At the intersection of emotionally charged experiences and everyday action, we find ourselves in an unprecedented and unknown state. In that moment of wonder, our reality – in its continuity with the artist’s work – transforms into something like a Picasso’s Cubist painting. There, the representation is never literal: The object does not appear as you can see it in daily life. It is reduced, through a process of abstraction, to its structural components, just like Young Ran presents the experiences of remembering. In this collision between abstract thinking and sensibility, we can find a new world: A meaningful world brought by art.
Born in 1987, she attended Sichuan University, College of Fine Arts, and graduated in 2008 with a degree in Cinema Studies. In 2011, she graduated from the same institution with a Master of Arts.
She focuses on the relationship between the feeling of individual life and the subjective rationality in ethics as the direction of artistic creation. She uses words, images, performative art and other media that possess the effect of bodily connection as her form of expression. With the hypothetical scene as the experimental premise, as well as the help of fallible process, she is able to feedback to the present, eventually.