Yang Bodu: The Death of Ying

EVENT DESCRIPTION

MOU PROJECTS is pleased to present “The Death of Ying,” Yang Bodu’s second solo exhibition with the gallery. Transporting viewers into enigmatic sanctuaries of expansive interiors and architectural marvels, Yang’s paintings spotlight moments of theatricality and “abstract atmosphere” that pervade spaces of exhibition or happening. In “The Death of Ying,” Yang unveils a refined selection of eight paintings crafted over the past two years, subtly diverging from her acclaimed In the Museum series (2011–ongoing). Infused with an irresistible sense of intimacy and introspection, the exhibition embarks on a poignant exploration of personal narratives and literary allusions, chronicling a heartfelt journey straddling a prevailing persistence and soft reconciliation.

The title of the exhibition, “The Death of Ying,” bestows an indescribable sense of drama and cruelty upon the showcased works, with the word “death” pointing to the moment of the grand finale of life’s embrace, encapsulating the intertwining elements of fear and bravery, peculiarity and familiarity that lie at the core of human existence. In parallel to Yang’s painting practice in recent years, she drafted an essay that recalls and pens a personal tale of her late female painting mentor from childhood, whose name carries the word “ying” (eagle). This memoir-like story seamlessly entwines with vivid excerpts from E. M. Forster’s A Passage to India (1924), which centers around the enigmatic Marabar Caves. Together, these textual tapestries anchor the central theme that threads the works in “The Death of Ying.”

In Yang’s narrative, the demise of Ying unfolds as a tale that happened a decade ago—a distant scene akin to those plucked from the script of a mesmerizing film, interwoven with elements of romance, pain, relentless pursuit, and unyielding stubbornness. In the exhibition, three works depicting Marilyn Monroe reverberate with the story of Ying. An icon of the 1950s American cultural landscape, Monroe remains an enigmatic symbol of her era, her untimely passing shrouded in mystery. Through Yang’s portrayal, Monroe appears as the enchanting performer in The Prince and the Showgirl (1957), gazing into the distance (Monroe, 2022–24); serenely lying beneath the sky, carried by shadowed figures (The Death of Ying—Monroe 17:50, 2022–24); her name etched against the backdrop of Buckingham Palace, reminiscent of the film’s opening sequence (Marilyn Monroe, 2022–24). The portrayal of Monroe mirrors the death of Ying, as well as the reflection of a woman’s life course. Rendered in moments of pride and glory, the death of the girl evokes the imagery of an eagle majestically soaring through the heavens as an emblem of fortitude and unrestrained freedom.

Serving as a recurring motif throughout the exhibition, the cave symbolizes both death and a return to tranquility embodied by all things, its inspiration drawn directly from the Marabar Caves from A Passage to India. Through a narrow passageway that stretches from the entrance to the center of the exhibition space, the gallery is transformed to become a cave-like structure. At the end of the passage hangs the centerpiece of the exhibition, The Death of Ying—The Caves 20:30 (2024). The work features a monumental deep ochre architectural structure nestled within the mountains, with a soft yellow light emanating from its opening at the foot of the mountain signifying the entryway to the cave. At the center of the gallery space, another painting on the theme of the cave, The Death of Ying—The Caves 5:53 (2024), offers a more serene perspective. Within the composition, the cave is enveloped by a mist, softly receding behind the rocky mountain as a shaded sanctuary. The narrow opening, veiled in darkness, assumes the role of a gateway, leading visitors inside as if entering a private bedroom.

ABOUT THE ARTIST / ORGANISER

Yang Bodu (b. 1986, Tianjin, China) explores the construction and concept of the "art scene" that exists and lingers on in our minds. In her painting-centered oeuvre, Yang depicts a series of architectural landscapes comprising museums, galleries, and art institutions, investigating the intricate contradiction between one's intimate encounter with artworks and the public nature of exhibition venues. Frozen on her canvas are ambers of theatricality, mystery, and balance found within these abstract, empty spaces imbued with idealization. In her recent works, Yang observes the "architectural moments" shimmering within the interplay between light and building structures—elements that form the basis of her personal observation and, ultimately, painting practice. Her works capture the wonders that take place within these ambivalent spaces and further flourish as they negate the relationships between the private and the public, the acts of practicing and looking, as well as being the viewer and being viewed.

Yang received her MFA from the Pennsylvania Academy of the Fine Arts (PAFA) in 2012 and her BFA from the Tianjin Academy of Fine Arts in 2008. During her studies at PAFA, she won the Justine Cretella Memorial Scholarship in 2011 and the Fellowship Trust Prize for her presentation at the Annual Student Exhibition in 2012. She has held solo exhibitions and presentations in galleries such as MASSIMODECARLO Beijing and the gallery's Paris outpost Pièce Unique, Tang Contemporary Art in Bangkok and Beijing, as well as MOU PROJECTS in Hong Kong. Her work has been exhibited at various institutional venues, including PAFA, M WOODS in Beijing, and the Tianjin Academy of Fine Arts. Her works are also included in the permanent collections of several institutions, including PAFA, M WOODS in Beijing, Long Museum in Shanghai, and Pingshan Art Museum in Shenzhen. In 2021, Yang was featured in The Artsy Vanguard.

The artist currently lives and works in Beijing, China.