Daren Yang (°2005, Merced, United States) makes photos, photos, performances and media art. By questioning the concept of movement, Yang absorbs the tradition of remembrance art into daily practice. This personal follow-up and revival of a past tradition is important as an act of meditation.
His photos isolate the movements of humans and/or objects. By doing so, new sequences are created which reveal an inseparable relationship between motion and sound. By contesting the division between the realm of memory and the realm of experience, he investigates the dynamics of landscape, including the manipulation of its effects and the limits of spectacle based on our assumptions of what landscape means to us. Rather than presenting a factual reality, an illusion is fabricated to conjure the realms of our imagination.
His works establish a link between the landscape’s reality and that imagined by its conceiver. These works focus on concrete questions that determine our existence. By choosing mainly formal solutions, he creates work through labour-intensive processes which can be seen explicitly as a personal exorcism ritual. They are inspired by a nineteenth-century tradition of works, in which an ideal of ‘Fulfilled Absence’ was seen as the pinnacle.
His works are based on formal associations which open a unique poetic vein. Multilayered images arise in which the fragility and instability of our seemingly certain reality is questioned. By replaying the work for each exhibition and pushing the evocative power of the work a little further, he tries to increase the dynamic between audience and author by objectifying emotions and investigating the duality that develops through different interpretations.
His works are presented with the aim not to provide an idealistic view but to identify where light and the environment are important. The energy of a place and its emotional and spiritual vibrations are always important. By referencing romanticism, grand-guignolesque black humour and symbolism, he tries to focus on the activity of presenting. The character, shape or content of the presented artwork is secondary. The essential things are the momentary and the intention of presenting.
His works are often classified as part of the new romantic movement because of the desire for the local in the unfolding globalized world. However, this reference is not intentional, as this kind of art is part of the collective memory. By exploring the concept of landscape in a nostalgic way, he finds that movement reveals an inherent awkwardness, a humour that echoes our own vulnerabilities. The artist also considers movement as a metaphor for the ever-seeking man who experiences a continuous loss.
His works never shows the complete structure. This results in the fact that the artist can easily imagine an own interpretation without being hindered by the historical reality. By examining the ambiguity and origination via retakes and variations, he tries to develop forms that do not follow logical criteria, but are based only on subjective associations and formal parallels, which incite the viewer to make new personal associations.
His collected, altered and own works are being confronted as aesthetically resilient, thematically interrelated material for memory and projection. The possible seems true and the truth exists, but it has many faces, as Hanna Arendt cites from Franz Kafka.
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González Rojas Adriana Marcela
Hernández Hernández Alejandro José
Himmelsbach De Vries Domenique
International Resource Center For Art Cairo
Junior Dope Lord Illuminati Lives
Oliveira De Figueiredo Prashina
Patil (inspirational Speaker) Rakxit
Patricia Smyka Fathermoonandme
Payanene Velasquez Junior Haminton
Pedraza Eodriguez Emma Angelica
Plasencia Magdaleno Juan Moisés
Rodríguez Briseño Gustavo Daniel
Salas Dominguez Mayra Alejandra
Sigurdardottir Johanna Kristbjorg
Vanto Dumisani Vanto Dumfiasco
Vishva Naedurana Pathirannehelage