Already in his student days at the Guangzhou Academy of Fine Arts where his graduation project Massacre (1982) on the devastation of the Cultural Revolution was censored, Yang Jiechang had adopted the position of provocateur. Following graduation he withdrew from art to study with Buddhist and Daoist masters. This led him to search for simplicity when he returned to painting. In 1988 he moved to Europe, where he has remained, living between Paris and a village near Heidelberg. In 1989 he participated in both the seminal Contemporary Chinese Artexhibition at the National Art Museum in Beijing and the equally paradigm-changing exhibition Les Magiciens de la Terre at the Centre Georges Pompidou where he created his artworks on site. Since then Yang has exhibition widely throughout Europe and Asia and was featured in both the China Avant-garde exhibition at the Haus der Kulturen der Welt in Berlin (1993) and in the 50th edition of the Venice Biennale (2003). In the past five years, Yang’s work has been included in numerous international exhibitions, including the Lyon Biennial (Lyon, 2009), Qui a peur des artistes? Une sélection d’oeuvres de la Fondation François Pinault (Musée de Dinard, Dinard, 2009), Hareng Saur: Ensor et Contemparain (MSK and S.M.A.K., Ghent, Belgium, 2010), The World Belongs to You (Palazzo Grassi, Fondation F. Pinault, Venice, 2011), Reactivation – Shanghai Biennale (Shanghai, 2012), Yuandao (Hong Kong Museum of Art, Hong Kong, 2013) and Ink Art: Past as Present in Contemporary China (Metropolitan Museum, New York, 2013-2014, and most recently Advance through Retreat (Rockbund Art Museum, Shanghai, 2014).
For his solo exhibition at Ink Studio in May 2014, This Is Still Landscape Painting, Yang concludes his Tales of the Eleventh Day series in which he explores the transcendence of all categories and inaugurates his latest inquiries on moral cultivation based on the paintings and sketches by a young Adolf Hitler.
In his Tales of the Eleventh Day, Yang uses the techniques of Tang dynasty Daoist and Buddhist religious mural painting to depict an imagined paradise loosely based on the setting for the Decameron, a work of fourteenth century Florentine literature by Giovanni Boccaccio. In these works, Yang depicts wild animals and naked human figures in various configurations of sexual and affectionate, cross-species coupling. Whether copulating, embracing or merely observing, it becomes clear the Yang’s imagined paradise of sex and love is a non-coercive one—power dynamics and violence are completely missing. For This is Still Landscape Painting, Yang completed the final works in this series including the monumental eleven-meter, eight-panel Black and White Mustard Seed Garden (2009-2014).
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