杨迪：黑廉饥安
The video works by Yang Di presented this time were created in moments of predicament, and overall these works do not have an overly obvious pessimistic mood. The strategy he adopts is to bypass conflict and proceed by way of a detour. For example, he uses white actors to “re‑enact” events hypothesised to take place in another space of a Western‑style universe, rather than the major events that happened on Earth in 2020. Using the “greater self” to replace the social present, the focused lens is accompanied by a defocused signified, and the four films selected this time bring about the same atmosphere—ambiguity and emptiness. For example, through a single female character he reflects the exploitation of women by contemporary consumer culture, and the viewer senses that she in the film is in a helpless loop with nothing to choose from.
Yang Di’s films use a sliced manner to penetrate up and down through the “spaces” of various issues; the images are directional, while his thoughts are radiating, and the emotions are internal. These elements constitute the aesthetics of his films. Those characters are shaped in a deep way, and the viewers are drawn along by the roles played by the actors, entering a certain purified state. The scenes created by Yang Di are surprising; even with a black background, even with an image the size of an ordinary television screen, they will let you enter the “space” he has set up, be “surrounded” and become the second or the nth character, and at that moment, you also evade the moment of predicament. By using consciousness to dismantle time and space, forgetting time and retaining only “space,” only then can humanity avoid great catastrophe—this is the best option for self‑rescue that Yang Di’s films offer us.
This film is a fragment from a fictional 1960s science‑fiction movie, set in the immigration office on Mars. The story tells of the eldest son of a middle‑class family, who comes alone to Mars to become a second‑generation Martian immigrant, and during the period when his stay is extended, he encounters abuse of power by immigration officials. The film uses two white people to perform racism, reflecting on its true core. The work Safe Word will be screened only at 7 p.m. on Friday, 29 August 2025, at which time there will be a live artist sharing and conversation event; please follow NONG Space’s announcements about the screening and sharing activities.
During the period of being forced into solitude by the pandemic, I began to continuously immerse myself in short videos; I even could not bring myself to charge my phone. Only when the screen went dark and, in the black mirror, I saw the moment of the delayed smile on my own face did it suddenly occur to me that this is an expression that only modern people would have. I project the state of prolonged solitude during the pandemic into a future era of interstellar migration, in order to reflect on this vacuum‑like, nihilistic existence.
This work originates from the “rebirth and revenge” narratives common in women‑oriented online fiction and pay‑to‑read comics: the female protagonist dies because of betrayal, and after being reborn resolves to take revenge. It focuses on the pleasure and solace people obtain in the process of consuming stories (narratives), and attempts, by capturing the evolution of various story themes and narrative structures, to explore how they are transformed into new control technologies within a consumerist context.
This film was created on the eve of the widespread use of smartphones. One day, when the story’s protagonist wakes up, he discovers an umbilical cord emerging from his navel, with a USB plug at the end of the cord. From then on, he embarks on a path of resisting the phenomenon of addiction.
This film is a fragment from a fictional 1960s science‑fiction movie, set in the immigration office on Mars. The story tells of the eldest son of a middle‑class family, who comes alone to Mars to become a second‑generation Martian immigrant, and during the period when his stay is extended, he encounters abuse of power by immigration officials. The film uses two white people to perform racism, reflecting on its true core. The work Safe Word will be screened only at 7 p.m. on Friday, 29 August 2025, at which time there will be a live artist sharing and conversation event; please follow NONG Space’s announcements about the screening and sharing activities.
在疫情被迫独处的时间，我开始持续沉溺于短视频中，我甚至无法为手机充电。直到屏幕熄灭，我从黑镜中看到自己脸上延迟的笑容的瞬间，我一时到这是一种只有现代人才会拥有的表情。我将在疫情期间长期独处的状态投射到未来的星际移民时代，来反思这种真空般虚无的存在。 本作品源自女性向网络小说与付费漫画中常见的“重生复仇”叙事：女主角因被背叛而死，重生后决意复仇。关注人在消费故事（叙事）过程中获得的快感与慰藉，并试图通过捕捉各类故事主题与叙事结构的演变，探讨其如何转化为消费主义语境下的新型控制技术。 本片创作于智能手机广泛被应用的前夕。故事的主人公有一天醒来的时候发现自己的肚脐中露出了一根脐带，脐带的顶端有一个 usb 插口。从此他走上了一条对抗成瘾现象的道路。