China’s Most Misunderstood Subculture


Vice Asia featured Ye Funa the  Smart Galleryproject in new documentary. They have been shamed by China’s urbanites for their outlandish hair with some calling them “tasteless and low-brow”. Meet the “Shamate” community, a subculture created by China’s rural youths born in the 1990s. Found mostly in Southern China’s factory towns, Shamate’s fashion sense is inspired by Japanese Visual Kei, known for its punk rock hairstyle and makeup. VICE World News meets members of this dying community in Dongguan, Guangdong province, and sees how this subculture has created a sense of belonging for these migrant youths.





Online Exhibition by Âme Nue (with works by artists aaajiao and Ye Funa)

25 February 2021 – 31 January 2022


In their works, Chinese new media artists Ye Funa and aaajiao (Xu Wenkai) explore the Internet phenomena, the societal effects related to the changing notions of identity and the overflow of information in the digital age.

The title of the exhibition ‘The Peach Spring Beyond This World’ is inspired by the idiom Shiwai Taoyuan 世外桃源. It goes back to the fable ‘The Peach Blossom Spring’’ written by Tao Yuanming in 421 CE and is considered to be the first concept of utopia in Chinese literature.  Reflecting on what remains of the traditional imagery of the Peach Blossom Land in ultra-modern China – and its inherent understanding of deep love to nature as the bedrock of utopian dreams – Ye Funa and aaajiao explore by artistic means whether the virtual world could be a safe space for the new generation, a refuge for meditation and relaxation in which new models of communities and environments can be imagined.

In aaajio’s meta-game ‘Deep Simulator’ – a reference to user experience transcending the limits of the game – and Ye Funa’s ‘Dr.Corona Online’ oracle platform – an interactive question-and-answer work – the player is transported into peaceful, natural landscapes that contain references to Chinese popular and digital culture. On a journey to an infinite world the wanderer of aaajiao’s work is searching for a way out of the Bardo – an intermediate mental state, such as experienced in meditation or in-between death and rebirth, present in Tibetan Buddhism.

The focus on existential questions of life and death, feelings of disorientation and comfort are also predominant in Ye Funa’s work. When questioning “Dr.Corona Online” – an artificial-intelligence-doctor – about the pandemic or life in general, the patient roams between randomly obtained answers from Internet headlines, social media tweets, and motivational quotes.

The process of navigating through these utopian worlds is one of the primary purposes of the interactive works. Like Tao Yuanming’s fishermen in search of the Peach Blossom Spring, the exhibition explores the processuality of the Chinese concept of utopia – the eternal search for the promised land, where time stands still. The wanderer/player/patient returns to the real world mesmerized, with a sense of pleasure and troubling confusion, wondering whether the long quest for happiness and the process of finding utopia in itself is utopia.

‘The Peach Spring Beyond This World’ was realized with the friendly support of the Ministry of Culture and Media Hamburg and the Claussen-Simon-Stiftung.



Âme Nue的在线展览 (包括艺术家aaajiao和Ye Funa的作品)



展览名称 “世外桃源 “的灵感来源于成语 “世外桃源”。它可以追溯到公元421年陶渊明所写的寓言《桃花源记》。这个寓言被认为是中国文学中第一个乌托邦的概念。叶甫纳和aaajiao反思了超现代中国传统桃花源意象的遗存,及其对自然的深爱作为乌托邦梦想基石的内在理解,通过艺术手段探讨虚拟世界能否成为新生代的安全空间,能否成为冥想和放松的避难所,在其中想象出新的社区和环境模式。

在aaajio的元游戏(meta-game)”深度模拟器”——超越游戏极限的用户体验和叶甫纳的 《柯大夫在线》甲骨文平——交互式问答作品中,玩家被带入了宁静的自然景观中,其中包含了对中国流行文化和数字文化的参考。在通往无限世界的旅途中,aajiao作品中的流浪者(玩家)寻找着走出中阴身的方向——这是藏传佛教中存在的一种中间心理状态,如在冥想中或在死亡与重生之间的体验。

对生与死的存在问题的关注、迷离感和舒适感也是叶甫纳作品的主题。当询问 《柯大夫在线》——一个人工智能医生关于流行病或一般生活的问题时,病人会在从互联网头条新闻、社交媒体推文和励志名言中随机获得的答案之间游走。




FLOW OUT online



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Artists: Funa Ye, Istanbul Queer Art Collective
Curators: Collective Çukurcuma (Naz Cuguoğlu, Mine Kaplangı)
Venue: Bilsart, Evliya Çelebi Mah. Kıblelizade Sk. No:5/A Beyoğlu / İstanbul
Opening Date: May 29, Thursday
Exhibition Dates: 30 May – 30 June 2019

Collective Çukurcuma (Naz Cuguoğlu & Mine Kaplangı) included video works of Funa Ye and Istanbul Queer Art Collective (Tuna Erdem & Seda Ergul) as part of FLOW OUT exhibition hosted by Bilsart (Istanbul) between May 29 – June 30, 2019. The program is based on the common practice of thinking, expressing and writing collectively about the present. As co-authors, they continued to write the collective essay through email exchanges—no one is the owner of the piece whereas each of them is a participant. FLOW does not belong to a place—taking place across Beijing, London, Istanbul, Berlin, Amsterdam, San Francisco. It refers to contemporaneity, questioning the problem of authorship in collaboration, and experimenting with the idea of thinking and producing together.

The video work of Beijing-based artist Funa Ye, titled “Flying Dance” is a 30-minute fiction video collage. The first production of the series “self-fiction”, which the artist completed as part of an artist residency program in Berlin in 2017. These stories give reference to the identities created over the Internet and to the early periods of online dating. The viewer follows the female characters through time, inspired by the television programs in China. This work focuses on the effects of gender and identity issues, the emergence of the Internet and especially online dating, while resurrecting a scene from the “Sims” game.

In the second week of the program, Istanbul Queer Art Collective, based in London, will meet the audience with the video documentation of their performance titled “Psychic Bibliophiles”—creating an oral archive of excess, fetishism, and desire. This performance was realized in the opening day of the traveling-exhibition “House of Wisdom”, curated by Collective Çukurcuma at Framer Framed (Amsterdam, 2017). As part of the “FLOW OUT” exhibition, the artists will perform a repetition of this performance in the exhibition space, and will also give a talk on their previous work titled “Just in Bookcase”— a wooden suitcase filled with artists’ personalized library cards, memorabilia and photos—which inspired the making of the performance.

Through performances, screenings and readings, Collective Çukurcuma invites the audience to enagage in a collective thinking process to reflect on these works, texts and performances.

Borrowed from FLOW text;

We have been thinking about cooperation, and it’s function in the Earth ecosystem. The ways that we work and think together. Cause the roots are poisonous, she says. What about errantry and mistakes, a glitch? The Poetics of Relation. A fragmented reality. A collective garden, a tulip. But we are not interested in that, our attention shifts to the cellar door in the garden. Where does it lead her? A feeling of touch, the army of love. You can feel the dazzling existences of other universes and their otherworldly beings. A charm. A universe in which a cooperator might equal a traitor. The violence inherent in growing things and looking after the communal garden. Is collaboration the fellowship of those who do not loose the joy because of this, those who are not squeamish? A horticulturist mother who believes that she can grow and shape children as she grows plants yet fails miserably. A poison in the shape of love, or is it the other way around? Possibility of kindness and care. And we’ll die when we are eating together around a long table. How does the rose taste? Personalizing the public through feeling your labial lips. Vulnerabilities. At the verge of the Intimacy.

NOTE: To read the whole text, please visit Droste Effect Magazine’s Bulletin No. 19

May 29, Wednesday


18.30 – 18.50 FLOW reading – Collective Çukurcuma (Naz Cuguoğlu & Mine Kaplangı) & Funa Ye (will participate via Skype) & Istanbul Queer Art Collective (Tuna Erdem & Seda Ergul) (will participate via Skype)

18.50 – 19.30 – Talk & QA – Collective Çukurcuma (Naz Cuguoğlu & Mine Kaplangı) 

During the first opening event on May 29, artists—connecting via Skype—and curators will read the collectively-written text titled “FLOW.” This text was written by Istanbul Queer Art Collective and Collective Çukurcuma throughout the exhibition development process. The reading will be accompanied with a presentation of various visuals. A short conversation and Q&A will follow the reading. The text will be read in English, the talk will be in Turkish.

June 19, Wednesday


19.00 Talk – Collective Çukurcuma & Istanbul Queer Art Collective

19.30 Performance (Live from London) – Psychic Bibliophiles – Istanbul Queer Art Collective

Istanbul Queer Art Collective will give a talk on their works titled “Psychic Bibliophiles” (2017) and “Just in Bookcase” (2017). After the talk, artists will repeat the performance “Psychic Bibliophiles” with a live stream from London at the exhibition space. The live performance, which can be followed on the social media accounts of Bilsart and Collective Çukurcuma, will start at 7:30 PM.

Ye Funa was born in Kunming, China in 1986. She graduated with a BFA in Experimental Art from the Central Academy of Fine Arts, Beijing, China and an MFA from the Central Saint Martins College of Art, London, UK. Ye’s practice is concerned with the relationship between the realities of everyday life. She is interested in the perceived connection between authority and many areas of social life such as different power structures, ethnic groups, and the fictional space of propaganda for the concept of ‘perfection’ in an ideological system, and utopian landscape. Her work is politically charged, subtly engaged in pastiche as a satirizing style of propaganda. Ye Funa’s work has been the subject of solo exhibitions including, Curated Nail Residency, MoCA Pavilion, Museum of Contemporary Art, Shanghai, China (2015); People’s Congress via their Nails-Exhibitionist’s Curated Nails, Art Museum of Nanjing University of the Arts, Nanjing, China; Zha Golden Flowers–News from Nowhere, V Art Center, Shanghai, China (2014); and Ye Funa, Galerie Pièce Unique, Paris, France (2014). Ye Funa’s recent solo exhibitions took place in Longmont Art Projects in Hong Kong (2018) titled “Selfiction” and Nottingham Contemporary in Nottingham (2018) titled “From Hand to Hand”.

She has also exhibited in group shows worldwide including ”Chinternet Ugly”, Centre for Chinese Contemporary, Manchester (2019), “Real Fantasy”, Sanshang Art, Hangzhou (2018), ” It was a Dream of a Trip” Shanghai University, Shanghai (2018), “Yes or No”,Guardian Center, Beijing (2018), Virtual/Visual Contemporary Art Exhibition, Noyes Museum of Art, Atlantic City, NJ (2017); Intermediary, Video Art From China, Edna Carlsten Art Gallery at UWSP, Stevens Point, Wisconsin (2017); Exhibionist: Peep Stream, OCT Contemporary Art Terminal, Shanghai, China (2017); Digital Samplers, or A New Generation Deep Dive into Internet Superposition, The Galaxy Museum of Contemporary Art, Chongqing, China (2017); Folklore of the Cyber World-CAC @ the Chinese Pavilion, Periphery Event of la Biennale di Venezia, Venice, Italy (2015); The Civil Power, Beijing Minsheng Art Museum, Beijing, China (2015); Base, Ullens Center for Contemporary Art, Beijing, China (2015); Tomorrow’s Party, Ullens Center for Contemporary Art, Beijing, China (2014); Contemporary Photography in China 2009 – 2014, Minsheng Art Museum, Shanghai, China (2015); Busan Biennale 2014 Special Exhibition: Asian Curatorial, Going, Going, Until I Meet the Tide, Kiswire Sooyoung Factory, Busan, South Korea (2014); Ten Year in One Inspection, CAFA Art Museum, Beijing, China (2014); Poker Face: Wu Junyong / Ye Funa, Ray Art Center, Shanghai, China (2014); Contact: Through the Body, University of Toronto Art Centre, Toronto, Canada (2014); Art That Heels, V Art Center, Shanghai, China (2013); Get it Louder – Future, Liang Dian Design Center, Beijing, China (2012); The First ‘CAFAM – Future’ Exhibition, CAFA Art Museum, Beijing, China (2012); PERIPHERIES–2nd Asian Art Triennial Manchester, Piccadilly Place, Manchester, U.K. (2011); Future Pass–Collateral Event of the 54th Venice Biennale, Fondazione Claudio Buziol, Venice, Italy (2011). Ye Funa currently lives and teaches at the department of experimental art, in the Central Academy of Fine Arts, in Beijing, China.

Istanbul Queer Art Collective (IQAC) was founded in 2012 with the aim of focusing on queer performance art and a flexible structure open to collaboration. The collective has since been engaged in the ongoing project of remaking Fluxus performances by “queerifying” them. IQAC firmly believes in what Jack Halberstam calls the “queer art of failure” and embraces what Renate Lorenz calls “radical drag”. The collective is currently comprised of the two founding artists Tuna Erdem and Seda Ergul, and is based in London. IQAC has performed and exhibited at various art events around the world among which are House of Wisdom Exhibition in Berlin, Amsterdam, Istanbul and Nottingham, Queer Future Exhibition, If Independent Film Festival and Mamut Art Fair in Istanbul, Athens Sound Acts Festival in Greece, Zürcher Theatre Spektakel and Les Belles de Nuit Festival in Switzerland and Deep Trash, Queer Migrant Takeover and NSA: Queer Salon in London.



We=Link: Ten Easy Pieces


A Chronus Art Center Special Online Exhibition

March 30, 2020


Raphaël Bastide, Tega Brain & Sam Lavigne, JODI, LI Weiyi, Evan Roth, Slime Engine, Helmut Smits, XU Wenkai (aka aaajiao), Yangachi and YE Funa


Curated by



Organized by

Chronus Art Center


Co-commissioned by

Chronus Art Center (Shanghai); Art Center Nabi (Seoul); and Rhizome of the New Museum (New York)


Co-hosting Institutions:

Chronus Art Center (Shanghai); Art Center Nabi (Seoul); Rhizome of the New Museum (New York); Arts at CERN (Geneva); e-flux (New York); HeK (House of Electronic Arts Basel); iMAL (Brussels); LABORATORIA Art & Science Foundation (Moscow); Leonardo/ISAST; MU Hybrid Art House (Eindhoven); SETI AIR/SETI Institute (Mountain View); V2_, Lab for the Unstable Media (Rotterdam).



Click Here to Enter the Exhibition:


This online exhibition will also be presented as a project of First Look: New Art Online, a New Museum online program and archived at provided by Leonardo/The International Society for the Arts, Sciences and Technology (Leonardo/ISAST).


We=Link: Ten Easy Pieces features new commissions by the artists aaajiao, Tega Brain & Sam Lavigne, JODI, LI Weiyi, Slime Engine and YE Funa in conjunction with works by Evan Roth, Helmut Smits, Yangachi and Raphaël Bastide. The exhibition was made possible through the generous support of Art Center Nabi (Seoul); Rhizome of the New Museum (New York); and the concerted efforts by 12 institutions around the world.

Due to the COVID-19 coronavirus outbreak rapidly raging throughout the world, we are experiencing an unprecedented historical time, and social and economic routines have been interrupted, including cultural programming. More than ever, art remains an essential force to galvanize and rejuvenate. In lieu of a physical exhibition restrained by the lockdown, Chronus Art Center sent out an open call to the international media art community in early February to initiate a special online exhibition as a response to the current uncertainty and a time of anxiety. The proposal has since received committed responses from the international community.

Titled We=Link: Ten Easy Pieces, alluding to the American actor Jack Nicholson’s iconic movie Five Easy Pieces with a subtle twist on WeChat, the popular Chinese social media platform, the exhibition is presented online in collaboration with a network of other hosting institutions. The works included in this exhibition are network native, exploring the potential of mobile technologies, particularly with a creative and critical appropriation of various social media platforms.

The title We=Link: Ten Easy Pieces denotes a community of solidarity as a network of empowerment. The reference to Five Easy Pieces prompts an evocation of an implicit existential anxiety, a sense of estrangement and soul finding: Ten Uneasy Pieces indeed. On the other hand, the title “We=Link” elicits a silver lining—a streak of hope to carry on.

Rather than an explicit outcry against the current public health crisis, this online project addresses a general state of humanity that is under pressing peril of natural and social disruptions and precariousness, demonstratively manifested in the coronavirus outbreak, which is partially the cause of the magnitude of the virus itself and partially beholden to a failure of governance.



Co-commissioning Institutions




Established in 2013, Chronus Art Center (CAC) is China’s first nonprofit art organization dedicated to the presentation, research / creation and scholarship of media art. CAC with its exhibitions, residency oriented fellowships, lectures and workshop programs and through its archiving and publishing initiatives, creates a multifaceted and vibrant platform for the discourse, production and dissemination of media art in a global context. CAC is positioned to advance artistic innovation and cultural awareness by critically engaging with media technologies that are transforming and reshaping contemporary experiences.


Art Center Nabi is one of the premier media art centers in South Korea and a central institution in the international digital arts and culture scene, since its founding in 2000. Art Center Nabi aims to act as an intermediary that transforms the cultural desires into vital activities. Art Center Nabi’s mission centers around three main areas; being a ‘critique’ of contemporary technology; nurturing ‘creativity’, thus opening new possibilities of creative expressions; building ‘community’ where new ideas are shared and developed into new social movements. Art Center Nabi hopes to be a space, where artistic sensibilities combined with technological possibilities bring out the power of positive change in man as well as in society.




Rhizome champions born-digital art and culture through artist-centered programs that commission, present, and preserve art made with and through digital networks and tools. Online since 1996, the organization is an affiliate of the iconic New Museum in New York City.



Co-hosting Institutions:

Arts at CERN (Geneva)

e-flux (New York)

HeK (House of Electronic Arts Basel)

iMAL (Brussels)

LABORATORIA Art & Science Foundation (Moscow)


MU Hybrid Art House (Eindhoven)

SETI AIR/SETI Institute (Mountain View)

V2_, Lab for the Unstable Media (Rotterdam)

Berlin Peking/Beijing Visual Exchange 柏林•北京 视觉转换


Museum für Fotografie

Jebensstr. 2
10623 Berlin

 28 June – 25 August, 2019

To mark the 25th anniversary of the city partnership between Berlin and Beijing, the Gesellschaft für Deutsch-Chinesischen kulturellen Austausch (GeKA e.V., Society for German-Chinese Cultural Exchange) in cooperation with the Staatliche Museen zu Berlin is showing works by young artists from Berlin and Beijing at the Museum für Fotografie (Museum of Photography). The participating artists studied at the weißensee kunsthochschule berlin, the Berlin University of the Arts (UdK) and the China Central Academy of Fine Arts in Beijing (CAFA). He Xiangyu, an artist who lives in Berlin and Beijing, has also accepted an invitation to take part in the exhibition. He Xiangyu, who travels regularly between the two cities, is a conceptual artist exploring a wide range of media and themes. His works are currently on display in the Chinese pavilion at the Venice Biennale. In his contribution to the Berlin exhibition, he juxtaposes a minimalistic wooden sculpture with a photograph that can only be recognised as an image of that object at second glance. This work links him with that of Yala Juchman, who extends her photographs into the surrounding space and transforms them into objects. She, too, integrates very diverse media into her concepts – shifting between photography, sculpture, installation and performance.

Despite their very different cultural backgrounds, the artists nominated by their universities have more in common than would initially be expected. They all live in large cities and navigate quite effortlessly between their origins and traditions and a global lifestyle characterised by architecture, consumption and media. For the artists Ye FunaLi Buinyuan and Chi Peng, who grew up in China, as well as for Rie Yamada, who was born in Japan, an area of conflicting priorities emerges between their own strong artistic traditions and the realm of modern and contemporary art that was still dominated by Western influences two decades ago. This dissonance provides fertile ground for examining social roles and sexual identity. Ye Funa uses her videos and photographs to play with the roles possible within her own family and art history, while Rie Yamada tries out various roles and family constellations in her photographic self-portraits. The works of photographer Chi Peng, who usually plays the leading role in his dream-like presentations, express the search for one’s own position – between East and West as well.

In contrast, Jannis Schulze is never visible in his own images; his rather casual photographs reflect his subjective attitude towards life in poetic visualisations that he associatively combines in books and exhibitions. Thomas Koester, on the other hand, constructs austere tableaux with his black-and-white photographs in which the inhabitants of large cities such as Moscow or Seoul merge with their urban surroundings. Li Binyuan, who recently showed his video works at MoMA PS1, interacts bodily with his natural and constructed environment in performances documented in film and photographs.

The exhibition was initiated by Professor Xu Zhang, President of the Gesellschaft für Deutsch-Chinesischen kulturellen Austausch e.V. (GeKA), and is supported by the GeKa, the Berlin Senate Chancellery, the Wemhörner Collection, the Mart Stam Gesellschaft, the Karl Hofer Gesellschaft and WALL AG.

The exhibition is curated by Professor Stefan Koppelkamm (weißensee kunsthochschule) and Professor Miao Xiaochun (CAFA).

Berlin Peking/Beijing Visual ExchangeYe Funa, The Supper of Goddess, 2015, 51,7x150cm, Photography © Ye Funa

Immortal on Screen


Date: 2019 / 03 / 23 – 2019 / 05 / 26
Opening and Performance: 2019 / 03 / 23 (Sat.) 14:00
Venue: Galley 203-205, National Taiwan Museum of Fine Arts
Artists Talk: 2018 / 03 / 23 (Sat.) 15:30
Venue: Digiark, National Taiwan Museum of Fine Arts

Curator: TSENG Yu-Chuan

CHO Li-Hang, PENG Yu-Chu, TZENG Yi-Reh (Taiwan)
Johannes DEYOUNG (USA)
KUO I-Chen (Taiwan)
Amalia ULMAN (Argentina / USA)
YE Funa (China)

Curatorial Statement

The first thing that many of us do when we wake up in the morning is to pick up our phones to switch off the alarm, and then we begin the day by browsing through Facebook and Instagram. We snap photos and record everything throughout the day, such as what we eat for breakfast, lunch, and dinner, the flowers, the sky, the sceneries, and everything else that we see; we upload posts and share about our acquaintances, our significant others, and ourselves. This is the way people live in the digital age. We dwell in a world that is contained, as we see and are seen in the cyber world. We acquire knowledge, maintain friendships, find love and look forward to being liked on the Internet. We show and expose ourselves in both private and public ways in the cyber space, carrying out a life that’s immortal on screen.

People seem to enjoy this kind of life, one that’s “concealed” behind the screen, “hidden” on the other side of the Internet, where emotions are masked and life is strategically considered, edited, and altered, after that, people subsequently begin to imagine themselves having a seemingly realistic relations with other ambiguous entities. Self-determining when to engage and when to withdrawal. A new identity can also be activated at any given time, with one’s state of existence “reconfigured”. Through connections made via technology, a new space with freedom could be enjoyed, where real world anxieties and lonesomeness could be quickly absconded. Through the massive network available on mobile phones, it is possible to activate an avatar and step into the virtual realm at any given time, where daily conundrums and helplessness could be alleviated via the avatar. Through the avatar, feelings of loneliness and discontent could also be eased, as the avatar slowly replaces the real self and gradually takes over the life and the stories of the Self.

Through setting up a personal profile and reestablishing the virtue of one’s own life, the process is ritualistic, and as the state of life is examined and then reconfigured, photos are then uploaded, words are written and posted, and live streams are broadcasted. Through each object, every photograph and incident, a new “me” is created, a “me” that the person wishes to present. Sherry Turkle argues in Alone Together (2011) that we are now living in a state of “life mix” through the use of mobile communication devices. Our online selves develop distinct personalities, and become our “better selves”, which are also “social robots” at the same time. Turkle refers to this new state of the self as “itself”, whereby a person is treated as a thing.

Images and words are evidences of a person’s existence, and now they have become strategies used for creating the subject that is put on display. The displayer’s ambition is unveiled through this, as identities and stories are fabricated and shared with others whose identities that are secretive and incognito. An online streamer, a pedestrian or bird that unintentionally passes by a surveillance camera; a person that actively engages in the surveillance from a remote online location, and audiences that enter into the live streaming site inside the exhibition venue, the difference between them is actually quite minimal. Through the acts of displaying and sharing, people become the voyeurs and also the voyees; they show themselves for others to watch, and provide themselves to the system, open to be watched and critiqued by others. They look forward to being noticed by others and for their existence to be recognized. They use their personal rhetoric to reaffirm their individuality, and all the while, they also enjoy watching others and become commentators of other people’s lives. In The Peep Diaries: How We’re Learning to Love Watching Ourselves and Our Neighbors (2012), Hal Niedzviecki argues that voyeurism is an intangible form of entertainment; it creates stories, impressions, and gathers emotions, but it is not carried out through deliberate consideration.

The following three situations are explored by the eight artworks on view in this exhibition: “Voyeuristic Existence”, “Scenarios of Display”, “Disappearance and Immortality”, as the artworks look into the debates and the lamentations with self-presentation in the cyber space. The subjects showcased in the artworks are: the artists themselves in Amalia Ulman’s work Excellences & Perfections and Ye Funa’s Peep Stream; those who wrote down their secrets in Frank Warren’s PostSecret; those being watched and the artist in Lauren McCarthy’s Lauren. The people and the objects photographed in Kyle McDonald’s work People Staring at Computers, Kuo I-Chen’s Snapshadow, and Requiem for Film Camera which is made by Cho Li-Hang, Peng Yu-Chu and Tzeng Yi-Reh. Throughout the active and passive processes of display, the subjects are shared and placed on display through active and passive choices, under artists’ meticulously arrangements. They eventually become the muttering failure in Johannes DeYoung’s Ego Loser, which foresees the gradual disappearance of mankind’s subjectivity in the digital era and the melancholic emotions evoked by the lost.

People create their own values in the digital era through critiquing scenarios from other people’s lives that are on display. Putting the self on display in the cyber space, the individuals, despite their identities and titles, should refer to themselves as “itself”, and even more so, if the voyeurs who watching the displays should refer themselves as “itself”. L’Homme nu. La dictature invisible du numérique (The Naked Man. The Invisible Dictatorship of The Digital Society, 2018) by Marc Dugain and Christophe Labbé uses Plato’s allegory of the cave to describe the illusions in the digital era, with tangibility and realness disappearing in the midst of the illusions, and our reality is slowly being gnawed away by the virtualization of society. “Immortal on Screen” examines the helplessness and struggle of this state. It also presents the present existing state. In the words of Hal Niedzviecki, “Caught in the layers of gooey, whipped oil and permanently preserved, the mundane indignities of everyday life continue on forever, even after our lives have ended.” (2012)

Chinternet Ugly


8 February – 11 May 2019

Exhibition location: Gallery 1, Gallery 2 & Residency Studio

An important new group exhibition which navigates the messy vitality of China’s online realm – a space where artists can engage, play and debate – featuring works by six leading new media artists.

‘Chinternet Ugly’ navigates the messy vitality of China’s online realm, a space where artists can engage, play and debate.

This exhibition features a new commission by Miao Ying plus site-specific installations by five other leading new media artists: aaajiao, Lin Ke, Liu Xin, Lu Yang and Ye Funa.

China is home to 802 million Internet users, 431 million micro-bloggers, 788 million Internet mobile phone users, and four of the top ten Internet companies in the world. This vast user base combined with a handful of ubiquitous online platforms and e-commerce giants including WeChat, Tencent and Alibaba results in cultural currents that flow at a blinding pace – spreading and evolving far more rapidly than on the ‘global’ web and creating a distinct internet culture – the ‘Chinternet’. Utilising this space as a site for cultural and political negotiation, critique and play, the artists presented in ‘Chinternet Ugly’ probe how
 the sheer volume of Internet users in China ensure that the country 
is effectively becoming its own online centre of gravity, one with the power to create its own sphere of influence over network norms.

Focusing on a younger generation of artists – the first to have grown up with mass digital technology – ‘Chinternet Ugly’ invites the viewer to explore the complex and contradictory nature of China’s hyper-regulated digital sphere from the perspective of some of its most dynamic and engaging artists. From Xu Wenkai (aaajiao) and Lin Ke’s manipulations of found digital materials and standard software programs; to the augmented reality of Lu Yang; the celebratory pop aesthetics of Ye Funa to the dark side of internet freedom in the works of Liu Xin, and the veneration of the ugly and artless evident in the works of Miao Ying.

Paying tribute to the messy humanity found between the cracks in a digital world of smooth transitions, polished selfies, blemish correcting software and autocorrect, ‘Chinternet Ugly’ celebrates lo-fi aesthetics and highlights the Chinternet’s potential to subvert cultural stereotypes, reject societal norms and generate a vibrant vernacular of satirical memes and online subcultures.

To mark this exhibition CFCCA are delighted to announce a co-commission in partnership with the University of Salford Art Collection of a new work by Miao Ying, Love’s Labours’ Lost. This video installation explores Miao’s own relationship with China’s hyper-regulated online realm, which she views as a ‘Stockholm Syndrome’, a traumatic bonding. In this work Miao Ying uses love locks left by lovers on the bridges of Paris as metaphor for the complex and conflicted relationship between China’s internet users and Chinese internet technology, security and access.

As an artist from the first generation to grow up with China’s open policy and the internet, Miao explores in a humorous way the visual language of the Chinese internet and its users. As with the other five artists featured in ‘Chinternet Ugly’ she works online, often using GIFs, screen shots and lo-fi visual elements alongside physical installations.

‘Chinternet Ugly’ has been co-curated by Dr Ros Holmes, Presidential Academic Fellow in Art History at the University of Manchester and Marianna Tsionki, Research Curator, CFCCA.

This exhibition was made possible with a Jonathan Ruffer Curatorial Research Grant from the Art Fund.

Cosmopolis #1.5: Enlarged Intelligenc


Mao Jihong Arts Foundation in collaboration with the Centre Pompidou
November 2, 2018–January 6, 2019


Cosmopolis #1.5: Enlarged Intelligence, opening November 2 in Chengdu, Sichuan Province in south-west China, presents artworks and programs by almost 60 artists and groups, exploring ecology, technology and the commons, and envisioning how we today may draw on intelligent technologies, as well as on ecological intelligence, to advance social values—rather than leaving capital to largely define the uses of these techniques and knowledge systems.

Fostering a speculative approach rooted in conceptual thinking and creative experimentation, the project includes artist residencies, concerts, talks, and educational programs taking place across multiple venues in Chengdu and in nearby Jiajiang County. Cosmopolis #1.5 is curated by Kathryn Weir, with associate curator Ilaria Conti and curatorial advisor Zhang Hanlu.

The Cosmopolis platform was launched by the Centre Pompidou in 2016 to highlight research-based creative practices that are rooted in a particular context yet engage in international conversations, reflecting on cultural translation and the situatedness of knowledge. The first two-year cycle, centered on collaboration and collective practice, culminated in the exhibition Cosmopolis #1: Collective Intelligence (Centre Pompidou, 2017).

Cosmopolis #1.5: Enlarged Intelligence is the second major exhibition associated with the platform. Stemming from the current cycle of research, the project engages with urban and rural space, and the shifts in the dynamic between them due to the digital economy and other technological, ecological, and cultural transformations. The cosmotechnical theory of philosopher Yuk Hui, presenting “the unification of the cosmos and the moral through technical activities, whether craft-making or art-making,” has informed the project through its re-envisioning of technology within specific historical and cultural contexts.

Cosmopolis #1.5 is fully supported by the Mao Jihong Arts Foundation and the city of Chengdu.

The venues

Cosmopolis #1.5: Enlarged Intelligence
Dong Jiao JiYi (Eastern Suburb Memory)

Housed in a warehouse within a former electronics factory, the main exhibition features newly commissioned works alongside interactive installations and research-based projects. It articulates thematic constellations ranging from speculative urbanism to ecological analysis, from image circulations to cosmotechnical visions.

Water and Future Life
MFS IIIx3 – Minjiang Floating System, Jincheng Lake

An archipelago of floating bamboo and wood structures, designed by architect Kunlé Adeyemi/NLÉ Works, forms a hub for communal reflection about life on water and future ecologies. The Cosmopolis iteration of Adeyemi’s Makoko Floating School includes an exhibition addressing water and rural spaces, a concert hall for a program engaging with the musical traditions of minority groups in rural China—from hybrid rock to electronic genres—and a plaza serving as an observation point for the Jincheng Wetland Park ecosystem. MFS IIIx3 makes connections between histories of floating dwellings in Nigeria, where MFS was first created, and water construction technologies in China.

Urban and Rural
Shiyan Village, Jiajiang County

Two interdisciplinary collectives—Arquitectura Expandida from Colombia and Gudskul (ruangrupa, Serrum + Grafis Huru Hara) from Indonesia—were invited to Shiyan village for residencies engaging with local communities. They initiated collaborative processes to expand community engagement in generating new forms of rural transformation. The experimentations around common village spaces seek to articulate social dynamics and develop tools and strategies to collectively generate new understandings of the potential of rural contexts.

Invited artists
Kunlé Adeyemi/NLÉ Works
 (Nigeria/The Netherlands), Alfredo and Isabel Aquilizan (Philippines), Arquitectura Expandida (Colombia), Yesmine Ben Khelil (Tunisia), Manuel Chavajay (Guatemala), Cao Minghao and Chen Jianjun (China), Chen Qiulin (China), Rasel Chowdhury (Bangladesh), Cui Jie (China), Emo de Medeiros (Benin), Gudskul (ruangrupa, Serrum + Grafis Huru Hara) (Indonesia), Oscar Farfán (Guatemala/Mexico), Fernando GarcíaDory/Inland (Spain), Ximena Garrido-Lecca (Peru), François-Xavier Gbré (France), Shilpa Gupta (India), Romuald Hazoumè (Benin), He Xiangyu (China), Yasmin Jahan Nupur (Bangladesh), Wanuri Kahiu (Kenya), Sam Keogh (Ireland), Francois Knoetze (South Africa), Li Lang (China), Li Shuang (China), Li Wenguang (China), Liu Chuang (China), Liu Dan (China), Payne Zhu (China), Prabhavathi Meppayil (India), Mimi Onuoha (Nigeria/USA), Qiu Anxiong (China), Qiu Zhijie (China), Tabita Rezaire (France), Larissa Sansour (Palestine) and Søren Lind (Denmark), Bogosi Sekhukhuni (South Africa), Kuai Shen (Ecuador), Shen Xin (China), Yasmin Smith (Australia), Tentative Collective (Pakistan), Tricky Walsh (Australia), Wang Jianwei (China), Munem Wasif (Bangladesh), Wei Haoyan (China), Dana Whabira (UK/Zimbabwe), Ming Wong (Singapore/Germany), Xu Bing (China), Ye Funa (China),Yu Guo (China), Yuan Goang-Ming (Taiwan, China), Zheng Bo (China), Zheng Yuan (China)

Briefe aus dem Gefängnis – Flying Dance 2017

Video, colour, sound, online resources, found objects

32′ 30”

News From Nowhere 2014-2018

Videos, colour, sound, light boxes, auto mah-jong player, artificial peach tree

5′ 52” and 5′

Ye Funa: From Hand to Hand


LOCATION: Nottingham Contemporary

DATE: 17 Feb 2018 – 04 Mar 2018

Ye Funa’s practice is concerned with the boundaries between daily life and contemporary art. Her work explores the effects of new media and globalisation on cultural identity and gender. For our exhibition, Ye will produce a new episode in her online Peep-Stream series, addressing society’s current desire to display ourselves through selfies, webchats and social media. Ping-Pong Stream, an interactive live-streamed performance, will focus on China’s waning interest in ping pong in favour of celebrity sports of basketball and football. Produced in The Space at Nottingham Contemporary, Ping Pong Stream will tell the story of Yong Ping, a former Ping Pong World Champion.

The final video will be embedded in an immersive installation that converts the Project Space into a nail salon. Here, nails become the exhibition space through which Ye artificially reforms the natural extremities of the body. This exhibition is part of NOW: A Dialogue on Female Chinese Contemporary Artists, in collaboration with CFCCA, HOME, Turner Contemporary, MIMA and Tate.

Nottingham Contemporary
Weekday Cross, Nottingham, NG1 2GB



NOW is a collaborative programme aimed at reinvigorating discussion around the role of female contemporary artists in the art ecology of present day China. Through a series of exhibitions, commissions and events, NOW explores how the diversity of current female artistic practice transcends notions of gender difference to offer hybrid perspectives on their socio-political environment. The transformative impacts of societal change have opened new, transcultural, possibilities for female artists working today.

Launching in February 2018, the programme includes exhibitions at Centre for Chinese Contemporary Art (Manchester), Middlesbrough Institute of Modern Art (Middlesbrough),Nottingham Contemporary (Nottingham) and Turner Contemporary (Margate) an artist film series at HOME (Manchester) and a symposium hosted by Tate Research Centre: Asia(London).

Featured artists in the exhibitions include Na Buqi, Wu Chao, Ye Funa, Yang Guangnan, Ma Qiusha, Li Shurui, Luo Wei, Hu Xiaoyuan, Shen Xin, Yin Xiuzhen and Geng Xue.

Featured artists in the film series include Hao Jingban, Shiyuan Liu, Wang NewOne, Yao Qingmei, Ma Qiusha, Liu Yi, Chi Jang Yin, Miao Ying, Liang Yue, Peng Yun, Guan Xiao, Hu Xiaoyuan, Wang Xin and Geng Xue.

In the history of modern and contemporary Chinese art, female artists have long been marginalised and left at the fringes of art historical debate. This under-representation was challenged in the 1990s by an emerging artistic trend termed ‘women’s art’ and artistic practices started to deal with concepts such as feminism. Although this provided a platform for female artists, it soon revealed certain constrictions and limitations, marginalising female artistic practice to more conservative representations and ideas, such as femininity.

Here, the variety of artworks reflects the many viewpoints of artists in the wake of feminist movements of the past. The aim of this collaborative programme is to re-open a dialogue on the way female artists are positioning themselves now and to explore the complex and multifaceted influence of gender categorisation upon their creative process. Furthermore it considers how the rapid transformations of contemporary China have provided possibilities for female artists to take advantage of transcultural opportunities.

NOW is co-organised by Plus Tate, the China Central Academy of Fine Arts and the Centre for Chinese Contemporary Art in collaboration with HOME, Manchester; Middlesbrough Institute of Modern Art; Nottingham Contemporary and Turner Contemporary, Margate. The programme is sponsored by the China National Arts Fund and supported by British Council, China.

Your Selfie Stick (and You)-Lian Zhou Foto


Your Selfie Stick (and You)

Dec. 2nd, 2017 ~ Jan. 2nd, 2018

Lianzhou, Guangdong

Work “PeeP Stream Training Camp” Paticipate in the THEMATIC at in Liang Zhou Foto Festival.

Your Selfie Stick (and You)

Sandra Maunac

We live in a digital culture that has completely transformed our visual habits.  We witness and participate in the mass use of the “me” – previously reserved to but a few – because this staging is the only way to prevail in this world of visual competitiveness. However, when faced with this overexposure of images, we should ask ourselves where the creator of images is positioned.

Previously, the photographer went out to capture reality in his surroundings; nowadays, many decide to dive into the network and, from therein, build their documentary fictions. This fertile and seemingly inexhaustible mesh, as well as being accessible to all, is another instrument that allows us to make visible certain situations. The difference resides in the degree of manipulation of those elements taken from Internet, in a different order than the established one. Small disruptions, slight signs and gaps, allow us to denounce certain positioning and encourage questions, although those same disruptions are warning signs that the lines have been completely erased, that there is no private and public anymore, no true or false; everything is part of the whole.

In this era of democratization of images, social networks and their power to communicate are playing an essential role. The presence of platforms such as Facebook and Instagram has not only transformed our method of communicating, but has also propelled the possibility of modifying the imaginary that we have as regards a whole continent or a whole country. These are tools available to any and everyone, with no distinctions as regards gender, race, social or cultural standing. And that allow us to open doors, give voices and, even more importantly, empower.










Home, Sweet Home-PSA 2017 Emerging Curators Project


PSA 2017 Emerging Curators Project PSA青策计划2017

Curators: Housewife Squad (Mo Wanli, Deng Yuanye, Lin Lin)

Artists: Lyla Wu and Ye Funa, Yao Weiwei/Yin Shun and Hu Yinping, Qi Shanshan and Ma Qiusha, Ma Yuanrong and Han Xia, Zhou Jianjia/Li Danfeng and Zeng Burong/Deng Hanbin.

Venue:Power Station of Art Gallery 7 5F


Peep Stream stage installation view

About the Exhibition

By presenting the ambiguities related to labor division, intimate relationships, opposition, violence and their modern alternatives of women in domestic space, Home, Sweet Home discusses the historical construction of sweet home and demystifies such sweetness through spectator’s voyeuristic perspective. Capitalizing on the corresponding narrative and spatial structure, the exhibition also attempts to explore the relationship between the act of viewing and space as it is used to suggest and define viewing experience, exhibited objects and displaying methods.

The exhibition includes three parts: architectural and artistic work, document presentation and public participation. Six regularly-arranged Disciplinary Walls exhibit how “sweet home” is historically constructed in terms of labor division, intimate relations, opposition, violence, etc. With 158 pieces of historical materials, social events, spatial cases and models, first-hand research materials, original works and so on, the document exhibition indicates the evolution and solidification of domestic space and its core content, suggesting the dynamics and multiple clues of such process within a complex cultural background.

Five Cocoons wrapped by the Disciplinary walls- The Laboring Cocoon, The Ethical Cocoon, The Intimate Cocoon, The Therapeutic Cocoon, and The Non-Nuclear Family Cocoon – represents the inwardness and privacy of home, and also serves as spaces for artistic intervention. Five pairs of architects and artists are invited to collaborate and to express five spatial themes with their creations. They are: Lyla Wu and Ye Funa, Yao Weiwei/Yin Shun and Hu Yinping, Qi Shanshan and Ma Qiusha, Ma Yuanrong and Han Xia, Zhou Jianjia/Li Danfeng and Zeng Burong/Deng Hanbin. Various materials, structural forms, and presentational forms of artistic creations are engaged to suggest another possibility for the spatial theme. Layering openings through the Disciplinary Walls produce two Voyeuristic Cones, which allow spectator to peep into the Cocoons to participate in the deconstruction of Sweet Home and witness the collapse of such modern myths as public and privacy, production pattern, social discrepancy, claim and discourse, romantic relations, freedom and equality, etc.

About the Curatorial Team

Housewife Squad is a research (and wechat) group with a curiosity on women’s everyday life. The group was initiated by Mo Wanli, Deng Yuanye and Lin Lin, who are doctoral students at College of Architecture and Urban Planning, Tongji University. As a curatorial and research group with multi-disciplinary backgrounds, Housewife Squad is interested in the trivial yet mysterious domestic life as well as agendas concerning female and space.

Mo Wanli received her Master of Architecture degree from Yale University and is interested in contemporary forms of life in relation to material and immaterial production. Deng Yuanye is currently in a joint doctoral program with MIT School of Architecture and Planning and she received her Master of Anthropology degree from The Chinese University of Hong Kong. Her research focuses on urban and rural forms and their structural transformation. Lin Lin is a lecturer at Jiageng College, Xiamen University and she is interested in urban anthropology and historical preservation.