For their first exhibitions in Los Angeles, Song Dong and Yin
Xiuzhen will divide the Gallery at REDCAT and present two solo
exhibitions: Restroom M: Song Dong and Restroom W: Yin Xiuzhen. Their separately conceived projects will explore the restroom as both a public and private social space.
Song Dong’s practice includes performance, photography and
video, and explores notions of perception and the ephemeral nature of
existence. His political and financial circumstances have encouraged a
solitary, meditative way of working, in which ideas are expressed
through simple but politically charged actions and gestures. In his
photographic series and short video works, sequenced images explore a
rapidly modernizing China and capture notions of transience and
illusion in contemporary society.
In his installation at REDCAT, Song Dong presents a
multi-channel video installation to expose the potential of the
restroom as a censored and even solitary site that belies its social
function. Responding to rapid technological developments, the project
uses the space of the restroom to explore feelings of individual
isolation in light of increases in public exchange.
Yin Xiuzhen’s sculpture and installations since the mid-1990s
have often responded to the massive destruction and reconstruction of
Beijing. Through various types of interventions and exercises, Yin
seeks to personalize objects and allude to the lives of people affected
by sudden social, physical and cultural disruption and transformation.
Her works often incorporate detritus such as used clothes, shoes or
rubble from demolished buildings as a means to convey aspects of
individual experiences in relation to global transformations.
Also examining the tenuous relationship between public and
private interaction for her installation at REDCAT, Yin Xiuzhen will
transform the gallery into a traditional communal lavatory, wherein she
will incorporate a sculpture of a wounded newborn. Responding to a
recent event in which a Chinese baby was found stabbed with a pair of
scissors, the artist opposes older, intimate models of public
engagement with the private demands of a fast-paced, commodity-driven