Restroom M: Song Dong, Restroom W Yin Xiuzhen

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Restroom M: Song Dong, Restroom W Yin Xiuzhen

631 West 2nd St.
Los Angeles, CA 90012
December 6th, 2006 - January 28th, 2007

downtown/east la
Tue-Sun 12-6 or Intermission
contemporary, installation, conceptual, asian


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 world.