14 October 2017


Artist Hun Yu’s recent projects aim to map the history of China’s modernity by mixing historical figures, family testimonies, and self-portraits.

In this way, his practice lays bare the essentially subjective nature of storytelling, while playing on its charm vis-à-vis the constructed objectivity of institutional meta-narratives. While most of the above mentioned projects deal with personal and subjective narrative, Hu Yun’s work for the 11th Gwangju biennale, The Preparation Room (2016), dealt with the construct of the state narrative and the way it is preserved or isolated. The Preparation Room was an installation based on two archives from the city of Gwangju, South Korea—the 5.18 Gwangju Uprising Archive and the archive of the Gwangju Biennial itself. By interlacing two archival frameworks and blurring their distinctive perimeters, the artist explored the relationship between artistic and archival practices. Can our memories be revisited in the name of art?



Hu Yun is an artist based in Belgrade and Shanghai. In his practice, Hu revisits historical moments to provide alternative readings, a process that also informs the artist’s self-reflection on his personal ties. Solo exhibitions include: Our Ancestors, Goethe Institut, Shanghai (2012); Up to the Sky, Magician Space, Beijing (2010); and Image of Nature, Natural History Museum, London (2010). His works have also been exhibited at the Power Station of Art (Shanghai), Centre Pompidou (Paris) and Times Museum (Guangzhou). Hu participated in the 11th Gwangju Biennale (2016), the 7th Shenzhen Sculpture Biennale (2012), and the 4th Guangzhou Triennial (2012). He is the co-founder of art e-journal PDF.


Free admission with advance registration.

The talk is part of the fifth session of the conference.


Mailing List

Subscribe to our mailing list and get the latest news from Garage