A new exhibition featuring Yang Fudong, a leading figure in Chinese contemporary art and film, will run from October 18 to March 11 at Espace Louis Vuitton Tokyo in Omotesando, Tokyo.

Under the artistic direction of Fondation Louis Vuitton in Paris, this exhibition is part of the "Hors-Les-Murs" (Beyond Walls) project, which presents primarily previously unseen works from the Fondation Louis Vuitton's collection at Espaces around the world (Tokyo, Munich, Beijing, Venice).

Trained as a painter, Yang Fudong's diverse oeuvre spans video, film, installation, and photography, creating a dreamlike and enigmatic visual language. He prefers to project his video works on multiple screens, immersing the viewer in his world. His intentionally silent and unrealistic characters, whose movements follow pre-determined, choreographic gestures, always transport the viewer to a space of perfect beauty. While effortlessly referencing Chinese cultural traditions, Fudong also closely observes the relevance of these stories to contemporary society. The resulting timeless stories immerse the viewer in a nostalgic, otherworldly world, where a generation living between modernity and tradition questions and explores the world. "The Coloured Sky: New Women II" (2014), part of the Fondation Louis Vuitton's collection, is Yang Fudong's first color film, based on his 35mm black-and-white filmmaking. This five-channel video installation, with its stunningly vibrant colors, marks a new aesthetic development in his artistic style. Depicting a vibrantly colored artificial world, the work features five innocent yet seductive young women in period swimsuits set against a deliberately artificial beach setting. Five screens project images of the sun, sea, beaches, play, food, and references to Western art, interspersed with the presence of a horse and a stag. One screen is real, the other a reference to the Chinese proverb "The Deer is the Horse," dating back to the 3rd century BC, in which taxidermy animals teach us what is true and what is false. This work displays Fudong's typical stylistic signature of stylizing films and cultures from various eras, both Chinese and Western.