Month: August 2014

While the sensual cosmopolitanism of 1930s Shanghai once again looms in New Women (2013)— Yang Fudong’s latest five-channel, black-and-white video installation — its aesthetic and historical tropes are unspooled into a rich tableau as anachronistic as the notion of newness. The film’s five protagonists, stark naked and exquisitely coiffed in styles redolent of early 20th-century decadence, evade indexical reading into archetypes such as those from […]