Haiharan taidekeskuksen Tallin näyttelykauden päättää residenssitaiteilija Ming-Ming Yin. Yin viettää Haiharan taidekeskuksen residenssissä yhteensä kaksi kuukautta taiteellisen työskentelyn parissa. Taiwanissa syntynyt taiteilija asuu ja työskentelee nykyisin Düsseldorfissa.
Ming-Ming Yin herättelee näyttelyssä yleistä käsitystä pinkistä väristä, joka ei ole enää pelkkä väri. Näyttelyssä yhdistyy kolme käsitystä: sukupuolien väliset roolit, muistot ja kuluttaminen. Mitä jos vaaleanpunainen vuori on orgaanista kasvua, mitä jos vaaleanpunainen ei ole vain ommel, mitä jos vaaleanpunainen ei ole enää “ruusu”?
Lisätietoja englanniksi alempana.
Tallissa on samaan aikaan näyttely myös Katri Kempakselta.
More information in English:
Ming-Ming Yin: The Sound of Pink Wind, 2018, Finland
Ming-Ming Yin (born in Taiwan) is an artist based in Düsseldorf since 1997. She received her BA (Hons) in Fine Arts, Tunghai University, 1993 and gained her MFA from Kunst Akademie, Düsseldorf, 2011.
In recent years, ‘pink’ has become a disgusting word associated with stereotypical girliness toys such as Barbies. The colour pink strongly associated with femininity. In 1995, Penny Sparke published her book As Long as It’s Pink: The Sexual Politics of Taste, Penny explores the gender meaning of female taste and finds, in the home and in objects, ‘pink’ as a powerful aesthetic in the everyday life. In term of pink ‘not just a colour’, that when a man or boy wears it, it is no longer ‘just a colour’, but as an act of defiance beyond the aesthetic. However, in Ming-Ming Yin’s art, she uses the pink fabric pieces looking through the materials, looking at something not ‘just a colour’ but rethink pink differently through its materiality. She shows us another side of the pink, through her creation: what if the pink mountain is an organic growth, what if the pink is not a stitch, what if the pink is no longer ‘rose’?
Ming-Ming Yin links the three concepts of ‘The Sound of Pink Wind’ through themes of gender roles, memory and consumption. She began to use the pink related ready-made objects into her artistic projects from 2008 since she was a master student at Kunst Akademie Düsseldorf (Arts Academy of the city of Düsseldorf, Germany). Among the materials, her eyes were caught by those women pink lace thongs when she visited a ‘One Euro’ shop in Germany. Those pink thongs were made poorly and imported from an unknown village in China. She recalls ‘some pieces of fabric that were not stitched properly… However, the people still buy them.’ It is not only because it is cheap, this pink thong referes to not just a colour, but an alternative truth. Ming-Ming uses and experiments with these pink materials and fabric pieces and assembles the images, so the images have a stronger impact on shaping gender images or femininity such as mountain and woman push-up bras. As Ming-Ming began to see pink as a bad word and ‘girliness’, but pink can be organic, imperfect, it can be tough and rough just as life itself.
S. F. Marechal-Chou
MA (RCA/ V&A)
PhD in History, Visual and Material Cultures, University of Warwick, UK