Eros/Thanatos
The project title of Yongqi Tang (Shenzhen, 1997) Eros/Thanatos derives from Sigmund Freud’s theory of two fundamental drives. With Eros as the instinct to create and Thanatos the instinct to destroy, Eros/Thanatos indicate the tension between our inherent drive to choose our own authentic ways of being and the impossibility of satisfying it. In response to the deconsecrated space, Eros/Thanatos delves deeply into the modern identity crisis, as indicated by German philosopher Nietzsche’s famous proclamation of “the death of God”.
Contrary to common misconceptions, this proclamation isn't a triumphant statement of atheism but rather a horrifying prophecy of nihilism. In this context, “God” doesn’t refer to the narrow religious definition but to the broader idea of epistemic certainty and the external values, and the death of God signifies the erosion of objective values and purposes that anchor our identification and orientation in the external world. Within this conceptual framework and blending visual homage to the historical subjects from the tradition of Renaissance paintings with reference to existing imagery from films, the artist aims to make a transcendental body of works that explore the universal challenge in understanding and establishing one’s self-identity in a postmodernist world, simultaneously she seeks to offer a unique perspective on how she addressed it as a female painter.
Central to the exhibition, is a visual throwback to the classical motif Death and the Maiden. While the personification of death is playing chess with a young woman, various characters engage in different activities in an effort to find meaning in the seemingly apathetic reality. Complementing this centerpiece, are four separate paintings housed in the side wings, each engaging in conversation with its counterparts, forming pairs at each niche. These flanking paintings offer Yongqi Tang’s personal perspective on coping with feelings of meaninglessness. On the left, “the Painter’s Studio” and “Vanitas, Vanitas...” together represents the endeavor in creative practice. While “the Painter’s Studio” portrays a harmonious, romanticized scene of art making, its counterpart “Vanitas, Vanitas...” visualizes the turmoil of inner chaos, self-doubt, and frustrations during the process. On the other hand, the works housed in the right niche—"The Birth of Eros" and "Love is Stream"—provoke contemplation on whether genuine well-being can still be attained through romantic relationships in our increasingly isolated world. Inspired by Plato’s Symposium, "The Birth of Eros" depicts a mythological scene in which Penia, the goddess of poverty, conceives Eros after sleeping with Poros, the god of resourcefulness. In contrast, "Love is Stream" metaphorically addresses modern romantic dilemmas, drawing inspiration from a dream scene in John Cassavetes’ film "Love Streams”. Here, the protagonist attempts to amuse her ex-husband in the foreground while juxtaposing the Greek mythology of Apollo chasing Daphne.
Contrary to common misconceptions, this proclamation isn't a triumphant statement of atheism but rather a horrifying prophecy of nihilism. In this context, “God” doesn’t refer to the narrow religious definition but to the broader idea of epistemic certainty and the external values, and the death of God signifies the erosion of objective values and purposes that anchor our identification and orientation in the external world. Within this conceptual framework and blending visual homage to the historical subjects from the tradition of Renaissance paintings with reference to existing imagery from films, the artist aims to make a transcendental body of works that explore the universal challenge in understanding and establishing one’s self-identity in a postmodernist world, simultaneously she seeks to offer a unique perspective on how she addressed it as a female painter.
Central to the exhibition, is a visual throwback to the classical motif Death and the Maiden. While the personification of death is playing chess with a young woman, various characters engage in different activities in an effort to find meaning in the seemingly apathetic reality. Complementing this centerpiece, are four separate paintings housed in the side wings, each engaging in conversation with its counterparts, forming pairs at each niche. These flanking paintings offer Yongqi Tang’s personal perspective on coping with feelings of meaninglessness. On the left, “the Painter’s Studio” and “Vanitas, Vanitas...” together represents the endeavor in creative practice. While “the Painter’s Studio” portrays a harmonious, romanticized scene of art making, its counterpart “Vanitas, Vanitas...” visualizes the turmoil of inner chaos, self-doubt, and frustrations during the process. On the other hand, the works housed in the right niche—"The Birth of Eros" and "Love is Stream"—provoke contemplation on whether genuine well-being can still be attained through romantic relationships in our increasingly isolated world. Inspired by Plato’s Symposium, "The Birth of Eros" depicts a mythological scene in which Penia, the goddess of poverty, conceives Eros after sleeping with Poros, the god of resourcefulness. In contrast, "Love is Stream" metaphorically addresses modern romantic dilemmas, drawing inspiration from a dream scene in John Cassavetes’ film "Love Streams”. Here, the protagonist attempts to amuse her ex-husband in the foreground while juxtaposing the Greek mythology of Apollo chasing Daphne.
