Peng Yung has been active in the fields of photography, video, and performance, keenly and persistently exploring gender identity issues. She was born in Sichuan in 1982 and graduated in the Sichuan fine arts institute with a bachelor degree in Oil Painting. In 2007 she obtained a master degree in New Media Art at China Academy of Art. From 2007 to 2009 Peng Yun worked in Shanghai Institute of Visual Art, Fudan University. She is currently living and working in Macau.
Peng Yung一直活跃于摄影，录像和表演领域，敏锐而持久地探索性别认同问题。她1982年出生于四川，毕业于四川美术学院，获得油画学士学位。 2007年，她获得了中国美术学院新媒体艺术硕士学位。 2007年至2009年，彭云在复旦大学上海视觉艺术学院工作。她目前在澳门生活和工作。
Peng Yun is one of the most representative female experimental artists in Macau, and the Hinterland Art Circle. Her works are also in some important exhibitions across the globe. […] During her graduate education, she followed the famous professor of China Academy of Art, Zhang Peili, who is considered as the father of Chinese video art. In 2011, Peng Yun migrated to Macau. Within two years, with her female view and the identity of experimental artist, Peng Yun got to record the influence that this new city had on her. Perhaps, some people deem her works filled with ice-sexuality and gentle sweetness. All adjectives for female description can be found in her art works.
Recent exhibitions include: Between China and Portuguese-Speaking Countries Annual Arts Exhibition, Macao (2018); Presence Young Artist Exhibition, Hangzhou, China (2018); Screen Refreshing/Labor: AMNUA Photography Exhibition 2018, Nangjing, China (2018); Women Artists 1st International Biennial of Macao, Macao (2018); Now: A Dialogue on Female Chinese Contemporary Artists, Manchester/ Nottingham/ Middleborough/ Essex/ Liverpool/ London, UK(2018); WE, Montreal, Canada (2017); The Sweet Life?, Hangzhou, China (2017); Souls Which Are One Shall Meet, Berlin, Germany (2016 solo exhibition); Danube Video Art Festival, Grein, Austria (2016); Peng Yun & Jose Drummond– A midsummer night’s dream, Macau (2015); Polyphony III, Nanjing, China (2015); Photo Shanghai 2015, Shanghai, China (2015).
—in About Peng Yun (Vanguarda Gallery)
2013 / 7’47” / 16:9
I use my works to communicate with my lives; Girl’s name to stay in my work .
In 2013, my lives had experienced a drastic change, the experience brought me suffers, I made appear these feelings through a series of video works.
In ‘’Miss Melissa and Mr Fish at 2.31pm’’, I want to discuss, in a relationship, the suffering of not getting what you want.
I chose to use a dead fish and Miss Melissa’s right hand. During a series of movements such as touching, entering, and destroying, my emotions changed. When the fish’s body was completely destroyed as I reached the peak of emotions, I was almost exhausted. Behind the appearance of the inside is the pain of never getting a response.