In her series of pictures “Beijing Blue” as part of the genre “Portrait”, artist Yolanda vom Hagen takes a
good, close look at the people of Beijing. She focused her attention on this city only, as it is the capital of
China and so has always attracted people from all over China and the world. As the political center as
well as a center of transformation Beijing offers many opportunities to find work and accumulate wealth.
Therefore, day by day millions of people make their way to this city and leave their mark and transform
it. Street scenes reflect this multi faceted mixture of migrating workers, nouveau riches, students from
China and abroad, creatives, entrepreneurs and many more.
In her project, the artist has captured this multitude of moments. Using a blue background for her portraits
which is held up by random bystanders, she watched new and spontaneous relationships unravel
between passers-by, whose lives usually go parallel ways and would never have touched. The fact that
those passers-by holding the blue sheet did not know that they were in the picture together with the officially
portrayed persons - thus they did not stage themselves - is revealing separate stories about them
all. “I brought Chinese people of very different social background together, wanted to soften fixed social
barriers, start a dialogue and unite all of this in my time exposure”. The goal of the exhibition of these
pictures is to give a face to the configuration of this city and, by and large, to the people in the streets
of China.

Für die Lounge von balancity, in der während der EXPO 2010 zahlreiche Repräsentanten aus China und anderen Ländern erwartet werden, waren Künstler aufgefordert, ihre Werke – ob Malerei, Grafik oder Fotografie – einzureichen. Das Ziel der Ausschreibung, die über verschiedene Kunstverbände und relevante Institutionen veröffentlicht wurde, war es, einem internationalen Publikum einen Einblick in die pulsierende Kunstszene Deutschlands zu vermitteln. Zum Stichtag, dem 25. September 2009, waren 91 Bewerbungen bei der Direktionsleitung des Deutschen Pavillons eingegangen.

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In meiner dokumentarischen Arbeit „Hackenfleisch – Das Leben der Chinesen in Deutschland“ habe ich die „Subkultur“ der chinesischen Bevölkerung in Deutschland erforscht. In wie weit kann ein Kulturfremder an den Wohnungen erkennen das dort Chinesen wohnen. Kann man es überhaupt erkennen? Gibt es eine Gemeinsamkeit zwischen den Wohnräumen?