Solo Exhibition
2007      

Gun, Ma Yanling Performance Photography Exhibition, Beijing.
Ma Yanling Works        Front line Contemporary  Beijing.
2008      

Tian＇an men         New York

Group Exhibitions
2002      

Fake it – Chinese Photography and Video Exhibition, Beijing.
The Second Pingyao International Photography Festival, Pingyao.
I am China – Chinese Photography and Video Show, Beijing.
2003     

Beads and Touches, Beijing Tokyo Art Project, Beijing.
DNA -- Photography and Video Exhibition, Beijing.
Breath – Chinese Conceptual Photography Exhibition, New York.
2005     

Inner Injury – Part One, Contemporary Art Exhibition, Beijing.
The Era of Chinese Characters, Beijing.
2006    

Inner Injury – Part One, Contemporary Art Exhibition, Marella Art Gallery, Milan.
Grand Tang -- International Dashanzi Art Fair –, On-site Performance, Beijing.
Inner Injury – Part Two, Contemporary Art Exhibition, Beijing.
From Beijing,-Photography Exhibition, New York.
Grand Way, On-site Art Fair, Beijing.
Eat For the First Time, On-site Performance, Belgium.
2007     

Chinese Performance Photography Documenta, Beijing.
Among others.，Para/Site Art Space, Hong Kong.
The 12th NIPAF Asia Performance Art Series’ 07,Tokyo/Gyody/Nagano

Comment

Impressions of Ma yanling portraiture

In the four years since appearing in "Prayer Beads and Brush Strokes",the 2003 exhibition curated by Li Xianting,Ma Yanling has distanced herself from the clamor of the art market,instead entering a self-imposed seclusion to focus on a new series of works.The new works are a continuation of her previous style and rendered in the technique of Chinese fine stroke painting.Ma Yanling uses the eighteen tradition of her previous style and rendered in the technique of Chinese fine stroke painting.Ma Yanling uses the eighteen traditional brush strokes including iron-wire stroke,string stroke,caoyimiao stroke,elegant and simple gossamer stroke,leisurely and smooth stroke,lines like rat tails with beginnings like nails stroke,and others to paint minute lines that form a meaningless grid;it is as if the artist takes on the role of the mythological fairy weaver Zhi Nu,who labors over a complex and endless loom,producing but one painting each month.This production process reminds one of the opening verses of "Ode Of Mulan":Ji ji and again jiji/Mulan weaves,facing the door./They ask Daughter who's in her heart ./They ask Daughter who's on her mind./"No one is on Daughter's heart,/ No one is one Daughter's mind".In creating meaningless lines and grids,the simplicity and repetition of human nature,like flowing water,is emphasized.

Ma Yanling has invented a new desigh not present in previous paintings,offering a my stical and alternative worldview.