Yining Fei

Feral Sediment centers on the milu, a rare species of deer native to China, whose survival has been mediated by captivity, diplomacy, and modern infrastructure. The exhibition originates in Yining Fei’s observations of the morphological similarities between the lining of the deer’s digestive organs and aerial views of industrialized landscapes, a coincidence that opens an inquiry into what separates wildness from domestication.

For hundreds of years, most milu roamed in a state of semi-captivity, protected in the Qing Imperial Hunting Ground. After a 1894 flood breached the imperial walls, they were hunted to the point of extinction, surviving as a species only because a small number had been transported to European zoos (and later, to an English duke’s estate). First reintroduced to China as diplomatic gifts and then scientifically bred in the 1980s, the milu, which now number in the thousands, had no unmediated wilderness to return to. They rest amid wind farm towers, cross paved roads, and wander freely into farmland.

Through ceramic viscera, Fei constructs the milu’s interior organs as a cosmos in miniature, a space where the biological and the artificial, the intimate and the planetary, converge. A glazed heart rotates like a trotting horse lantern (zou ma deng), casting the silhouette of a deer in recursive gallop. At SculptureCenter, the deer’s body becomes a medium where multiple histories, the present, and speculative futures are digested into the same matter, impossible to disentangle.

The exhibition is curated by Sharon X. Liu, Asymmetry Curatorial Fellow.

Yining Fei (Harbin, China, 1990. Lives and works in Shanghai, China) works across sculpture, moving image, and installation to form narratives that walk between the real and the fantastical. Drawing threads from the veins of literature, mythology, and science, Fei assembles alternative histories and speculative futures in which nature and technological infrastructure remain caught in unresolved entanglements. Fei’s select group exhibitions include Art Must Be Artificial: Perspectives of AI in the Visual Arts (Diriyah Art Futures, Riyadh, 2024), SCI-FI: Mythologies Transformed (Science Gallery Melbourne, Melbourne, 2024), National Gallery of Victoria Triennial (National Gallery of Victoria, Melbourne, 2024), New Eden: Science Fiction Mythologies Transformed (ArtScience Museum, Singapore，2023), Science Fiction and Hallucination (MAXXI Museum, Rome, 2022), Immaterial / Re-material: A Brief History of Computing Art (UCCA Beijing, Beijing, 2020) and Resistance of the Sleepers (UCCA Dune, Qinhuangdao, 2020). She received her bachelor’s degree from Fudan University, School of Journalism, and earned her MFA in Design and Technology from the Parsons School of Design, The New School.