“A Quarter” (2021-2024), interactive installation of steel, mirrors, collected daily objects and furniture from different
households, lighting fixtures, small stools, and carpets. All images © Song Dong, shared with permission
Song Dong’s Monumental Installations Mirror Memories, Globalization, and Impermanence
September 5, 2025
Art
Kate Mothes
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Mirrors, lights, and household furnishings converge on a grand scale in the luminous installations of Song Dong. The Chinese artist’s interdisciplinary practice often combines performance, sculpture, painting, video, and calligraphy to summon memories and create monumental immersive experiences.
Themes of transition and ephemerality often appear in Song’s pieces, like a series of installations and performances in which tabletop constructions reminiscent of metropolitan skylines were constructed from edible treats, dismantled brick by brick—or biscuit by biscuit—as visitors passed by. Playful and saccharine on the surface, these works examine the artist’s own childhood experiences of food scarcity along with themes of ephemerality and globalization.
“Waste Not” (2009), installation performance, Museum of Modern Art, New York
“Waste Not” —which was shown initially at Beijing Tokyo Art Projects before being exhibited in major institutions in the U.S., U.K., Australia, and Germany—explores related themes of consumption and impermanence. Incorporating more than 10,000 items his mother had accumulated over the course of five decades, the installation-performance became “an act of physical and psychological unpacking,” says Pace Gallery, which represents the artist. Viewers were presented with “a veritable landscape of commodities, ranging from bottle caps, shoes, blankets, toothpaste tubes, metal pots, and toys.”
Through the use of old wooden windows, bed frames, doors, mirrors, lamps, color-coated glass, porcelain, and other found objects and “daily necessities,” Song composes elaborate, structural installations. These evoke dreamy notions of home, belonging, security, and migration while exploring the relationships between memory and fact, humor and trauma. He culls his materials from the streets of Beijing, sourcing discarded furniture, architectural elements, and quotidian objects.
“These collaged remnants of people’s homes carry with them the history of a city and the lives of its people,” Pace says. “As viewers are invited to peek inside, they are transformed into voyeurs: imagining their homes, their stories, and perhaps identifying shared experiences, and primed to think of the future.”
Now on view as part of the vibrant 36th São Paolo Biennial, Song’s work appears among ambitious installations by dozens of artists from around the world. His commissioned piece “Borrow Light” takes the form of a mirrored world brimming with lamps that reflect from every surface, not unlike one of Yayoi Kusama’s Infinity Mirror Rooms.
“Borrow Light” (2025). Installation view of the 36th Bienal de São Paulo, ‘Not All Travellers Walk Roads – Of Humanity as Practice’ © Levi Fanan / Fundação Bienal de São Paulo
The artist considers the concept of “borrowing” in terms of its inherent temporality. He positions it as something of an ethos for understanding our short time on Earth, whether life’s cycles or even the presence of humans at all over the course of millions of evolutionary years.
Song draws inspiration “from both a carnival’s house of mirrors and the traditional Chinese feng shui method of using mirrors and windows to expand interior space by ushering in the external world,” says an exhibition statement. “Borrow Light” becomes a participatory experience, where visitors’ movements are reflected and illuminated throughout the space. Chairs and lamps, all lent from private homes, provide places for rest and contemplation.
“Playing with fluid elements such as light, reflection, and illusion, Song’s installation immerses the audience into an infinite universe, where our images and minds become entwined in a silvery, glowing light,” the biennial says.
Explore more exhibitions and learn about the artist on Pace Gallery’s website.
Detail of “Same Bed Different Dreams No. 3.” Photo by Damian Griffiths, courtesy of Pace Gallery
Detail of “Same Bed Different Dreams No. 3.” Photo by Damian Griffiths, courtesy of Pace Gallery
“Borrow Light” (2025). Installation view of the 36th Bienal de São Paulo, ‘Not All Travellers Walk Roads – Of Humanity as Practice’ © Levi Fanan / Fundação Bienal de São Paulo
“Borrow Light” (2025). Installation view of the 36th Bienal de São Paulo, ‘Not All Travellers Walk Roads – Of Humanity as Practice’ © Levi Fanan / Fundação Bienal de São Paulo
Detail of “Same Bed Different Dreams No. 3.” Photo by Damian Griffiths, courtesy of Pace Gallery
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