Beijing. Sculpture and installation.

She studied oil painting at the Department of Fine Arts of the Chinese Capital University, then called the Beijing Academy, from 1985 to 1989.2 After graduating, Yin taught at the secondary school attached to the Central Academy of Fine Arts in Beijing.

Yin's art has been greatly influenced by her upbringing during the time of the Cultural Revolution, a socio-political movement from 1966 to 1976. The artist incorporates used textiles and memories from her childhood in Beijing to show the connection between the memory and cultural identity. Her interest in textiles began when her mother worked in a clothing factory. By reusing old fabrics, she shows that they are not disposable products, but materials that carry traces of their history and the lives of their former owners.

Yin understands that the language of art should no longer be restricted to the media and tools of painting and sculpture, but should be a free language and should be used to express free and open messages. The Art New Wave movement that was taking place in China around the 80s, together with a Robert Rauschenberg exhibition at the National Museum of Art in 1995, led her towards more contemporary styles and influenced the use of different media.

The use of materials such as cloth, discarded objects and concrete, contributed to the tactile interest and the political and social charge of his works; solidifying her position as a master of avant-garde experimental art, which was dominated by male artists.

Furthermore, Yin's work consistently demonstrates a concern for the relationship between the individual and the artist, with a particular interest in her hometown of Beijing. Her works explore the problems that globalization and homogenization bring with them. She began working at a time when little attention was paid to environmental degradation, and characteristic materials include construction materials discarded as rubble and objects directly from the place where they were found, as well as possessions to transform them into a piece of installation that commemorate the essence of a city that had been lost in the modernization process.

Yin has participated in group exhibitions such as Art and China after 1989: Theater of the World at the Guggenheim Museum (2017), and China 8, an exhibition of contemporary Chinese art in eight cities and nine museums in the Rhine-Ruhr region. , Germany (2015), the 5th Moscow Biennale of Contemporary Art (2013), the 4th Yokohama Triennale (2011), the 7th Shanghai Biennale (2008), the 52nd Venice Biennale ( 2007), the 14th Sydney Biennial (2004) and the 26th São Paulo Art Biennial (2004). Her work has been presented solo at the Groninger Museum in the Netherlands (2012) and at the Museum of Modern Art in New York (2010). In 2000 she received the China Prize for Contemporary Art and the UNESCO / ASCHBERG Scholarship for Artists.