In the video installation A Gust of Wind , Zhang continues to explore notions of perspective and melds them seamlessly with a veiled but incisive social critique. His ultimate goal is to reveal the ways in which social image is constructed and to cast doubt on the ephemeral vision of a middle-class utopia offered by mass media.
Zhang Peili is generally recognized as the first Chinese artist to use video as a primary medium. A leading figure of the Chinese avant-garde movement and a founding member of the artist collective “Pond Society” in the 1980s, he has developed a highly respected international career. Zhang’s earlier works experimented with the aesthetics of boredom and looked at themes of technological, social, and political control. His more recent work interrogates viewing conventions, perceptions of time, and notions of progress through the remixing and editing of found footage. Zhang has been a mentor to many younger Asian artists working with new media.
Golden Bridge is part of “Golden Journey”, a series of site-specific performances and installations created during Lin’s residency at Kadist San Francisco...
After engaging primarily with video and photography for more than a decade, Chen turned to painting to explore the issue of urban change and memories—both personal and collective...
The Tower of Babel is an installation of large-format photographs that forces the audience to occupy a central position through its monumental scale...
In his evocative Landscape Paintings, McMillian uses second-hand bedsheets, sourced from thrift shops, as his starting point...
Kwan Sheung Chi’s work One Million is a video work depicting the counting of bills...
The Tower of Babel is an installation of large-format photographs that forces the audience to occupy a central position through its monumental scale...
Hill of Poisonous Trees (three men) (2008) exemplifies the artist’s signature photo-weaving technique, in which he collects diverse found photographs—portraits of anonymous people, stills from blockbuster films, or journalistic images—cuts them into strips, and weaves them into new composition...
State Terrorism in the ultimate form of Pre-Raphaelite Brotherhood features a portrait of the artist wearing a zipped utilitarian jacket reminiscent of a worker’s uniform, with one arm behind his back as if forced to ingest a bundle of stick—a literal portrayal to the definition of fascism...
Untitled (San Francisco) was made in Idaho in 1984 and was facetiously dedicated to Henry Hopkins, the then director of the San Francisco Museum of Art who added “modern” to its name...