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...
The central point of Vanishing Point is the most direct physiological reaction of the body to the environment...
A mesmerizing experience of a vaguely familiar yet remote world, History of Chemistry I follows a group of men as they wander from somewhere beyond the edge of the sea through a vast landscape to an abandoned steel factory...
Empire’s Borders II – Passage and Empire’s Borders II – Workers are from the three-channel film installation Empire’s Borders II – Western Enterprise, Inc...
A Portrait: Covering and Cleaning is an installation of six black-and-white video projections...
A Flags-Raising-Lowering Ceremony at my home’s cloths drying rack (2007) was realized in the year of the 10th anniversary of the establishment of The Hong Kong Special Administrative Region of the People’s Republic of China...
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...