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Home , Biennale, Wang Guangyi

NOT ONLY TIME ZHANG PEILI AND ZHU JIA

September 17–November 21, 2010

The exhibition is funded in part with generous support from the Nimoy Foundation and the haudenschildGarage. The Standard is the official hotel of REDCAT.

631 West 2nd Street, Los Angeles, California USA 90012 Visit www.redcat.org or call +1 213 237 2800 for more information Gallery Hours: noon-6pm or intermission, closed Mondays NOT ONLY TIME ZHANG PEILI AND ZHU JIA By Clara Kim

Conversation between Zhang Peili and Zhu Jia greatly interested in grand narratives, philosophy, Zhu Jia: I agree. That’s why I said it was everyone Not Only Time brings together two influential con- Square Massacre and the infamous 1989 / facing an untimely death. Taken from popular films and questions of the meaning of life in their work. making fun of themselves. It is also a matter of temporary who pioneered the field of video Avant-Garde exhibition and its subsequent closing by of the 1950s and 60s made during the Cultural Zhu Jia: The first time we met was in 1992, at After June 4, artists attached more importance to an ’s viewpoint and attitude. Personally, I art in China: Hangzhou-based artist Zhang Peili and state authorities. In such a context, employing video Revolution, the repetition of these fragments inter- the first personal exhibition for Zhang Peili and everyday existence and individual thought. feel that it was from that exhibition on that each -based artist Zhu Jia. Though both artists was not only about experimenting with new artistic rogates the manufactured idealism of patriotism Geng Jianyi at a club for diplomats [the Diplomat’s The generation born in the 1950s and 60s was artist went on his own path of development, and Hotel] in Beijing. At the time, China did not exposed to the influence of a great deal of Classical moreover began to receive increasing attention. trained in oil at the Zhejiang Academy of forms, but a means to navigate and circumnavigate deeply imbedded into Chinese Communist ideology. have any galleries, or any art spaces for that Western philosophy, culture, music and cinema. My direct impression is that from ’97 on, there has Fine Arts in Hangzhou and the Central Academy of the complex, changing, and often repressive social The cyclical death and resurrection of the heroes matter, many artists had exhibitions in foreigners’ Thus, they were always visibly animated by a strong been an uninterrupted chain of exhibitions abroad. Fine Arts in Beijing respectively, they have primarily and political terrain. Unlike traditional genres which become a comical antidote to the memories the films apartments, or in embassies. The exhibition was sense of mission, to fight for democracy and to A few overseas Chinese like Hou Hanru organized by an Italian named Francesca Del Lago pursue political openness. This kind of pursuit gradually became more influential in the West, and worked in video and photography since the early carried the weight or lineage of history, video was left behind. The most overtly critical of Zhang’s who had spent some time in China, so she knew suffered a great setback in the wake of the June 4 played a large and active role in promoting contem- 1990s; earning Zhang the title of the ‘father of video illegitimatized within conservative academic institu- works, Last Words inquisitively questions ideology. quite a few artists. From that period until today, crackdown, and you can even see it disappear from porary Chinese art abroad. But I have the funny art’ in China for his first video work30x30 (1989). tions. It was therefore unburdened by historical Zhu takes on Chinese patriotism in We are Perfect China has undergone many changes indeed. These painters’ work. Because these artists are all from feeling that as opportunities to exhibit abroad include political and economic change, but also the same educational background, and grew up expanded, chances to exhibit domestically shrunk. The radical departure between their training and precedent or political expectation, and provided new (2009/10)—a photographic series in which name- cultural and aesthetic ones too. with realism, they have a particularly deep vision, I recall that in ’99, the for the Melbourne practice becomes the impetus for this exhibition as possibilities for artistic expression and freedom. less men and women pose sitting on mules. Utilizing even if it is nothing more than some differences in Biennial came to Beijing to visit Chinese artists. well as their interrogation of video as a medium of mules instead of horses—crossbreeds unable to Zhang Peili: I think really the changes can be terms of content. Another strand was primarily in Four of us met her together. After she looked at provocation, resistance and reflection. Through a Against this backdrop, Zhang’s and Zhu’s individual reproduce or have a lineage, Zhu’s portraits reference dated back to 1993, the year of several important at the time. In Hangzhou, Ding Yi was our CVs, she sighed: “I didn’t think Chinese artists exhibitions. One of them was the ’93 Venice making abstract painting, and I was making video were so international!” This response resonated parallel presentation of their work, the exhibition practices begin with positions that poignantly chal- the tradition of French Revolution (often of Biennale, another was the China Avant-Garde work. In Beijing there was the “New Measurement quite powerfully to me, because it reflected the lack provides a concise survey of both Zhang and Zhu’s lenge social mores, rampant development, authorita- Napoleon perched on a horse, forging ahead) while exhibition at the Haus der Kulturen der Welt in Group.” Despite the extreme importance of this of acceptance of at home. works—tracking their interest in a time-based tive politics and cultural values. Their early works subtly and provocatively subverting ideas of heroism. Berlin, and yet another Post ’89 Chinese New Art strand, for a long time in China, it did not receive in . These exhibitions were basically the attention of very many people. Zhang Peili: Video for me is a bridge between medium and their experimentation with form and are characterized by subversion, irony, and incisive Zhu’s We are Perfect captures instead the futility of collaborative projects between foreign and Chinese the past and the future. My new work [One Line, representation over the last 20 years. wit, questioning the value and propagation of truth pride and patriotism, the fragility behind the veneer sponsors—at the time the Chinese sponsor would Zhu Jia: I was still relatively young at the time. One Kilometer] is situated in the space between, while also expanding into universal themes of the of ambition. have been none other than [the renowned Chinese And for my generation of artists, perhaps the big but I am not certain of which future. In this avant-garde ] Li Xianting. I think that difference is that we went directly from school to piece, I make use of two cameras, and some new Articulating the context in which artists began individual, time, duration and the loss of innocence in style and substance, these exhibitions basically school. By contrast, Zhang Peili, Wang Guanyi, equipment, because the equipment can alter the experimenting with video art in China, curator and and idealism. Zhang’s new work commissioned by REDCAT, One propped up painting and political pop works in Huang Yongping—they all worked before attending image. Personally, I feel I am working from inside critic Pi Li writes: Line, One Kilometer (2010), explores the artist’s general. Later, in the Berlin exhibition, a few the art academy, so they already had experience in a contradiction vis-a-vis technology. Technology Employing acts of boredom or mundane daily rituals, interest in video as a bridge between past and future experimental works were included, but mainly by society, and an understanding of it. may be necessary for expression, but I fully reject Chinese artists who were living abroad, such as At that phase, I took art to be a branch of the idea of technology as somehow superior. I Long before the appearance of video art in 1990, Zhang’s Document on Hygiene No.3 (1991) and and as a medium that captures something which Huang Yongping, Song Haidong’s installations, as knowledge for study and research. During the 80s, I especially reject the idea of the technology of a Chinese artists were well aware of the danger of Zhu’s Forever (1994) experiment with video as both cannot be seen. In the two-channel video projection, well as my own video works. The curator for the was at the High School of of the Central work of art as going beyond the language of the their art being manipulated by politics. But with formal device and record of action. Document on two cameras record footage from a nondescript [Achille Bonita Oliva] stressed and Academy of Fine Arts, then the China Academy of work itself. This piece makes use of video, but supported political Pop painting in his choices. It Fine Art in Beijing. I consider it to have been the it also employs special equipment to distort or the advent of cynical realism and political pop, Hygiene No. 3 is a 24-minute single channel video sidewalk as they move toward each other from a dis- is in fact particularly revealing that this has had most exciting period in recent Chinese history. The interfere with the image, but the distortion is not there arose new dangers: the lure of commercial that captures the absurd, yet tender act of bathing tance of one kilometer. Instead of getting clearer, the a lasting effect on the development of Chinese art country became more open, and all kinds of work added on later in the editing process, but during incentives and the peril of being manipulated by a chicken in soap and water. While humorous, the footage gets progressively distorted as the cameras from then till now. were introduced in rapid succession to China. New the filming. Starting at a distance of one kilometer Of course, we should not exaggerate its ideas, literature, philosophy, and art from the West apart, two people, each holding a video camera, western cultural neocolonialism. Both dangers work ruminates on the clinical and absurd processes pick up interference from ambient radio frequencies impact. The Chinese curator Li Xianting, among were all absorbed by the Chinese youth of that simultaneously film and approach each other. As had their roots in old-fashioned mediums and of bureaucracy. Zhu’s seminal work Forever is a and power lines. Though the individuals behind the others, also played a very important role, as did period, democratic enlightenment was underway, they get closer and closer, the jammers they are methodologies. This was the background against disorienting video that records the streets of Beijing cameras repeatedly call out “I can see you”, the the foreigners who were in Beijing at the time. It and the youth were all particularly excited. I wearing on their bodies create greater and greater which young Chinese artists of the time began to through the lens of a video camera attached to a footage denies this. Inverting the mechanics of the was through them that Chinese art was introduced remember discussing with other classmates at the interference, so that the image increasingly blurs. to Western countries. Another exhibition with Fuzhong campus the philosophy of Kant and Hegel, The individuals themselves are able to see clearer experiment with video art. They were searching tricycle wheel. In the work, the subject of the video camera, Zhang captures the invisible interference of far-reaching impact on Chinese art was the 1989 and even Freud, and later, existentialism, Heidegger, and clearer, but the camera doesn’t. Thus, while for a medium that could resist commercialism by is given over to the mechanics of the tricycle, relin- technology while also commenting on interference in China/Avant-Garde . That, along with Wittgenstein, and others. There were also films from the naked eye cannot see the mutual interference western galleries, while at the same time provide quishing control of what is being filmed and who is human relations. [the] Tiananmen [Massacre], made the year an Italy and the French New Wave. To this day, when that occurs between people, I can make use of the 2 important turning point. After the June 4 crackdown, I see some of my friends, we discuss the influence jamming device’s alteration of the image to make a contrast to more official mainstream art. Video filming it—a “double mobilization” which suspends experimental art in China was fundamentally at a of Alain Robbe-Grillet, the main author from the this phenomenon visible. The piece touches on art was a medium that allowed for the expression the normal relationship between subject and object. Zhu’s new two-channel video titled Steaming (2010) standstill. The few venues that had introduced and French Nouveau Roman, on our work. Even though distance and relationships, and also concerns my of individual feelings and language, and it was also employs direct, simplistic recording devices. promoted Chinese art all but disappeared. In terms all of this may merely be background information, own current attitude toward media. of art and thought, China in that period was clearly I still feel that it had a strong connection to my also easy to use, disseminate and exchange. Under Endless, mundane action finds its way onto the body The camera pans across middle school students not moving forward. No more “trendy” art. No subsequent artistic trajectory. Zhu Jia: My practice is rooted in the reality of these circumstances, video art became their in Zhang’s 12-channel video installation Uncertain after an exercise session, in a state of expended more exhibitions of any kind. And the few art groups This makes me want to discuss one exhibition, conventional pictures, whose meaning is easily medium of choice…. They hoped to employ the Pleasure (1996) in which each monitor shows a close energy. They stand motionless and expressionless that had existed prior to ’89 also disappeared. This Another Long March from 1997. The exhibition understood by people. To this acceptance of images, newfound medium in an effort to change the face up of a body part—chest, thighs, face and underarms in front of the camera, containing their exhaustion included the Pond Association that I and a few other gave me the opportunity to situate my own work, I add my own particular significance which I hope artists had founded, and the “garage” exhibitions I as it did with others, within a broader perspective. intermingles with different levels of signification of contemporary Chinese art, a visage distorted being scratched obsessively. What first reads as while breathing heavily with sweat running down had helped to organize in Shanghai. With ’89, all of Marianne Brouwer and Chris Driessen, the Dutch that transform the “meaning” of the original by years of political and ideological conflict.”1 humor turns quickly into discomfort, transferring the faces. Steaming is at once a portrait of the youth this disappeared. curators of that exhibition, gave Chinese concep- pictures. In my new work Steaming, I worked with action of the video onto the viewer. Zhu’s Never Take who stand to inherit China’s booming and ever At that time, two relatively distinct situations tual art a big push forward. Marianne obtained nearly 200 middle-school students. They ran in very arose: one was the mass departure overseas, not the assistance and input of overseas Chinese such hot weather before stopping and standing in front Though both Zhang and Zhu’s work can be read and Off (2002) captures a different kind of continuous expanding economy and a siren for a percolating only of artists, but also curators and critics. The as Chen Zhen, Hou Hanru, and Fei Dawei. But of the camera, looking straight out, panting and interpreted through the discourse of video , action using the simple technique of a video loop. In danger ahead—an extension of Zhu’s critical, poetic other was the arrival in Beijing of a large number oddly, an exhibition of such importance has been sweating. I was interested in capturing a particular what makes their output particularly significant is the work, an airplane cruises endlessly on the tarmac response to hyper commercialization. of artists from other parts of China, among them mentioned relatively infrequently within China. moment or situation, to unearth the hidden energy the social-political conditions of their making and Wang Guangyi. Other artists—Fang Lijun, Liu Wei, Furthermore, few people nowadays know about hidden from within, and to attempt to acknowledge never fulfilling its trajectory. Made shortly after —settled near the Yuanmingyuan, which this exhibition. That is why we now jokingly ask the significance of its expenditure. These young their response to and reversal of the “visage” that 9/11, Never Take Off becomes a kind of lamentation Together, the works in the exhibition offer a deeply grew naturally into a painters’ village. (Because life ourselves: was it the case that Marianne picked the faces hide many uncertainties, at the same time, Pi Li describes. Unlike video artists of the Western on latent energy, occupying a space between execu- personalized response to, and provocation of, the on the city outskirts is relatively inexpensive, it was wrong artists? Because none of the artists in this the work is a kind of visual and psychological world, who were experimenting with the medium tion and idleness. social and cultural realities of contemporary China. in fact easier to settle there.) Quite a few critics and exhibition seems to have had successful careers. consideration of their uncertainties toward the curators also emigrated, leaving Li Xianting to keep viewer. The process of artmaking for me is like as pure aesthetic form, Zhang and Zhu, along with They create a bridge between the past and present, track of developments in Chinese art. Also following Zhang Peili: I know you are kidding, as these constructing a jigsaw puzzle. I allow the pictures other artists of their generation in China, had very Zhang’s command of the power of cinematic and between imagination and reality in an effort to tran- the scene was Beijing’s foreign community, who people are very good artists, and would go so far as from reality to mingle with the “pictures” from my different consequences at stake. They came out video language is exemplified inLast Words scend the specificities of time. simultaneously served as many artists’ economic to say that conceptual artists not succeeding in the mind till they find a relationship. lifeline, since they were the ones who bought most marketplace is not a phenomenon limited to China, of a generation that witnessed the ramifications (2003)—a compilation of extracted film footage of of these painters’ work. Before June 4, artists were but also occurs in places like Europe and America. of the Cultural Revolution, the 1989 Tiananmen Communist heroes gasping their last words before

1 Pi Li, “Synthetic Reality: A Historical Note,” in Synthetic Reality 2 From artist’s unpublished statement about the work. Los Angeles, September 11, 2010 (Hong Kong: Time Zone 8, 2004), p.15. Translated by John Tain Zhang Peili Document on ‘Hygiene’ No.3 (1991)

Zhang Peili Last Words (2003)

Zhang Peili Zhang Peili Uncertain Pleasure (1996) One Line, One Kilometer (2010) Zhu Jia Forever (1994)

Zhu Jia We are Perfect (2009/10)

Zhu Jia Zhu Jia Never Take Off (2002) Steaming (2010) Exhibition Checklist Modern Means: Continuity and Change in Art, 1880 to the Present, Zhu Jia Mori , Tokyo Born in 1963, Beijing Zhang Peili Zooming into Focus: Chinese Contemporary Photography and Video from the Lives and works in Beijing Document on ‘Hygiene’ No.3 (1991) Haudenschild Collection, Shanghai Art Museum, Shanghai Single channel video, 24 min. 38 sec., color, no sound Beyond Boundaries, Shanghai Gallery of Art, Shanghai Selected Solo Exhibitions Courtesy the artist and Boers-li Gallery, Beijing China: Video Generation, Maison Europeene de la Photographie, 2008 Uncertain Pleasure (1996) Light as Fuck: Shanghai Assemblage 2000-2004, We Are Perfect: Zhu Jia, ShanghART Gallery H-Space, Shanghai 12-channel video, approx. 5 min. 8 sec., color, no sound National Museum of Art, Oslo, Norway Courtesy the artist and Boers-li Gallery, Beijing 2003 Selected Group Exhibitions Last Words (2003) 10e Niennale de l’Image en Mouvement, Biennale de l’Image en 2010 Single channel video 5 min. 29 sec., color, sound Mouvement,Geneva, Switzerland Courtesy the artist and Boers-li Gallery, Beijing Personal Frontier, ia32 Space, Beijing Open Sky: Contemporary Art Exhibition, Shanghai Duolun Museum of Modern Glass Factory: Art in the New Financial Era, Iberia Center for Contemporary One Line, One Kilometer (2010) Art, Shanghai Art, 798 Art District, Beijing Two channel video, 26 min. 33 sec., color, sound Happiness: A Survival Guide for Art and Life, Mori Art Museum, Tokyo Looking through Film: Traces of Cinema and Self-Construct in Contemporary Commissioned by REDCAT Alors la Chine?, Centre Pompidou, Paris Art, OCT Contemporary Art Terminal of He Xiangning Art Museum,

Z.O.U.: Zone of Urgency, 50th International Exhibition– 2009 Zhu Jia La Biennale di Venezia, Venice Forever (1994) Double Happiness, Leonhardi Kulturprojekte, Frankfurt Single channel video, 27 min., color, no sound 2002 Another Scene: Artists’ Projects, Concepts and Ideas, ShanghART Gallery Courtesy the artist and Shanghart Gallery, Shanghai The First Guangzhou Triennial, Guangzhou Museum of Art, Guangzhou H-Space, Shanghai Never Take Off (2002) Moist, 4th Multimedia Art Asia Pacific Festival, Beijing imPOSSIBLE! 8 Chinese Artists Engage Absurdity, San Francisco Arts Single channel video, 8 min. 55 sec., black and white, sound The Third Space in the Fourth World: China and Netherlands Multimedia Art Gallery & Mission 17, San Francisco Courtesy the artist and Shanghart Gallery, Shanghai Exhibition, Eastlink Gallery, Shanghai 2008 P_a_u_s_e, 4th 2002, Gwangju, Korea We are Perfect (2009/10) Trans Local Motion, 7th , Shanghai Art Museum, Shanghai Digital photographs, 200 x 150 cm [78.7 x 59 inches] 2001 Courtesy the artist and Shanghart Gallery, Shanghai 2007 Tele[visions], Kunsthalle Wien, Energy: Spirit · Body · Material, Today Art Museum, Beijing Steaming (2010) Living in Time: 29 Zeitgenössische Künstler aus China, Hamburger Bahnhof Wuhan 2nd Documentary Exhibition of Fine Arts, Two channel video, 23 min. 48 sec., color, sound Museum für Gegenwart, Berlin Hubei Museum of Art, Wuhan, China Commissioned by REDCAT China Art Now, Art Museum, National Heritage Board, Singapore Not Only Possible, But Also Necessary: Optimism in the Age of Global War, Compound Eyes, Earl Lu Gallery, Singapore 10th International Biennial, Istanbul Biographies 2000 World Factory, Walter & McBean Galleries, Zhang Peili San Francisco Art Institute, San Francisco Open Ends, The Museum of Modern Art, New York Born in 1957, Hangzhou, China City: between 0 and 1, Media_City 2000, Seoul Museum of Art, Seoul 2006 Lives and works in Hangzhou Zeitwenden Ausblick: Global Art Rheinland 2000, Dual Realities, Media_City Seoul 2006, Seoul Museum of Art, Seoul Solo Exhibitions Kunstmuseum Bonn, Germany China Contemporary: Architecture, Art and Visual Culture, 2009 Passe-murailles: nouvelles scènes de l’art contemporain chinois, Netherlands Architecture Institute, Rotterdam; Museum Boijmans Musée de Picardie, Amiens, France Van Beuningen, Rotterdam; Netherlands fotomuseum, Rotterdam China in Four Seasons: Zhang Peili, Govett-Brewster , Plato and His Seven Spirits, Century OCT, Shenzhen New Plymouth, New Zealand 1999 Jiang Hu, Jack Tilton Art Galleries, New York 2008 APERTO Over All, 48th International Exhibition– La Biennale di Venezia, Venice Nunca salgo sin mi camara: Video en China/Never Go Out Without My DVcam: Mute, OCT Contemporary Art Terminal, Shenzhen Video Art from China, Museo Colecciones ICO, Madrid Third Asia-Pacific Triennial of Contemporary Art, A Gust of Wind, Boers-Li Gallery, Beijing Queensland Art Gallery, Brisbane, Australia 2005 Zhang Peili, Jack Tilton Gallery, New York Global Conceptualism: Points of Origin 1950s-1980s, Double Vision: The 1st Lianzhou International Photo Festival, 2006 Queens Museum of Art,New York Culture Square Lianzhou, Guangdong Phrase, Currents C Art & Music, Beijing Skin-Deep: Surface and Appearance in Contemporary Art, BEYOND: An Extraordinary Space of Experimentation for Modernization, The Israel Museum, Jerusalem The Second Guangzhou Triennial, Guangdong Museum of Art, Guangzhou 1999 Communication: Channels for Hope, 1st Fukuoka Asian Art Triennale, Zooming into Focus: Contemporary Chinese Photography and Video Jack Tilton Gallery, New York Fukuoka Asian Art Museum, Fukuoka, Japan from the Haudenschild Collection, National Art Museum of China, Beijing 1998 Cities on the Move 5, Hayward Gallery, London Plato and His Seven Spirits, Century OCT, Beijing Zhang Peili: Eating, The Museum of Modern Art, New York Cities on the Move 4, Louisiana Museum of Modern Art, Louisiana, Denmark Montpellier/Chine: MC1 Biennale International, Inside Out: New Chinese Art, The First International Biennial of Contemporary Chinese Art 1997 San Francisco Museum of Modern Art, San Francisco Montpellier-China, Montpellier, France Galerie Krinzinger, Vienna A suitcase from Paris to Grozny, Emergency Biennale in Chechnya, Paris 1998 The Art Center, Center of Academic Resources, 2004 Chulalongkorn University, Bangkok Every Day: 11th , Museum of Contemporary Art, Sydney Inside Out: New Chinese Art, P.S.1 Contemporary Art Center, New York Dazibao d’images, Nuit Blanche, Pierre et Marie Curie University, Paris 1993 Cities on the Move 2, Museum of Contemporary Art, Bordeaux, France Beyond Boundaries, Shanghai Gallery of Art, Shanghai Maison des Cultures du Monde, Galerie du Rond-Point, Paris Zhang Peili and Gu Wenda, Morris and Helen Belkin Art Gallery, Vancouver 2003 Galerie Crousel-Robelin, Paris 1997 Open Sky: Contemporary Art Exhibition, Shanghai Duolun Museum of Modern Art, Shanghai Selected Group Exhibitions Photography and Video Art from China, Max Protetch Gallery, New York Paradis fabriqués: Art contemporain chinois, 2009 Cities on the Move 1, Secession, Vienna Centre d’art contemporain, Le Parvis, Ibos, France Media Art China 2009: Timelapse, A Swiss-China Media Art Exhibition, L’Autre: 4e biennale d’art contemporain de Lyon, Alors la Chine?, Centre Pompidou, Paris National Art Museum of China, Beijing Halle Tony Garnier, Lyon, France Z.O.U.: Zone of Urgency, 50th International Exhibition– eARTS BEYOND – Shanghai International Gallery Exhibition of Media Art, Another Long March: Chinese Conceptual and in the Nineties, La Biennale di Venezia, Venice Shanghai eArts Festival 2009, Shanghai Chasse Kazerne, Fundament Foundation, Breda, The Netherlands Time After Time: Asia and Our Moment, Yerba Buena Center for , Bourgeoisified Proletariat, Shanghai Songjiang Creative Studio, Shanghai Immutability and Fashion: Chinese Contemporary Art in the Midst of San Francisco A Gift to Marco Polo: Contemporary Art from China, 53rd Venice Art Biennale Changing Surroundings, Kirin Art Space Harajuku, Tokyo; Kirin Plaza, Collateral Events, Venice International University, Venice Osaka; Altium, Fukuoka 2002 Yi Pai – Century Thinking, Today Art Museum, Beijing Uncertain Pleasure, Art Beatus Gallery, Vancouver Synthetic Reality, East Modern Art Center, Beijing AVANT-GARDE CHINA: Twenty Years of Chinese Contemporary Art, W2Z2: Multimedia Slide Show, Tempo, The Museum of Modern Art, New York The Gallery of Central Academy of Fine Arts, Beijing Aichi Prefectural Museum of Art, Nagoya, Japan Asianvibe: Contemporary Asian Art, Espai d’Art Contemporani Blackboard, ShanghART Gallery, Shanghai New China, Jack Tilton Gallery, New York de Castelló (EACC), Castelló, Spain INTRAMOENIA/EXTRA ART, Castles of Apulia and Barletta, Italy 1996 Printemps de Septembre, Festival de Photographie et Arts Visuels, Toulouse, France Mahjong–Contemporary Chinese Art from the Sigg Collection, Ouevres Choisies, Art & Public, Geneva Peabody Essex Museum, Salem, Massachusetts Image and Phenomena, Gallery of Zhejiang Academy of Fine Arts, Hangzhou 2001 2008 4 Points de Rencontre, Galerie de France, Paris Living in Time: 29 Zeitgenössische Künstler aus China, Hamburger Bahnhof Mahjong–Contemporary Chinese Art from the Sigg Collection, China–Aktuelles aus 15 Ateliers, Munich Museum für Gegenwart, Berlin Berkeley Art Museum/Pacific Film Archive, Berkeley Compound Eyes, Earl Lu Gallery, Singapore AVANT-GARDE CHINA: Twenty Years of Chinese Contemporary Art, 1995 Translated Acts: Performance and Body Art from East Asia, The National Museum of Art, Osaka, Japan; The National Art Center, Tokyo China: Artistic Avant-Garde Movements, Haus der Kulturen der Welt, Berlin; Queens Museum of Art, New York Insomnia, BizArt Art Center, Shanghai Arts Santa Mònica, Barcelona 2000 Where Are We?, Beijing Center for the Arts, Beijing Open Your Mouth, Close Your Eyes: Beijing-Berlin Art Communication, The Art Museum of Capital Normal University, Beijing Sovereignty & Beyond: Video from Chinese Artists, Beijing-Athens: Contemporary Art from China, Technopolis, Athens Configura 2: Dialog der Kulturen, Galerie am Fischmarkt, Erfurt, Germany International Art Festival, Hong Kong Space Museum Lecture Hall, Hong Kong Homesickness–Memory and Virtual Reality, T Space, Beijing Pier Show 3, Red Hook, New York PhotoEspaña 2000, Madrid Writing on the Wall: Chinese New Realism and Avant-Garde in the Eighties Quotidiana: The Continuity of the Everyday in 20th Century Art, Castello di and Nineties, Groninger Museum, Groningen, The Netherlands 1994 Rivoli-Museo d’Arte Contemporanea, Torino, Italy 2007 Out of the Centre: Pois Keskuksesta, Pori Art Museum, Pori, Finland Documentation of Chinese Avant-Garde Art in 90s, ‘85 New Wave: The Birth of Chinese Contemporary Art, Gaze: L’lmpossible Transparence, Parc Floral de Paris, Paris Fukuoka Asian Art Museum, Fukuoka, Japan Ullens Center for Contemporary Art, Beijing 1993 1999 DEAF07: Interact or Die, Dutch Electronic Art Festival, Passaggio a Oriente, 45th International Exhibition– Un Matin du Monde, Galerie Eric Dupont, Paris Rotterdam, The Netherlands La Biennale di Venezia, Venice Unveiled Reality: Contemporary Photography, Art Beatus Gallery, Vancouver The Year of the Golden Pig: Contemporary Chinese Art from the Sigg Collection, China Avant-garde, Haus der Kulturen der Welt, Berlin; Kunsthal Rotterdam, The 3rd Art Life 21, Spiral/Wacoal Art Center, Tokyo Lewis Glucksman Gallery, Cork, Ireland Rotterdam; Brandts, Odense; Museum of Modern Art, Oxford Cities on the Move 5, Hayward Gallery, London, We Are Your Future, Special Project of the 2nd Moscow ‘Post-89’ Chinese New Art, Hong Kong City Hall, Cities on the Move 4, Louisiana Museum of Modern Art, Louisiana, Denmark Biennial of Contemporary Art, Art Center Winzavod, Moscow Hong Kong 2006 Mao Goes Pop, Museum of Contemporary Art, Sydney 1998 It’s All Right: Contemporary Art Exhibition, Hu Qing Yu Tang Museum of Artedomani–Punti di Vista, Incontri Internazionali d’arte, Spoleto, Italy Images Telling Stories: Chinese Photographers of Exhibition, Traditional Chinese Medicine, Hangzhou Gran Delubro-I’Arte, ex Convento di San Carlo, Erice, Italy Shanghai Centre Academy of Fine Arts Gallery, Shanghai Create History: Commemoration of Chinese Contemporary Art In the 1980s, Cities on the Move 3, P.S.1 Contemporary Art Center, New York OCT Contemporary Art Terminal, Shenzhen 1992 Every Day: 11th Biennale of Sydney, Museum of Contemporary Art, Sydney Gu Dexin/Huang Yongping/Zhang Peili, Galerie Arnaud Lefebvre, Paris China Power Station: Part I, Serpentine Gallery, London 16th World Wide Video Festival, Amsterdam Recent Works: Art Show of Zhang Peili and Geng Jianyi, European Media Art Festival, Osnabrück, Germany Cities on the Move 2, Museum of Contemporary Art, Bordeaux, France Diplomatic Missions Restaurant, Beijing Microcosm: Chinese Contemporary Art, Macao Museum of Art, Macao Asia City, The Photographers’ Gallery, London 1991 2005 I Don’t Want to Play Cards with Cézanne, Pacific Asia Museum, Pasadena 1997 L’ART DE PRODUIRE L’ART, Le Fresnoy-Studio national des arts contempo- Cities on the Move 1, Secession, Vienna rains, France Other Works: Selections from the Chinese “New Wave” and “Avant-Garde” Art of the Eighties, Pacific Asia Museum, Pasadena Uncertain Pleasure, Art Beatus Gallery, Vancouver Zooming into Focus: Chinese Contemporary Photography and Video from the Another Long March: Chinese Conceptual and Installation Art in the Nineties, Haudenschild Collection, Institute of Contemporary Art, Singapore Garage Show, Shanghai Education Hall, Shanghai Chasse Kazerne, Fundament Foundation, Breda, The Netherlands Mahjong–Contemporary Chinese Art from the Sigg Collection, 1989 Kunstmuseum Bern, Bern, Germany Documentary Exhibition on Chinese Contemporary Art, Tokyo Gallery, Japan 1991 New Generation Art: Celebrating the 10th Anniversary of the Resuming Archaeology of the Future, Second Triennial of Chinese Art, Chinese Contemporary Art, National Art Museum of China, Beijing Nanjing Museum, China Publication of Beijing Youth News, The History Museum of China, Beijing Miradas y Conceptos en la Coleccion Helga de Alvear, 1988 Museo Extremeño e Iberoamericano de Arte Contemporáneo, Badajoz Chinese Oil Painting, Shanghai Art Museum, Shanghai Zhang Peili: Actor’s Line and Last Words, Institute of Modern Art, Brisbane, Australia 1987 Beyond the Open Door: Contemporary Paintings from the People’s Le Invasioni Barbariche, Galleria Continua, San Gimignano, Italy Republic of China, Pacific Asia Museum, Pasadena 2004 1986 Techniques of the Visible: Shanghai Biennale 2004, Performances and street installations, Pond Association, Hangzhou Shanghai Art Museum, Shanghai Dialogues: Gu Dexin/Wang Gongxin/Zhang Peili, 1985 Shanghai Gallery of Art, Shanghai New Space 85, Exhibition hall of Zhejiang Academy of Fine Arts, Hangzhou