L+MALL big screen
The images on the screen are mass-produced, updated, and fifinally submerged in new images. As viewers, we actively or passively select the images that appear in front of our eyes and comprehend the accurate information in these images. If not, we choose to scroll quickly. The image simulates the relatively stable form of reality. The precise and available concrete meaning disappears in the prescribed size, the image in pixels, immediately when the movement is involved. The size of these prescribed images become containers, and the “elements” that seem to wander in chaos can no longer be given any specifific meaning when they are seen. In terms of time and space, the defifined coordinates are different; the macroscopic "image" and the microscopic "elements" change from "visible" to "invisible", but they will be reread and produce new cognitions.
"Image" is the confluence of “pixels” at a time node. In an image with a fifixed aspect ratio, these “pixels” form the "image". Often, what we see is the result of the imaging process. There is a rule of operation: once it runs, time will intervene. Then the “pixels” are like living organisms, producing movement in this space. Time can also become a kind of "image" that can be perceived. When the elements, rules, time, and space are operating under a condensed system, can what we perceive also surpass the meaning of the information given by the "image" itself? The “image” is "the rules by which things work". All seemingly chaotic “elements” go from abstract to concrete, then abstract, from unrecognizable to recognizable. What we often recognize is a specifific frame fifixed by these rules. But the thousands of steps and trajectories that have been run before does not allow us to see the rules. And the accurate "image" that happens to be visible in front of us is the collection of all the “elements” under the operation of the rules. Of course, it also includes the viewers in front of the "image".
Xiang Zhenhua was born in Chongqing, China in 1984, graduated from Beihang University in 2006, studied at the Gobelins in Paris in 2007, and then went on to study at the National School of Fine Arts in Paris for his master's degree. He is currently working in Shanghai.
2020 Catalogue: Commoners, Kings, and the Buddha,DonGallery,Shanghai
2018 La Piéta, UNICORN Centre for ART, Beijing (Dual Exhibition)
2017 Tester NATE Galeris, Chengdu 2016 SKIN, Paris
2015 Elle me dit d’où elle vient, Paris Ambiguite, Paris
2014 SEMBLANT NON RESSEMBLANT, Paris2013 N44°07’56.36，E5°06’59.71, ECLATS,Recidence et rencontre,Caromb, France
2020 When speed become form-live in your screen,Wind H Art Center As time goes by... New stories from the garden
2019 Off the shore, M Art Center ,Shangha
i2018 Questioning Photography Now, The Galaxy Museum of ContemporaryArt,Chongqing
2017 To be a images maker, Jimei & Arles, International photo festival, Xiamen What you see is what you see, PHOTOFAIRES, San Francisco
2016 Le romancier naïf et le romancier sentimental, LEAP Pavilion, Asianow, Paris Asian Art Fair,Paris ACTION-IMAGED BODIES, PHOTOFAIRS SHANGHAI,Shanghai 2015 Ash/Blade/Frame/Ocean, Jimei & Arles, Xiamen2013 BLACKBORD,Arles PERSISTANCE DU MODELE RELIGIEUX, PARIS ce mot me la rendait ennuyeuse comme une exposition de photographies, Paris NIAN, Paris