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<channel>
	<title>Yanti Peng</title>
	<link>https://yantipeng.com</link>
	<description>Yanti Peng</description>
	<pubDate>Mon, 20 Apr 2026 06:04:17 +0000</pubDate>
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		<title>Home Image Scroll</title>
				
		<link>https://yantipeng.com/Home-Image-Scroll</link>

		<pubDate>Mon, 26 Jun 2023 02:31:53 +0000</pubDate>

		<dc:creator>Yanti Peng</dc:creator>

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		<description>

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		<title>new.life</title>
				
		<link>https://yantipeng.com/new-life</link>

		<pubDate>Mon, 20 Apr 2026 06:04:17 +0000</pubDate>

		<dc:creator>Yanti Peng</dc:creator>

		<guid isPermaLink="true">https://yantipeng.com/new-life</guid>

		<description>new.lifeAnimation


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		<title>Public Eye (i)</title>
				
		<link>https://yantipeng.com/Public-Eye-i</link>

		<pubDate>Wed, 01 Apr 2026 01:04:51 +0000</pubDate>

		<dc:creator>Yanti Peng</dc:creator>

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		<description>Public Eye (i)Woollahra Gallery
In a polluted post-truth era, internet traffic and visibility are heavily intertwined with heightened emotions. Pulled in by our devices, we navigate a hyper-normalised world of mirrors and projection surfaces, orbiting around one another, never colliding. Unable to log off, we find connection through categories and avatars. Absentmindedly identifying with aesthetics, social capital, and the making or spending of money. Drama/spectator. Celebrity/follower. Fame/infamy. Social capital/attention economy.Public Eye(i) asks what is scripted in our lives? Who gets to log off? Who is speaking through me? And who is speaking through you?



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Exhibition Essay by Chris Ko












What remains of the mechanised self(i), in circulation&#38;nbsp;

 Yanti Peng is an artist defying easy categorisation. Her medium is the feeling of being inside a networked world while also stubbornly having a body, the vertigo of a moment when online and offline has ceased to matter. Public Eye(i) inhabits the low, eerie register of a technofeudal world crowded with undiagnosed selves and half-belongings, a time capsule for the fatigued but not yet fully alienated, in which something real is persistently superimposed on unreality. 
The exhibition’s opening night performance, Flesh vs Brain, places us before a body suspended between transmitter and reception. Performer Kade Power, dressed in nude mesh and white casings, moves through the gallery android-like and uncanny. Musician Sy Dyson, his back to the room, watches only through Power’s Meta Glasses livestream on a small screen—her perception distilled into a perpetual broadcast. As Dyson composes piano music in real-time response, each informs the other in a loop that blurs cause and effect, their mutual activation mirroring the surveillance we have normalised: systems that fail to meet the growth of our own will, instead becoming our synthetic brain as their signals are mistaken for our own.Across the gallery, Peng’s installations fold nostalgia into simulation. Traditional and digital media coalesce into something that functions as both homage and eulogy: two acrylic paintings, a looping animation, a Perspex hand model mechanised by a Raspberry Pi, clenching and unclenching. A teddy bunny rescued from the artist’s own childhood anchors the exhibition in lived memory. The painting Can’t Get You Out of my Head, pulses in bright colour, also adapted from a video game Peng played as a child. Much like the seduction of autofiction, the curated self on display is both intimate and abstracted; a deliberate collapse of distance between author and subject through a personal vitality layered with an engineered New Future Order that is neither bright nor fully dystopic.The centrepiece animation, new.life, follows a protagonist who traverses an immersive virtual reality RPG, plugged into the game through inserting a cable from her computer directly into her ear. Barely satire, the gesture is not one that reaches for the future or mourns the past, but of unremarkable adaptation—which may be more unsettling. Peng holds absurdity and grief in the same frame, capturing the quiet surrender of choosing to log on, outsourcing the work of knowing and feeling, and the masochism of deriving a sort of pleasure from this helplessness. The seam between the sacred and the technological has all but dissolved; the visual grammar of video games structures not only social media but identity itself. 

In a transparency society the self is overexposed, endlessly performing its own legibility, looping in circulation until beyond recognition. Living inside the image economy, the image outlasts its referent. Public Eye(i) doesn’t ask you to feel good or bad about this world where feeling itself is degraded. After exploiting every act of self-expression, the body remains, the signal continues, and yet something is already gone.


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Exhibition Performance Activation
Costume by Hazel Sherritt


Prompts for Kade Power (Performer)•&#38;nbsp;5 coins to collect, 4 in room, 1 near sy• Every time you pick up a coin adorn yourself with the pigments embedded within it• Inspect the work closest to the coin before you move onto the next• Whilst moving take time to look and feel the audience within the room • Once you collect all the coins go back to the starting fabric

Prompts for Sy Dyson (Musician)• Everytime Kade picks up a new coin change dramatically the sound (pitch, tone and all)


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photos by Jessica Maurer 
b&#38;amp;w photos by Nolan Ho Wang Murphy
digicam photos by ‘Ana Ika&#38;nbsp;
blue-tinted photos by Anna Xu
Exhibition Special Thanks:
Michael Blake
Johnathan Lo
Jesse Vega
Yuta Matsumara (installer)
Sep Pourbozorgi
Maya Martin-Westheimer
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		<title>A Girl A Day</title>
				
		<link>https://yantipeng.com/A-Girl-A-Day</link>

		<pubDate>Tue, 25 Mar 2025 12:20:07 +0000</pubDate>

		<dc:creator>Yanti Peng</dc:creator>

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		<description>A Girl A Day (ongoing series)3D
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&#60;img width="1080" height="1350" width_o="1080" height_o="1350" data-src="https://freight.cargo.site/t/original/i/c87ddc6e5d2ca76db33b8dc473f7e3e035bdbbe2b9b5953c8edd532abe1deb00/1.1.jpg" data-mid="230337521" border="0"  src="https://freight.cargo.site/w/1000/i/c87ddc6e5d2ca76db33b8dc473f7e3e035bdbbe2b9b5953c8edd532abe1deb00/1.1.jpg" /&#62;&#60;img width="1080" height="1350" width_o="1080" height_o="1350" data-src="https://freight.cargo.site/t/original/i/a073e2d4086f8a82323bf21c79b3bee8681fe6485c33f3921121b1ab1f4aa122/GirlAndAlien.jpg" data-mid="230337522" border="0"  src="https://freight.cargo.site/w/1000/i/a073e2d4086f8a82323bf21c79b3bee8681fe6485c33f3921121b1ab1f4aa122/GirlAndAlien.jpg" /&#62;&#60;img width="1080" height="1350" width_o="1080" height_o="1350" data-src="https://freight.cargo.site/t/original/i/eb7de6c4b0d862300099826979a5c7b859f5dfd92200a076fefe47baf712f7b9/gothgirl.jpg" data-mid="230337523" border="0"  src="https://freight.cargo.site/w/1000/i/eb7de6c4b0d862300099826979a5c7b859f5dfd92200a076fefe47baf712f7b9/gothgirl.jpg" /&#62;&#60;img width="1080" height="1350" width_o="1080" height_o="1350" data-src="https://freight.cargo.site/t/original/i/e6928fbbd247a753866564ce0cf7084d9a35b707ebe25aa02c04a98ad78467a6/WolfANDPUPPETGIRL.jpg" data-mid="230337524" border="0"  src="https://freight.cargo.site/w/1000/i/e6928fbbd247a753866564ce0cf7084d9a35b707ebe25aa02c04a98ad78467a6/WolfANDPUPPETGIRL.jpg" /&#62;&#60;img width="3508" height="2481" width_o="3508" height_o="2481" data-src="https://freight.cargo.site/t/original/i/2fb0b5a93962063b691dd605ba47f9ef4d84dedf8dc89364957d14f25822dc40/Document_250307_123928.jpg" data-mid="228761538" border="0"  src="https://freight.cargo.site/w/1000/i/2fb0b5a93962063b691dd605ba47f9ef4d84dedf8dc89364957d14f25822dc40/Document_250307_123928.jpg" /&#62;&#60;img width="3508" height="2473" width_o="3508" height_o="2473" data-src="https://freight.cargo.site/t/original/i/82095d7719abbc1886e70dee25419e5d9d7a24d411b4e31a17c87a937b5e3ad1/Document_250307_123956.jpg" data-mid="228761539" border="0"  src="https://freight.cargo.site/w/1000/i/82095d7719abbc1886e70dee25419e5d9d7a24d411b4e31a17c87a937b5e3ad1/Document_250307_123956.jpg" /&#62;&#60;img width="3497" height="2464" width_o="3497" height_o="2464" data-src="https://freight.cargo.site/t/original/i/fc59e4eac506f5a68db9287d92a18495f8bd8d66ee6695b5043f5b18f988a6a9/Document_250307_124010.jpg" data-mid="228761540" border="0"  src="https://freight.cargo.site/w/1000/i/fc59e4eac506f5a68db9287d92a18495f8bd8d66ee6695b5043f5b18f988a6a9/Document_250307_124010.jpg" /&#62;&#60;img width="3485" height="2440" width_o="3485" height_o="2440" data-src="https://freight.cargo.site/t/original/i/dfca38f8ddf7294b186e57f5fd7c85bcec810b92c193da78608b3e677b887247/Document_250307_124036.jpg" data-mid="228761541" border="0"  src="https://freight.cargo.site/w/1000/i/dfca38f8ddf7294b186e57f5fd7c85bcec810b92c193da78608b3e677b887247/Document_250307_124036.jpg" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/a6f8ada62e25d7b824c0c5dc3b3d3a3877338301db0378f7222a34d57cf01c9c/Final_1.png" data-mid="232844310" border="0"  src="https://freight.cargo.site/w/1000/i/a6f8ada62e25d7b824c0c5dc3b3d3a3877338301db0378f7222a34d57cf01c9c/Final_1.png" /&#62;&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/14e4081cbea1a2b2bb2c70fdfc5cb313a11e9f391138b5fb76bb809f534d416c/Final_2.jpg" data-mid="232844309" border="0"  src="https://freight.cargo.site/w/1000/i/14e4081cbea1a2b2bb2c70fdfc5cb313a11e9f391138b5fb76bb809f534d416c/Final_2.jpg" /&#62;
in my Lover’s Lair, 2025</description>
		
	</item>
		
		
	<item>
		<title>i can't afford to live in fantasy but its now reality</title>
				
		<link>https://yantipeng.com/i-can-t-afford-to-live-in-fantasy-but-its-now-reality</link>

		<pubDate>Sun, 23 Mar 2025 00:45:34 +0000</pubDate>

		<dc:creator>Yanti Peng</dc:creator>

		<guid isPermaLink="true">https://yantipeng.com/i-can-t-afford-to-live-in-fantasy-but-its-now-reality</guid>

		<description>i can't afford to live in fantasy but its now reality&#38;nbsp;
 






&#60;img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/3df17d01e9cd42f3d7eec4b5c95f7eff7f7e480318b225c5578c4222b931be67/YantiPeng_BreakALeg.png" data-mid="228761214" border="0"  src="https://freight.cargo.site/w/1000/i/3df17d01e9cd42f3d7eec4b5c95f7eff7f7e480318b225c5578c4222b931be67/YantiPeng_BreakALeg.png" /&#62;
 BREAK A LEG ^__^ , 2025, 3D Visualisation, chiffon, eyeshadow, collage, 73 x 110 cm
&#60;img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/f795998cc41f01f82e536534f6f5a85a89c033a37a939c1fd4fd399606056278/YantiPeng_Mainstream.png" data-mid="228761234" border="0"  src="https://freight.cargo.site/w/1000/i/f795998cc41f01f82e536534f6f5a85a89c033a37a939c1fd4fd399606056278/YantiPeng_Mainstream.png" /&#62;
kiki not mainstream,&#38;nbsp;2025, 3D Visualisation, 73 x 110 cm</description>
		
	</item>
		
		
	<item>
		<title>Adventures of Letitia</title>
				
		<link>https://yantipeng.com/Adventures-of-Letitia</link>

		<pubDate>Thu, 29 May 2025 02:48:35 +0000</pubDate>

		<dc:creator>Yanti Peng</dc:creator>

		<guid isPermaLink="true">https://yantipeng.com/Adventures-of-Letitia</guid>

		<description>Adventures of LetitiaScreened at Open Studios in Peacock Gallery and Firstdraft



Observing the inertia experienced by all with a phone addiction, Adventures of Letitia offers a cheeky glimpse into our brief moments of awakening that rapidly lapse. As rapid as our expanding buildings, businesses and reels. At the end of it, we escape into fantasy, whether online or in life, changing between the two worlds, running away from reality. The reality of disconnection, monetisation, failure, absorption, comparison and our societal hierarchy.&#38;nbsp;
We collapse under the thumb of materialism of greed, fast access and gluttony.&#38;nbsp;
------------------------------------------------------------------------------------------------------------------------------------------
Directed by Yanti Peng

Original Score by Adam Scandrett
Cast

Letitia Ji as Letitia

Bruce Koussaba as Gardener

Priscilla Cui as Girl under Tree

Patty Mu’A as Businessman

Brandon Nyguen as Beach Goer

Ben Toohey as Virus


Crew

Editing by Yanti Peng Executive Produced by Johnathan Lo

Roblox Dead Rails Game Play by Vincent Peng, Vivian Ji and Letitia Ji

Animation by Yanti Peng
------------------------------------------------------------------------------------------------------------------------------------------
Screening at Firstdraft, photographed by Jessica Maurer&#60;img width="6720" height="4480" width_o="6720" height_o="4480" data-src="https://freight.cargo.site/t/original/i/c60997b9ff8d8635e8b9268435cf39c520f2e9e03a3148ab3cbe8666f20a4464/156A0845.jpg" data-mid="244688391" border="0"  src="https://freight.cargo.site/w/1000/i/c60997b9ff8d8635e8b9268435cf39c520f2e9e03a3148ab3cbe8666f20a4464/156A0845.jpg" /&#62;&#60;img width="6720" height="4480" width_o="6720" height_o="4480" data-src="https://freight.cargo.site/t/original/i/18dbde5dbbdc302084829c3db9c9ac0c682bcc2ea7c21c79d72dcbca0e4e2ff0/156A0846.jpg" data-mid="244688392" border="0"  src="https://freight.cargo.site/w/1000/i/18dbde5dbbdc302084829c3db9c9ac0c682bcc2ea7c21c79d72dcbca0e4e2ff0/156A0846.jpg" /&#62;&#60;img width="6720" height="4480" width_o="6720" height_o="4480" data-src="https://freight.cargo.site/t/original/i/6ec781007e8b2d15ad993c7346db9bf050213ac8b42019b6653ae028267e2a53/156A0849.jpg" data-mid="244688393" border="0"  src="https://freight.cargo.site/w/1000/i/6ec781007e8b2d15ad993c7346db9bf050213ac8b42019b6653ae028267e2a53/156A0849.jpg" /&#62;&#60;img width="6720" height="4480" width_o="6720" height_o="4480" data-src="https://freight.cargo.site/t/original/i/6fbe22cab32bbfbaef36c053d9a19582a169236e431622810681614bbfa1ec4a/156A0852.jpg" data-mid="244688394" border="0"  src="https://freight.cargo.site/w/1000/i/6fbe22cab32bbfbaef36c053d9a19582a169236e431622810681614bbfa1ec4a/156A0852.jpg" /&#62;&#60;img width="6720" height="4480" width_o="6720" height_o="4480" data-src="https://freight.cargo.site/t/original/i/dafbea78e7d4bbeae96e00de8b42f59689874d1a374286590b3d2b532f6e6fc5/156A0856.jpg" data-mid="244688395" border="0"  src="https://freight.cargo.site/w/1000/i/dafbea78e7d4bbeae96e00de8b42f59689874d1a374286590b3d2b532f6e6fc5/156A0856.jpg" /&#62;&#60;img width="6720" height="4480" width_o="6720" height_o="4480" data-src="https://freight.cargo.site/t/original/i/e8865c01e69a69b0401107247097d6b8762d25cc6c67debaeeb3c0b475cd0059/156A0858.jpg" data-mid="244688396" border="0"  src="https://freight.cargo.site/w/1000/i/e8865c01e69a69b0401107247097d6b8762d25cc6c67debaeeb3c0b475cd0059/156A0858.jpg" /&#62;
Peacock Gallery ScreeningThe film is screened on an iPad Mini encased within a hand-carved second-hand Australian Red Cedarwood ‘case’. 

&#60;img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/069b0d75bdb5b6abf698ac33c468487ecac07185194436d305ccca5e1499dae1/3.png" data-mid="234013457" border="0"  src="https://freight.cargo.site/w/1000/i/069b0d75bdb5b6abf698ac33c468487ecac07185194436d305ccca5e1499dae1/3.png" /&#62;&#60;img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/40aabfd7320ea88f8018945e9b6954f1e9ee47fa9a034ee02055c64c1f33aaee/1.png" data-mid="234013456" border="0"  src="https://freight.cargo.site/w/1000/i/40aabfd7320ea88f8018945e9b6954f1e9ee47fa9a034ee02055c64c1f33aaee/1.png" /&#62;
&#60;img width="2916" height="2187" width_o="2916" height_o="2187" data-src="https://freight.cargo.site/t/original/i/3a7b7d139a07adc8cf170e8bec83d4a665b8628c6099e335fef048585f5b12d0/IMG_3635.jpg" data-mid="233870278" border="0"  src="https://freight.cargo.site/w/1000/i/3a7b7d139a07adc8cf170e8bec83d4a665b8628c6099e335fef048585f5b12d0/IMG_3635.jpg" /&#62;Supported by Converse All Stars Funding
</description>
		
	</item>
		
		
	<item>
		<title>WEIRD STEEZ</title>
				
		<link>https://yantipeng.com/WEIRD-STEEZ</link>

		<pubDate>Fri, 09 May 2025 04:44:47 +0000</pubDate>

		<dc:creator>Yanti Peng</dc:creator>

		<guid isPermaLink="true">https://yantipeng.com/WEIRD-STEEZ</guid>

		<description>





Weird Steez - koreancrashout
directed &#38;amp; shot by Yanti Peng



editors: koreancrashout &#38;amp; Yanti Peng

video vixen: Sinta Wijaya

young koreancrashout: Oliver Kim

breaker: Riot



stylist 4 vixen + Oliver: Sinta Wijaya

loan of drip on furrycrashout: Ze 

printing for pink mask: Jesse Vega</description>
		
	</item>
		
		
	<item>
		<title>only you would find Campsie beautiful [ ◉¯]</title>
				
		<link>https://yantipeng.com/only-you-would-find-Campsie-beautiful</link>

		<pubDate>Thu, 03 Apr 2025 00:22:18 +0000</pubDate>

		<dc:creator>Yanti Peng</dc:creator>

		<guid isPermaLink="true">https://yantipeng.com/only-you-would-find-Campsie-beautiful</guid>

		<description>&#60;img width="6534" height="4504" width_o="6534" height_o="4504" data-src="https://freight.cargo.site/t/original/i/78c5e2ed11bb10a4bbd926b88dfebc8ccfecdfb26cc16779c823cdef44f69cc7/scan_jolo0192_2025-04-02-18-03-17.jpg" data-mid="229183528" border="0"  src="https://freight.cargo.site/w/1000/i/78c5e2ed11bb10a4bbd926b88dfebc8ccfecdfb26cc16779c823cdef44f69cc7/scan_jolo0192_2025-04-02-18-03-17.jpg" /&#62;&#60;img width="6505" height="4465" width_o="6505" height_o="4465" data-src="https://freight.cargo.site/t/original/i/87a9c0dc38ea15ea072a72e0648a2dcb95fee97f23141a370e96d850ffdb5c44/scan_jolo0192_2025-04-02-18-04-12.jpg" data-mid="229183398" border="0"  src="https://freight.cargo.site/w/1000/i/87a9c0dc38ea15ea072a72e0648a2dcb95fee97f23141a370e96d850ffdb5c44/scan_jolo0192_2025-04-02-18-04-12.jpg" /&#62;&#60;img width="6517" height="4329" width_o="6517" height_o="4329" data-src="https://freight.cargo.site/t/original/i/de0230b773fabd86ba91f3a209efff460d25008573dfa4af886c0bb940b01444/scan_jolo0192_2025-04-02-18-04-35.jpg" data-mid="229183399" border="0"  src="https://freight.cargo.site/w/1000/i/de0230b773fabd86ba91f3a209efff460d25008573dfa4af886c0bb940b01444/scan_jolo0192_2025-04-02-18-04-35.jpg" /&#62;&#60;img width="7020" height="4964" width_o="7020" height_o="4964" data-src="https://freight.cargo.site/t/original/i/1ef86405e7af480159de89fe6162ceee836b01089e2517c85a29eb99a70ac865/scan_jolo0192_2025-04-02-18-05-06.jpg" data-mid="229183400" border="0"  src="https://freight.cargo.site/w/1000/i/1ef86405e7af480159de89fe6162ceee836b01089e2517c85a29eb99a70ac865/scan_jolo0192_2025-04-02-18-05-06.jpg" /&#62;&#60;img width="4307" height="6485" width_o="4307" height_o="6485" data-src="https://freight.cargo.site/t/original/i/22ff4f6a7a177d0cc620f3c348819f76f3471bd5a046b2e05523b1f85b016c5e/scan_jolo0192_2025-04-02-18-05-33.jpg" data-mid="229183401" border="0"  src="https://freight.cargo.site/w/1000/i/22ff4f6a7a177d0cc620f3c348819f76f3471bd5a046b2e05523b1f85b016c5e/scan_jolo0192_2025-04-02-18-05-33.jpg" /&#62;&#60;img width="6514" height="4517" width_o="6514" height_o="4517" data-src="https://freight.cargo.site/t/original/i/c488e698e3eb9a295662a3dd43e471e984186d13b4acf5f115e41078a05c6c50/scan_jolo0192_2025-04-02-18-05-59.jpg" data-mid="229183402" border="0"  src="https://freight.cargo.site/w/1000/i/c488e698e3eb9a295662a3dd43e471e984186d13b4acf5f115e41078a05c6c50/scan_jolo0192_2025-04-02-18-05-59.jpg" /&#62;&#60;img width="6509" height="4334" width_o="6509" height_o="4334" data-src="https://freight.cargo.site/t/original/i/a28c18621fd399ff364ef583fc1658435dede69a7bf16777edd8c43f43314370/scan_jolo0192_2025-04-02-18-06-44.jpg" data-mid="229183404" border="0"  src="https://freight.cargo.site/w/1000/i/a28c18621fd399ff364ef583fc1658435dede69a7bf16777edd8c43f43314370/scan_jolo0192_2025-04-02-18-06-44.jpg" /&#62;&#60;img width="6514" height="4333" width_o="6514" height_o="4333" data-src="https://freight.cargo.site/t/original/i/4326b5991baf092d0d67b6892e93482df5c81b6c0ffc9ebd72a13b871d72e9bb/scan_jolo0192_2025-04-02-18-07-01.jpg" data-mid="229183405" border="0"  src="https://freight.cargo.site/w/1000/i/4326b5991baf092d0d67b6892e93482df5c81b6c0ffc9ebd72a13b871d72e9bb/scan_jolo0192_2025-04-02-18-07-01.jpg" /&#62;</description>
		
	</item>
		
		
	<item>
		<title>Get Back to Work [ ◉¯]</title>
				
		<link>https://yantipeng.com/Get-Back-to-Work</link>

		<pubDate>Sun, 30 Mar 2025 02:40:41 +0000</pubDate>

		<dc:creator>Yanti Peng</dc:creator>

		<guid isPermaLink="true">https://yantipeng.com/Get-Back-to-Work</guid>

		<description>&#60;img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/c9947f7ac2f5a0a35f4bf4220e386213435e3cd07ba3fd8c14ac2fd0903ebd52/DSCF7980.jpg" data-mid="228975363" border="0"  src="https://freight.cargo.site/w/1000/i/c9947f7ac2f5a0a35f4bf4220e386213435e3cd07ba3fd8c14ac2fd0903ebd52/DSCF7980.jpg" /&#62;&#60;img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/474730102c815c6ac171e0236242324914235b23c6c5233e1755779b412fee73/DSCF7983.jpg" data-mid="228975364" border="0"  src="https://freight.cargo.site/w/1000/i/474730102c815c6ac171e0236242324914235b23c6c5233e1755779b412fee73/DSCF7983.jpg" /&#62;&#60;img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/3f0230f70969ed792ab63f455bb1bd2f67b674d2385d5e397bd63c710886789b/DSCF7808.jpg" data-mid="228975331" border="0"  src="https://freight.cargo.site/w/1000/i/3f0230f70969ed792ab63f455bb1bd2f67b674d2385d5e397bd63c710886789b/DSCF7808.jpg" /&#62;&#60;img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/bd34434b5764aa8e3371519b6f3be4f009902715ce62dd685b1ab675aa2acc5c/DSCF7828.jpg" data-mid="228975332" border="0"  src="https://freight.cargo.site/w/1000/i/bd34434b5764aa8e3371519b6f3be4f009902715ce62dd685b1ab675aa2acc5c/DSCF7828.jpg" /&#62;&#60;img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/9d79f2a4c10c32789c22234b1bc129cccf805e2e983201ffd29e9f78d9253fc5/DSCF7840.jpg" data-mid="228975358" border="0"  src="https://freight.cargo.site/w/1000/i/9d79f2a4c10c32789c22234b1bc129cccf805e2e983201ffd29e9f78d9253fc5/DSCF7840.jpg" /&#62;&#60;img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/4311ee7a613c1e972b6b342f9adf3bc7ada6687230a450ade82c56b21adfe947/DSCF7841.jpg" data-mid="228975359" border="0"  src="https://freight.cargo.site/w/1000/i/4311ee7a613c1e972b6b342f9adf3bc7ada6687230a450ade82c56b21adfe947/DSCF7841.jpg" /&#62;&#60;img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/92b7ddb6a31b33adcb79ab2273a64e86300109023e9070b59c6d19fef9738746/DSCF7861.jpg" data-mid="228975360" border="0"  src="https://freight.cargo.site/w/1000/i/92b7ddb6a31b33adcb79ab2273a64e86300109023e9070b59c6d19fef9738746/DSCF7861.jpg" /&#62;&#60;img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/bb70d752162dec38a18c7ea00d5a0fc49cbfa31df53ebd1aca953206e397ee43/DSCF7899.jpg" data-mid="228975361" border="0"  src="https://freight.cargo.site/w/1000/i/bb70d752162dec38a18c7ea00d5a0fc49cbfa31df53ebd1aca953206e397ee43/DSCF7899.jpg" /&#62;&#60;img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/2057f0b6e38df01f1c7397f08cc4f47e1683c2063e6d1ad2573e1f71ed286ea8/DSCF7934.jpg" data-mid="228975362" border="0"  src="https://freight.cargo.site/w/1000/i/2057f0b6e38df01f1c7397f08cc4f47e1683c2063e6d1ad2573e1f71ed286ea8/DSCF7934.jpg" /&#62;</description>
		
	</item>
		
		
	<item>
		<title>Second Skin, Third Eye 次生皮肤，逾目之眼</title>
				
		<link>https://yantipeng.com/Second-Skin-Third-Eye</link>

		<pubDate>Sun, 15 Dec 2024 11:28:08 +0000</pubDate>

		<dc:creator>Yanti Peng</dc:creator>

		<guid isPermaLink="true">https://yantipeng.com/Second-Skin-Third-Eye</guid>

		<description>Second Skin, Third Eye&#38;nbsp;次生皮肤，逾目之眼Solo Exhibition at Organhaus (Chongqing, China) curated by Ni Kun
&#60;img width="5810" height="3873" width_o="5810" height_o="3873" data-src="https://freight.cargo.site/t/original/i/c84fd0401952778587254fa3719ded01500477f5a3bd244bd75f6a3899ffe73f/DSCF8149.jpg" data-mid="223378467" border="0"  src="https://freight.cargo.site/w/1000/i/c84fd0401952778587254fa3719ded01500477f5a3bd244bd75f6a3899ffe73f/DSCF8149.jpg" /&#62;











A memory resurfaced in my stay at Organhaus in Beibei, for, as I stepped onto mother soil again, she returned me to my younger self. Second Skin, Third Eye, began in 2005 Hainan, Haikou. Outcasted by the children’s neighbourhood bicycle gang, I sat in the sandpit within the residential apartments staring into a large wall that divided the buildings from the sea. I heard the crashing wave and looked up into the setting umber sky and unknowingly stuck my hand into an anthill. I felt a stinging sensation numb my index finger. I was again reminded of the bind of a complex system that relies on a perpetual self-mutilation. 


***


Second Skin, Third Eye explores the dichotomies of the working class; in their dreaming, identity construction and visibility. The boundaries of individuality is pursued against the backdrop of the Technocene riddled with Capitalist ventures, through elaboration of the enmeshment between the digital and real on platforms and gamified socialisation. A multidimensional playground is created to understand how the status quo is modulated. 


The working class’s relationship and desire for upward mobility forms the core of the works, a required balance of external compliance and internal defiance that maintains the dream-state. The aspiration of wealth invades personal values through economic theories, undermining religious and family values, such that the parental injunction to ‘stay out of trouble’ translates to obeying as a mode of survival. Workers by default cannot defy in order to obtain security, rather being unique through aesthetic non-conformity is a bourgeois/Professional Managerial Class (PMC) fantasy. 

Dreams are sold to invisbilise the labourer, maintaining a separation of the hand from the brain; such that stories of rags to riches, of life coach, of self-help forgo the foundation of wealth and exploitative tendencies such thinking possess. This false hope is increasingly important at a time when the myth of upward mobility is revealed more and more each day to be as hollow musings. More and more must be done to sustain the fantasy of equal opportunity under the neoliberal order. There is a constant tension between the invisible and visible, so that flesh is unavoidably a political site of contestation. &#38;nbsp;


At the core of this exhibition sits Poison Fruit. 


Poison Fruit is a single channel multimedia magic realism short film situated against the backdrop of Beibei Chongqing, starting within a desolate old glass factory. The tale begins with a young girl haphazardly practising her dance routine. Aspiring to be a pop star, one day a brick device falls from the sky. This instigates her adventure with Mr Mouse into the virtual. 


This film explores the impact of dreams within the working class creator economy and the embedded hyper-visibility as a means to commodify, driven by value-exchange; where any object, person, concept, land can extract value. Within the unadulterated internet time of content consumption and information overload, the contemporary psyche is shaped, dreams influenced. Thus, the sequences reflects the erratic movement between web pages and physical contact.&#38;nbsp; &#38;nbsp;


In a referential world of creation (of remixes, parodies, -cores), the film rallies together fantasies and doom scrolls to amalgamate into an individual’s For You Page (FYP). A dreamscape tethering into a nightmarish territory crawling under the surface. References double as allegorical folktales. Some which may be spotted include, Adam and Eve, Mickey Mouse, Alice from Detroit: Become Human, Mortal Kombat, Bunny Rogers, Super Mario World and Teletubbies. Imprisoned in an echo chamber lost into duplicated identities, capitalistic greed is a thief of innocence. Quasi-religious language is employed to underscore the extent to which this experience plays on the now secularised desires for relief from the ‘productivity’ of contemporary capitalism. Producing individualism in a culture of narcissism described by the likes of philosopher J. David Bellman and historian Christopher Lasch.


In the lens of the ‘Young Girl’ she represents the spectacle as an ideological creature. An idea heavily explored by Tiqqun in Preliminary Materials For a Theory of the Young Girl, stating “the Young-Girl possesses her reality outside of herself, in the Spectacle, in all of the doctored representations of the ideal that it traffics, in the fleeting conventions it decrees, in the mores through which it commands mimesis. She is simply the insubstantial concretion of all these abstractions, which precede and follow her.“ Thereby the Young Girl and her skin is but a projection surface which malleability is forever determined by a social value. This analysis is furthered within Anne Anlin Cheng’s Second Skin: Josephine Baker and the Modern Surface, that intersects this relationship of visibility with race and architecture. By the end of the film, this projection extends to fictional characters, whom the Young Girl can transform and morph into as; political symbols, humorous memes or an object of personal desires. 


The body act as the mediating vehicle between real and virtual, as liminal, where dreams kiss the skin, and fantasies come to swallow the bones. A dance between technological consciousness and real world affects that confront a imbrication of interiority and exteriority, essence and covering, the organic and the inorganic. 


Through installation of mixed media works, video and projection mapping, this exhibition uses dreams of upward mobility, to understand the implications of surviving, obeying, resisting. Through incorporation of the internet vernacular, meme humour, digital nostalgia and magical realism the exhibition surgically constructs a layer of second skin that beckons to be seen. 



Exhibition Library:
A Culture of Narcissism by Christopher Lasch
Preliminary Materials For a Theory of the Young Girl by Tiqqun 
Second Skin: Josephine Baker and the Modern Surface by Anne Anlin Cheng 
Powers of Horror by Julia Kristeva 
The Laws of Lorecore by Shumon Basar 
The Daddy Dialectic by Jody Rosenberg 
BEYOND BASED AND CRINGE by Nate Sloan 
Exiting the Vampire Castle by Mark Fisher


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&#60;img width="1190" height="1683" width_o="1190" height_o="1683" data-src="https://freight.cargo.site/t/original/i/153ee12aa8e46110cf4acbd4b04065385d476433e34aa30fbe3269e88261c63d/Roomsheet.1.jpeg" data-mid="223378503" border="0"  src="https://freight.cargo.site/w/1000/i/153ee12aa8e46110cf4acbd4b04065385d476433e34aa30fbe3269e88261c63d/Roomsheet.1.jpeg" /&#62;


The exhibition space is viewed as a rumbling belly, an aching heart, an absorbent mind, an open mouth, a pair of eyes and a growing brain.&#38;nbsp;An adult book, pages sewn as patches onto a child’s body. 





01. Poison Fruit, 2024

3180 x 2160 px, Multimedia Film

6:38 minutes

*Additional Notes from statement*
In China, Winnie the Pooh is censored and its usage banned as it became codified as a representation for Xi Jinping due to their striking resemblance. However, the selection of Winnie the Pooh isn’t a politically charged one, but rather used due to the importance in its shifting meaning. Winnie the Pooh’s license expired on the 1st of January 2022 then shortly in 2023, Winnie-the-Pooh: Blood and Honey is released, a slasher film featuring the loveable bear. In relying on its created brand and mass appeal, it’s now enslaved to a labour for the rest of his life to exchange his identity for value or contrastingly shadowbanned into obscurity.














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02. Doll Construction Project 1, 2024

110 x 4.2 x 73 cm,&#38;nbsp; photographs printed, metal frames, LED light&#38;nbsp;



&#60;img width="6241" height="4161" width_o="6241" height_o="4161" data-src="https://freight.cargo.site/t/original/i/ae202007b5e147fd9900d1d0959cd61259750c7fe12ac686fdd98bc55e73992b/DSC_0359.jpg" data-mid="223580772" border="0"  src="https://freight.cargo.site/w/1000/i/ae202007b5e147fd9900d1d0959cd61259750c7fe12ac686fdd98bc55e73992b/DSC_0359.jpg" /&#62;
&#60;img width="7360" height="4912" width_o="7360" height_o="4912" data-src="https://freight.cargo.site/t/original/i/b1f47b87e089fcd842dc6cc29a6c7fad829dfeee557ea7875563e967964bf7f7/DSC_0361.jpg" data-mid="223580773" border="0"  src="https://freight.cargo.site/w/1000/i/b1f47b87e089fcd842dc6cc29a6c7fad829dfeee557ea7875563e967964bf7f7/DSC_0361.jpg" /&#62;
&#60;img width="6149" height="4099" width_o="6149" height_o="4099" data-src="https://freight.cargo.site/t/original/i/e7b1f237974aa0c068390a2b608b4950d4f0903e326f5e4e5344d3c0d7a9fee8/DSC_0356.jpg" data-mid="223581059" border="0"  src="https://freight.cargo.site/w/1000/i/e7b1f237974aa0c068390a2b608b4950d4f0903e326f5e4e5344d3c0d7a9fee8/DSC_0356.jpg" /&#62;
&#60;img width="7176" height="4789" width_o="7176" height_o="4789" data-src="https://freight.cargo.site/t/original/i/faaeafed7e57d5069bdbfe5defdf689a986eea0c5cb1e3677f8ed977fd38f44c/DSC_0512.jpg" data-mid="223580774" border="0"  src="https://freight.cargo.site/w/1000/i/faaeafed7e57d5069bdbfe5defdf689a986eea0c5cb1e3677f8ed977fd38f44c/DSC_0512.jpg" /&#62;




03. Fear of God: Hooked on Selling Jesus as a Gundam, 2024

50 x 50 cm, Modelling Clay, resin, varnish, glossy photographic paper, circular mirror


Fear of God. Brand or proverb?&#38;nbsp;


 


&#60;img width="7360" height="4912" width_o="7360" height_o="4912" data-src="https://freight.cargo.site/t/original/i/f75a5922671cda9188160df68a51f9f5d33c305be89636528ee157fc3f3dbd74/DSC_0217.jpg" data-mid="223378949" border="0"  src="https://freight.cargo.site/w/1000/i/f75a5922671cda9188160df68a51f9f5d33c305be89636528ee157fc3f3dbd74/DSC_0217.jpg" /&#62;
&#60;img width="7360" height="4912" width_o="7360" height_o="4912" data-src="https://freight.cargo.site/t/original/i/57f9102a0fc1b116f0a804ac0bd15082dc33a6029867c927a85df88983384acf/DSC_0253.jpg" data-mid="223378950" border="0"  src="https://freight.cargo.site/w/1000/i/57f9102a0fc1b116f0a804ac0bd15082dc33a6029867c927a85df88983384acf/DSC_0253.jpg" /&#62;
&#60;img width="7360" height="4912" width_o="7360" height_o="4912" data-src="https://freight.cargo.site/t/original/i/1a08224775599c835feada2fe666b81030c65eeb70d47a29dd26778bea936a82/DSC_0260.jpg" data-mid="223378951" border="0"  src="https://freight.cargo.site/w/1000/i/1a08224775599c835feada2fe666b81030c65eeb70d47a29dd26778bea936a82/DSC_0260.jpg" /&#62;
&#60;img width="7360" height="4912" width_o="7360" height_o="4912" data-src="https://freight.cargo.site/t/original/i/90a30a20addd92123c31920623925ee35e3f149f7e4eca183811a4f05e488451/DSC_0492.jpg" data-mid="223580787" border="0"  src="https://freight.cargo.site/w/1000/i/90a30a20addd92123c31920623925ee35e3f149f7e4eca183811a4f05e488451/DSC_0492.jpg" /&#62;
&#60;img width="7360" height="4912" width_o="7360" height_o="4912" data-src="https://freight.cargo.site/t/original/i/d8a9bb334782144e17032672f25718e6125dbca1e470f1fa8234d1860373b96c/DSC_0480.jpg" data-mid="223580786" border="0"  src="https://freight.cargo.site/w/1000/i/d8a9bb334782144e17032672f25718e6125dbca1e470f1fa8234d1860373b96c/DSC_0480.jpg" /&#62;
&#60;img width="7360" height="4912" width_o="7360" height_o="4912" data-src="https://freight.cargo.site/t/original/i/0bd1f685c76508957c0aeb966f2a23dbedf089192421ae41a931dd06ce6b1fd5/DSC_0479.jpg" data-mid="223580785" border="0"  src="https://freight.cargo.site/w/1000/i/0bd1f685c76508957c0aeb966f2a23dbedf089192421ae41a931dd06ce6b1fd5/DSC_0479.jpg" /&#62;
&#60;img width="7360" height="4912" width_o="7360" height_o="4912" data-src="https://freight.cargo.site/t/original/i/36b618fbfc04711a625d55e69816303a0cf5cd4c7e6991533d39b448770f7712/DSC_0458.jpg" data-mid="223580783" border="0"  src="https://freight.cargo.site/w/1000/i/36b618fbfc04711a625d55e69816303a0cf5cd4c7e6991533d39b448770f7712/DSC_0458.jpg" /&#62;
&#60;img width="7360" height="4912" width_o="7360" height_o="4912" data-src="https://freight.cargo.site/t/original/i/4ef1964741dcca3644a554f33dcf9ee7bb2a0413e73feb0f91df5d357f6dfd47/DSC_0449.jpg" data-mid="223580782" border="0"  src="https://freight.cargo.site/w/1000/i/4ef1964741dcca3644a554f33dcf9ee7bb2a0413e73feb0f91df5d357f6dfd47/DSC_0449.jpg" /&#62;




04. Body Autonomy, 2024

51 x 7 x 30 cm, Wood, oil paint, steel screws, resin, glass
 
Body Autonomy interrogates the social, political and spatial subtexts that influence individual and collective psyches. The work regards the human condition as a liminal state, one in which there is constant mediation between the external and the internal, conveyed through surrealist fables and construction that emphasise the precarious nature of balance and static notions. 
&#60;img width="7360" height="4912" width_o="7360" height_o="4912" data-src="https://freight.cargo.site/t/original/i/65870432fbd78d23bd68b851d9dd70ab3540155e8553bfcaf0392588814ceb7b/DSC_0192.jpg" data-mid="223378815" border="0"  src="https://freight.cargo.site/w/1000/i/65870432fbd78d23bd68b851d9dd70ab3540155e8553bfcaf0392588814ceb7b/DSC_0192.jpg" /&#62;
&#60;img width="7360" height="4912" width_o="7360" height_o="4912" data-src="https://freight.cargo.site/t/original/i/a400c20cefa1d4857b7604767a5fe416f7c88d6ea864aa876c288a9cf918305b/DSC_0189.jpg" data-mid="223379121" border="0"  src="https://freight.cargo.site/w/1000/i/a400c20cefa1d4857b7604767a5fe416f7c88d6ea864aa876c288a9cf918305b/DSC_0189.jpg" /&#62;
&#60;img width="7360" height="4912" width_o="7360" height_o="4912" data-src="https://freight.cargo.site/t/original/i/5d1ad616d0d04bf61e1b08b81345412cb948242c0e8f5f1120af85f8db275107/DSC_0391.jpg" data-mid="223580789" border="0"  src="https://freight.cargo.site/w/1000/i/5d1ad616d0d04bf61e1b08b81345412cb948242c0e8f5f1120af85f8db275107/DSC_0391.jpg" /&#62;
&#60;img width="7360" height="4912" width_o="7360" height_o="4912" data-src="https://freight.cargo.site/t/original/i/e1ea717c580ace6c0e713ee81c0d2e3c8796875d6585ee0b7a2d80abee4315c4/DSC_0386.jpg" data-mid="223580788" border="0"  src="https://freight.cargo.site/w/1000/i/e1ea717c580ace6c0e713ee81c0d2e3c8796875d6585ee0b7a2d80abee4315c4/DSC_0386.jpg" /&#62;

	&#60;img width="7360" height="4912" width_o="7360" height_o="4912" data-src="https://freight.cargo.site/t/original/i/62cc000a6f58fbeabc7fe25b6ac56eb7c21bdbf8b4c900b9088666c2b4f7582b/DSC_0276.jpg" data-mid="223378817" border="0"  src="https://freight.cargo.site/w/1000/i/62cc000a6f58fbeabc7fe25b6ac56eb7c21bdbf8b4c900b9088666c2b4f7582b/DSC_0276.jpg" /&#62;






05. Export Import, 2024

60 x 60 x 60 cm, Wood, oil paints, copper wire, tin solder, candles, air dry clay



 


&#60;img width="7360" height="4912" width_o="7360" height_o="4912" data-src="https://freight.cargo.site/t/original/i/3a98a3033844f8bb992da67dd7a51cbf3735f112cbfabae8995a9ef419106daa/DSC_0397.jpg" data-mid="223580809" border="0"  src="https://freight.cargo.site/w/1000/i/3a98a3033844f8bb992da67dd7a51cbf3735f112cbfabae8995a9ef419106daa/DSC_0397.jpg" /&#62;
&#60;img width="7360" height="4912" width_o="7360" height_o="4912" data-src="https://freight.cargo.site/t/original/i/081c32a9d7bef2aa754adc22623ff87c81fe725c4ba7d593335d55588188f8f6/DSC_0400.jpg" data-mid="223580811" border="0"  src="https://freight.cargo.site/w/1000/i/081c32a9d7bef2aa754adc22623ff87c81fe725c4ba7d593335d55588188f8f6/DSC_0400.jpg" /&#62;
&#60;img width="7360" height="4912" width_o="7360" height_o="4912" data-src="https://freight.cargo.site/t/original/i/92cd250278c43970cf666db2c868ee6de12a7b5bf6709f08a7f6e1d25a2a2bab/DSC_0410.jpg" data-mid="223580812" border="0"  src="https://freight.cargo.site/w/1000/i/92cd250278c43970cf666db2c868ee6de12a7b5bf6709f08a7f6e1d25a2a2bab/DSC_0410.jpg" /&#62;
&#60;img width="7360" height="4912" width_o="7360" height_o="4912" data-src="https://freight.cargo.site/t/original/i/6cd6c90ea845746a7c759ebe9a899ebd676e8297326627479c8d3a7aca9fa217/DSC_0412.jpg" data-mid="223580813" border="0"  src="https://freight.cargo.site/w/1000/i/6cd6c90ea845746a7c759ebe9a899ebd676e8297326627479c8d3a7aca9fa217/DSC_0412.jpg" /&#62;
&#60;img width="7360" height="4912" width_o="7360" height_o="4912" data-src="https://freight.cargo.site/t/original/i/eaaac3f4e6718cafe7103abe35d2adde9d83662d73c6615c4dda2bcf1a515b9c/DSC_0414.jpg" data-mid="223580814" border="0"  src="https://freight.cargo.site/w/1000/i/eaaac3f4e6718cafe7103abe35d2adde9d83662d73c6615c4dda2bcf1a515b9c/DSC_0414.jpg" /&#62;
&#60;img width="7360" height="4912" width_o="7360" height_o="4912" data-src="https://freight.cargo.site/t/original/i/dcfe15f4c4efdfe55b774dff1e983a97b693b8e54425f8ba9515fd6b12ed8094/DSC_0417.jpg" data-mid="223580815" border="0"  src="https://freight.cargo.site/w/1000/i/dcfe15f4c4efdfe55b774dff1e983a97b693b8e54425f8ba9515fd6b12ed8094/DSC_0417.jpg" /&#62;
&#60;img width="7360" height="4912" width_o="7360" height_o="4912" data-src="https://freight.cargo.site/t/original/i/b903d48d28c15ee46c113df371f87a09b77b24f805ea69e0caf2e13cf996dbc7/DSC_0104.jpg" data-mid="223378794" border="0"  src="https://freight.cargo.site/w/1000/i/b903d48d28c15ee46c113df371f87a09b77b24f805ea69e0caf2e13cf996dbc7/DSC_0104.jpg" /&#62;
&#60;img width="7360" height="4912" width_o="7360" height_o="4912" data-src="https://freight.cargo.site/t/original/i/08b6437228845c3195fd99745f9794b934cdbd641f31ef3072ad7f9209c93b74/DSC_0418.jpg" data-mid="223580816" border="0"  src="https://freight.cargo.site/w/1000/i/08b6437228845c3195fd99745f9794b934cdbd641f31ef3072ad7f9209c93b74/DSC_0418.jpg" /&#62;





06. Army of Dreamers, 2024

230 x 500 cm, Projection mapping, wood, acrylic mirror, bandage, lace fabric

8:51 minutes


This installation is eponymous to Kate Bush’s track, Army of Dreamers. The song is slowed, reverbed and echoes through the installation. Army of Dreamers sings of the aftermath of war from the perspective of a mother grieving her dead son. Grieving what he could have been yet could have never become. 


A ‘window’ of a canvas skeleton is stretched with a lace fabric with bandage curtains on both sides. An acrylic mirror is bent, towards the projection, acting as a gateway for the audience to become part of the projection. The projection is not aimed to be a distant memory and stand-alone film, the audience is propelled to be a part of its existence, trails of the real world creep into the projected illusion. An attempt to bring the audience back into the work. 



&#60;img width="7360" height="4912" width_o="7360" height_o="4912" data-src="https://freight.cargo.site/t/original/i/a5e5745e35b553de8546f23f28b332b0afcd64e291ab48170add864425ab6bba/DSC_0044.jpg" data-mid="223379019" border="0"  src="https://freight.cargo.site/w/1000/i/a5e5745e35b553de8546f23f28b332b0afcd64e291ab48170add864425ab6bba/DSC_0044.jpg" /&#62;
&#60;img width="7360" height="4912" width_o="7360" height_o="4912" data-src="https://freight.cargo.site/t/original/i/09ac5843c3d7fc36cbd647334f341638bd65ec60c88bb956d6385b42eb95db9b/DSC_0071.jpg" data-mid="223379020" border="0"  src="https://freight.cargo.site/w/1000/i/09ac5843c3d7fc36cbd647334f341638bd65ec60c88bb956d6385b42eb95db9b/DSC_0071.jpg" /&#62;
&#60;img width="7325" height="4889" width_o="7325" height_o="4889" data-src="https://freight.cargo.site/t/original/i/c1598a69d9c7fcad2d410bb43e6e513adf352ab64ead46fd0be61d911374a6de/DSC_0554.jpg" data-mid="223580846" border="0"  src="https://freight.cargo.site/w/1000/i/c1598a69d9c7fcad2d410bb43e6e513adf352ab64ead46fd0be61d911374a6de/DSC_0554.jpg" /&#62;
&#60;img width="7360" height="4912" width_o="7360" height_o="4912" data-src="https://freight.cargo.site/t/original/i/b1adecdeab18318c8197c81c799283601aca7ced6b7a73e1e159419e2ac263ae/DSC_0549.jpg" data-mid="223580844" border="0"  src="https://freight.cargo.site/w/1000/i/b1adecdeab18318c8197c81c799283601aca7ced6b7a73e1e159419e2ac263ae/DSC_0549.jpg" /&#62;
&#60;img width="7360" height="4912" width_o="7360" height_o="4912" data-src="https://freight.cargo.site/t/original/i/78cf2f1f32f24fd9519f59fbf8a5262ebeef779de6453fe7b68162d41bf58a0e/DSC_0547.jpg" data-mid="223580843" border="0"  src="https://freight.cargo.site/w/1000/i/78cf2f1f32f24fd9519f59fbf8a5262ebeef779de6453fe7b68162d41bf58a0e/DSC_0547.jpg" /&#62;
&#60;img width="7360" height="4912" width_o="7360" height_o="4912" data-src="https://freight.cargo.site/t/original/i/271007465e8636888b8106655f5e6fecc039149824c62b43f10c87db5eb73ba9/DSC_0545.jpg" data-mid="223580842" border="0"  src="https://freight.cargo.site/w/1000/i/271007465e8636888b8106655f5e6fecc039149824c62b43f10c87db5eb73ba9/DSC_0545.jpg" /&#62;
&#60;img width="7360" height="4912" width_o="7360" height_o="4912" data-src="https://freight.cargo.site/t/original/i/60d51b5640eb20a7e4e0de5efae5a247bbcdff1c243efa8d40365f782d066b50/DSC_0543.jpg" data-mid="223580841" border="0"  src="https://freight.cargo.site/w/1000/i/60d51b5640eb20a7e4e0de5efae5a247bbcdff1c243efa8d40365f782d066b50/DSC_0543.jpg" /&#62;
&#60;img width="7360" height="4912" width_o="7360" height_o="4912" data-src="https://freight.cargo.site/t/original/i/a4ed19ee0d280afa476223d8763971e2eef8b14bfa85526197951a08bd8ab031/DSC_0541.jpg" data-mid="223580840" border="0"  src="https://freight.cargo.site/w/1000/i/a4ed19ee0d280afa476223d8763971e2eef8b14bfa85526197951a08bd8ab031/DSC_0541.jpg" /&#62;
&#60;img width="7360" height="4912" width_o="7360" height_o="4912" data-src="https://freight.cargo.site/t/original/i/f599a96425f389d93a8fd8ed18720db990a89cd0365276be29df00f638b09d43/DSC_0534.jpg" data-mid="223580839" border="0"  src="https://freight.cargo.site/w/1000/i/f599a96425f389d93a8fd8ed18720db990a89cd0365276be29df00f638b09d43/DSC_0534.jpg" /&#62;



07. Past Lives, 2024 

29.7 x 42cm, 3D Visualisation, glossy photographic paper 

 





&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/5f4da7a67b5e94136be181cbb52f174eff6e6f207d35c580f1d2472deff41a80/girl1_print.png" data-mid="223379098" border="0"  src="https://freight.cargo.site/w/1000/i/5f4da7a67b5e94136be181cbb52f174eff6e6f207d35c580f1d2472deff41a80/girl1_print.png" /&#62;
&#60;img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/c36b47d85004efed850f3a13fe53ce75c3d19f8a90c591a2ffddc12903bef39f/Girl4_Print.png" data-mid="223379096" border="0"  src="https://freight.cargo.site/w/1000/i/c36b47d85004efed850f3a13fe53ce75c3d19f8a90c591a2ffddc12903bef39f/Girl4_Print.png" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/cda001294b835456ea741e6b4a83d2570d0d4953776aceea964bdd0ea3f572ae/Girl3_Print.png" data-mid="223379090" border="0"  src="https://freight.cargo.site/w/1000/i/cda001294b835456ea741e6b4a83d2570d0d4953776aceea964bdd0ea3f572ae/Girl3_Print.png" /&#62;
&#60;img width="7360" height="4912" width_o="7360" height_o="4912" data-src="https://freight.cargo.site/t/original/i/9aba3e5201c5efe3f1643640ee9a3f64779c4099f18a1abd0d6465d6870a4c57/DSC_0099.jpg" data-mid="223379117" border="0"  src="https://freight.cargo.site/w/1000/i/9aba3e5201c5efe3f1643640ee9a3f64779c4099f18a1abd0d6465d6870a4c57/DSC_0099.jpg" /&#62;






OUTTAKES:











&#60;img width="5173" height="3563" width_o="5173" height_o="3563" data-src="https://freight.cargo.site/t/original/i/26fb571318a35a6de1c1e514ae32c587957ae8eedb22c0bb7bac338a98aa9d6b/DSCF8168.jpg" data-mid="223378668" border="0"  src="https://freight.cargo.site/w/1000/i/26fb571318a35a6de1c1e514ae32c587957ae8eedb22c0bb7bac338a98aa9d6b/DSCF8168.jpg" /&#62;
&#60;img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/595e6d2bfbee36fbfbbe378d08327ddb5b37f4ec52c7e20ea07ee9e5749f62ff/DSCF8177.jpg" data-mid="223378669" border="0"  src="https://freight.cargo.site/w/1000/i/595e6d2bfbee36fbfbbe378d08327ddb5b37f4ec52c7e20ea07ee9e5749f62ff/DSCF8177.jpg" /&#62;


Exhibition Special Thanks:
Duruo Wang 杜若（Titles Translation and Text Proofreading）
JiuJiu 九九 (Artwork Help for Fear of God: Selling Jesus as a Gundam)
Wu Jianping 吴剑平（Artwork Help for Body Autonomy）
Li Honghong 李红宏（Artwork Help for Body Autonomy）
Hu Liwei 胡力维（Artwork Help for Poison Fruit）
Zhu Zhu 珠珠（Artwork Help for Poison Fruit）
Ni Kun 倪昆（Artwork Help for Poison Fruit）
Yuni Dale Zhang 张恩琪（Artwork Help for Poison Fruit）
Yuni Dale Zhang’s mother 张恩琪母亲（Artwork Help for Poison Fruit）
Zhou Yirou 周依柔（Artwork Help for Poison Fruit）
Yang Kaikai 杨开开（Artwork Help for Poison Fruit and Install Help）
Liao Liao 了了（Install Help）
Wang Jian 王建（Installer）
Yang Shu 杨述 （Care）




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