Jiang Zhi

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Jiang Zhi (b.1971, Yuanjiang City, Hunan Province) is a Beijing-based artist who graduated from the China Academy of Art in 1995. After participating in the ‘Post-Sense Sensibility’ exhibitions in the 1990s, Jiang Zhi has subsequently proceeded to become one of the most influential Chinese artists of his generation. He works with a wide range of mediums that span video, painting, photography, installation, poetry and writing novels. He was awarded the academic achievement of Reshaping History (Chinart from 2000-2009) in 2010, the Asian New Force IFVA Critics Award in 2002, and was also awarded the Chinese Contemporary Art Award (CCAA) in 2000.

Major solo exhibitions include: Life, Aranya Art Center, Qinhuangdao, China (2024); The Man Who Carves the Boat, Pingshan Art Museum, Guangdong (2022); Can I Become Better?, Blindspot Gallery, Hong Kong (2020); Hypocenter, Zurich, CN (2019); Already I Know the Storms, Magician Space, Beijing, CN (2018); Going and Coming, Blindspot Gallery, Hong Kong, CN (2018); To Make with Changes, HdM Gallery, Beijing, CN (2017); One is All, All is One, Tina Keng Gallery, Taipei, CN (2017); Predestiny, Magician Space, Beijing, CN (2016); The Sight, White Cube, Hong Kong, CN (2015); Strait is the Gate, Magician Space, Beijing, CN (2012); If This is a Man, Times Museum, Guangzhou, CN (2012).

Major group exhibitions include: Tales of the South, He Art Museum, Shunde, CN (2023); How Far How Close, Aranya Art Center, Qinhuangdao, CN (2023), Getting Righteousness and Formlessness —— Abstract Narrative of Momentary, Ming Yuan Art Museum, Shanghai, CN (2023); Play & Loop V, Blindspot Gallery, Hong Kong, CN (2023); The Circular Impact, OCAT Shanghai, Shanghai (2021); The Arts of Memory, OCAT Shenzhen, CN (2021); Futurism of the Past – Contemplating the Past and Future in Chinese Contemporary Art, Beijing Exhibition Center, Beijing, CN (2021); Noire Lumière, How Art Museum, Shanghai, CN (2020); Questioning Power, Osage Hong Kong, Hong Kong, CN (2020); Resort, Three on the Bund, Shanghai, CN (2020); The 4th Today’s Documents: A Stitch in Time, Beijing Times Art Museum, Beijing, CN (2019); Ordinary Lie, Seoul Museum, Seoul, KR (2019); On Paper 2, White Space, Beijing, CN (2018); Fiction Art, OCAT Shenzhen, Shenzhen, CN (2018); Bi-City Biennale of Urbanism/Architecture: City Grow Difference, Shenzhen, CN (2017); Art and China After 1989: Theatre of the World, Solomon R. Guggenheim Museum, New York, US (2017); The Exhibition of Annual of Contemporary Art of China 2016, Beijing Minsheng Art Museum, Beijing, CN (2016); That Has Been, and May Be Again, Para Site, Hong Kong (2016); The 9th Shanghai Biennale 2012 – Reactivation, Shanghai Art Museum, Shanghai, CN (2012); The 4th Guangzhou Triennial – The Unseen, Guangdong Art Museum, Guangzhou, Guangdong, CN (2012); Time Versus Fashion, Kunstverein Nürtingen, Germany (2009); Between Past and Future: New Photography and Video from China, ICP and Asia Society, New York, USA (2004); The 50th Biennale di Venezia, Venice, ITA (2003); The 4th Gwangiu Biennale Exhibition, Gwangiu, KR (2002); Post-Sense Sensibility: Alien Bodies & Delusion, Beijing, CN (1999).

Jiang Zhi: Already I Know the Storms, exhibition view

Zi, 2018, single channel HD video, colour, sound, 15’49”

Curtain Call, 2009, digital video, stereo, 15’35”

Predesity, exhibition view

Predesity, exhibition view

Predesity, exhibition view

Love Letters NO. 03, 2014, archival inkjet print, 180 x 135cm

Li Zhenhua | Jiang Zhi: A Rather Unclear State

“I have several reasons for writing about Jiang Zhi, one is that my research for Chinese Media Art Since 1989; as a video and multimedia artist, Jiang Zhi is one of the subjects of my research. Another reason is that Jiang Zhi’s expressions have never contained that characteristic Chinese artifice; from his earliest video artwork Fly, Fly to his 2007 series of installations I Am Your Poetry, Jiang Zhi’s perspective has always been indifferent to the contemporary art mainstream, remaining squarely focused on the inner perceptions of the artist as an individual. One of my favourite artworks at the 2007 NONO exhibition at Long March Space was Jiang Zhi’s, because aside from its poeticism, it lacked any clear Chinese characteristics or the specificity of ‘contemporary art’.”

Bao Dong | Jiang Zhi: At the Intersection of Poetics and Sociology

“Jiang Zhi has consciously positioned himself at the intersection between poetics and sociology, fervently weaving familiar mundane social experiences into his works, at the same time maintaining the tensity between daily experience and our experience of the text. Hence, he has consistently avoided unspecific personal emotions and political statements, and also shies away from feeble expressions and critiques. In this aspect, Jiang’s works are open-ended, supple, and possess a kind of poetic vigour. Even in his documentaries, a conscious filmic language permeates, holding up the theme from within.”