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Jiang Zhi’s works are full of repetitions – from Tremble, Maiden, Sorry, Curtain Call, MuMu to the latest works The Quiet Bodies, Voice, and The Light of Transience… The repetition here is not merely a formal one – “time and time again”, nor a straightforward extraction and representation of life – “once again”, nor that of industrial productions – “more”, and even less so, the pursuit of the first satisfaction in psychoanalysis – “like the first time”.

“Strait is the Gate” attempts to discuss the eventuality of the work and the exhibition itself – grasping event and subjectivity, the creation of meaning, the repeat of repetitions and pushing the work and even the exhibition to the edge of differentiation.

“Why repeat?” is not the question raised here, but rather, “what kind of process is it that we are trying to construct? What is it as a whole? Is it that in this state, repetition has become a necessity?”

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.”

Jiang Zhi: Strait is the Gate

Strait is the Gate, exhibition view

Strait is the Gate, exhibition view

Strait is the Gate, exhibition view

Strait is the Gate, exhibition view

Strait is the Gate, exhibition view

Strait is the Gate, exhibition view

Strait is the Gate, exhibition view

Strait is the Gate, exhibition view

Strait is the Gate, exhibition view

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