“I never doubt I’m an artist. I started to copy drawings on Manual of the Mustard Seed Garden when I was six. “

“Honestly, I was worried about Jiang Zhi. People like him who unfortunately lived in a totalitarian society were likely to be executed for being convicted of ‘being guiltily interesting’. Luckily, Jiang Zhi has his camera, via which he could convey his dreams to us.”

“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.”

“Like the show’s title states, what Li Jinghu confronts is a kind of quotidian experience, and from his found objects we see that while he uses items ordinarily buried in daily life, he tries to rescue them from mediocrity, allowing them a surprising radiance.”