https://lianjiangzhu.com/work 2026-06-29T15:04:01+00:00 always 0.5 https://freight.cargo.site/t/original/i/T2488568435013061836891484353884/Have-you-received-my-signal.jpg Have you Received my Signal? (2025) https://freight.cargo.site/t/original/i/P2523227631640434767812226217308/1100.jpg Only the Switchable Exists (2025) https://freight.cargo.site/t/original/i/R2563681401530465494799252485468/Ephemeral-dualities.jpg Ephemeral Dualities (2024) https://freight.cargo.site/t/original/i/W2593611138680511510299187377500/Wake-up-in-a-Miracle.jpg Wake up in a Miracle (2023) https://freight.cargo.site/t/original/i/L2657727188052225343887589537116/Looking-for-Adonis.jpg Looking for Adonis (2023) https://freight.cargo.site/t/original/i/B2657734741754115854990752118108/Lianjiang-Zhu--The-Missed-Calls-of-Dolly--Moving-image--AI1.jpg The Missed Calls of Dolly (2024) https://freight.cargo.site/t/original/i/T3009788655116942307668871378268/3.jpg At the Origin Lies the Likeness (2025) https://freight.cargo.site/t/original/i/N3010089321808333168476122543452/mirror.jpg Narcissus in the Mirror (2024) https://lianjiangzhu.com/top-nav-—-mobile 2026-06-28T05:29:12+00:00 always 0.5 https://lianjiangzhu.com/image-nav-—-mobile 2025-08-28T04:33:50+00:00 always 0.5 https://freight.cargo.site/t/original/i/V2327714568856165100151147623772/IMG_0117.jpg https://freight.cargo.site/t/original/i/W2339717308280830831948896433500/Looking-for-Adonis.jpg https://freight.cargo.site/t/original/i/J2339719481860685037145363346780/114-12.jpg https://freight.cargo.site/t/original/i/X2339732624225053607441702614364/Lianjiang-Zhu--The-Missed-Calls-of-Dolly--Moving-image--AI2.jpg https://freight.cargo.site/t/original/i/G2339732624243500351515412165980/Lianjiang-Zhu_Narcissus-in-the-Mirror_01.jpg https://freight.cargo.site/t/original/i/J2339732624261947095589121717596/You-have-to-give-up-everything-you-have-gained--video.jpg https://freight.cargo.site/t/original/i/J2339732624188160119294283511132/2024_01_08_19_03_IMG_8140.JPG https://freight.cargo.site/t/original/i/S2340506327636915397700996068700/Ephemeral-dualities.jpg https://freight.cargo.site/t/original/i/S2340540263669265943394074785116/Obedience.jpg https://lianjiangzhu.com/looking-for-adonis-1 2026-07-06T11:06:04+00:00 always 0.5 https://freight.cargo.site/t/original/i/R2272644976472738054282317952348/Lianjiang-Zhu_Looking-for-Adonis.jpg https://freight.cargo.site/t/original/i/B2272645167820814330871496865116/Looking-for-Adonis-2.jpg https://freight.cargo.site/t/original/i/L2275448613079581913302606050652/Looking for Adonis <div style="text-align: left">Looking for Adonis (2023) Single-channel video, wall posters, recording in Shoreditch, London 25 mins 20 seconds Looking for Adonis begins with the artist’s own portrait, which is repeatedly generated, substituted and reconfigured through AI. As the image undergoes continual transformation, the facial features that once pointed to a specific individual gradually become less distinct. The portrait shifts from representing a person towards becoming an image that remains in a constant state of formation. The work adopts the visual language of missing-person posters, where the same face recurs in subtly different forms. Repetition does not produce sameness; instead, each iteration introduces difference. Every portrait remains close to its point of origin, yet none returns to it completely. Viewers are therefore drawn into a continual oscillation between recognition and misrecognition, where identity is experienced not as a fixed attribute but as something repeatedly organised, revised and redefined. As the work unfolds, attention shifts from the portrait itself to the processes through which images participate in the production of identity. The portrait no longer functions simply as a record of an individual; it becomes a technical interface through which identities are rendered recognisable, classified and circulated. As images increasingly precede the subjects they appear to represent, identity itself emerges as something continuously produced, negotiated and transformed. </div> https://freight.cargo.site/t/original/i/L2339717796492359486745889502556/Looking-for-Adonis.jpg https://freight.cargo.site/t/original/i/Q2370747591371736372000571290972/poster.jpg https://freight.cargo.site/t/original/i/D2434528055453885712949376742748/Still-image-55.jpg https://freight.cargo.site/t/original/i/F2434528137394322888367205021020/Still-image-22.jpg https://freight.cargo.site/t/original/i/Z2434529650193357629213823497564/Still-image-1.JPG https://freight.cargo.site/t/original/i/S2434530264728189700773826032988/Still-image-4.JPG https://freight.cargo.site/t/original/i/F2434546810793541031588081726812/13.jpg https://freight.cargo.site/t/original/i/I2435093245632941725449239950684/Looking-for-Adonis-1--Lianjiang-Zhu.jpg https://freight.cargo.site/t/original/i/O2598225839634790305292303496540/Looking-for-Adonis.jpg <div style="text-align: left">Looking for Adonis (2023) Archival pigment print on Hahnemühle Photo Rag 308gsm, 100% cotton Mounted under acrylic (optional) 29.7 x 42 cm </div> https://lianjiangzhu.com/the-missed-calls-of-dolly 2026-07-06T10:59:10+00:00 always 0.5 https://freight.cargo.site/t/original/i/M2272627160847119338555591390556/Lianjiang-Zhu--The-Missed-Calls-of-Dolly--Moving-image--AI2.jpg https://freight.cargo.site/t/original/i/S2272628560530719419415239357788/Lianjiang-Zhu--The-Missed-Calls-of-Dolly--Moving-image--AI1.jpg <div style="text-align: left"> </div> https://freight.cargo.site/t/original/i/M2272628768370184897900757415260/Lianjiang-Zhu--The-Missed-Calls-of-Dolly--Moving-image--AI3.jpg <div style="text-align: left">The Missed Calls of Dolly (2024) Video installation, AI technology, digital print wallpaper, Multi-channel videos Composed of multiple video segments The Missed Calls of Dolly unfolds as an installation in which the artist's portrait is repeatedly generated, distributed and reassembled across photographs, screens and mobile devices. The same likeness appears throughout the space, yet no two images are entirely identical. Rather than producing a stable identity, repetition continually introduces variation, allowing each new image to diverge from the one before it. Generated through AI, the portraits remain in a state of continual transformation. Faces are interrupted, partially reconstructed and redistributed across different image supports, making it impossible for any single version to become definitive. The work does not present the digital portrait as a fixed representation of a person, but as something continually reorganised through the processes that produce it. As viewers move through the installation, attention shifts from the individual images towards the systems of replication that connect them. Copying no longer promises sameness. Instead, each repetition becomes another point of departure, where identity is continuously negotiated through generation, circulation and difference. </div> https://freight.cargo.site/t/original/i/V2312440457458621116640286504284/The Missed Calls of Dolly <div style="text-align: left"> </div> https://freight.cargo.site/t/original/i/A2383777727298888721619409466716/The-Missed-Calls-of-Dolly--Lianjiang-Zhu.jpg https://freight.cargo.site/t/original/i/K2422303194411950098971455944028/dolly-Lianjiang-Zhu.jpg https://freight.cargo.site/t/original/i/Y2523282157744052947369723196764/11111.jpg https://lianjiangzhu.com/wake-up-in-a-miracle-1 2026-07-06T10:53:08+00:00 always 0.5 https://freight.cargo.site/t/original/i/Q962499264641493667830188908211/t13.jpeg https://freight.cargo.site/t/original/i/E2272630041453780400891752641884/Lianjiang-Zhu---Wake-up-in-a-miracle.jpg https://freight.cargo.site/t/original/i/X2272722179066612324623068722524/114-12.jpg https://freight.cargo.site/t/original/i/E2327705685402281291621247251804/Wake up in a Miracle <div style="text-align: left">Wake up in a miracle (2023) Single-channel video with sound, moving image, green screen suit 5 mins 48 seconds Wake Up in a Miracle is a self-performed moving-image work constructed through chroma key compositing. Fragments of architecture, reflections and discontinuous spaces are assembled into a shifting image in which the body repeatedly appears, breaks apart and re-emerges. Rather than occupying a stable position, it remains suspended within the image, continually reorganised by the processes through which the image itself is produced. The work leaves the mechanics of image construction deliberately unresolved. Instead of functioning as an invisible production tool, chroma key remains present as an active structure within the image, continually negotiating the relationship between body and background, visibility and absence. The body no longer precedes the image as something complete; it is repeatedly assembled, interrupted and recalculated through the technical operations that bring it into view. As the sequence unfolds, attention shifts away from the body as a fixed subject towards the image protocol that continually constructs it. Presence emerges not as a stable condition, but as something provisional—formed through an ongoing negotiation between perception, computation and representation. </div> 《在奇迹中醒来》是一件由艺术家完成身体表演的影像作品。作品借助绿幕合成技术，将建筑、玻璃、反射与彼此断裂的空间重新组织为一个持续变化的影像结构。身体不断出现、碎裂、重新显现，却始终无法在图像中获得稳定的位置，而是在图像生成的过程中持续被重组。作品并未隐藏绿幕合成的技术痕迹，而是将这一通常不可见的图像生成过程保留在观看之中。绿幕不再只是影像制作的工具，而成为组织图像的结构。身体不再作为一个先于图像存在的整体进入画面，而是在不断分离、计算与重构的过程中逐渐形成自身的可见性。 随着影像不断循环，观看逐渐从身体本身转向图像生成的过程。身体的存在不再是一种固定状态，而是在身体、图像与技术规则之间持续协商、不断生成。作品关注的并非身体如何被再现，而是身体如何在数字图像的生成机制中不断被建构。 https://freight.cargo.site/t/original/i/T2491468836174213395971611850076/Wake-up-in-a-miracle.jpg <div style="text-align: left">Wake up in a Miracle (2023) Archival pigment print on Hahnemühle Photo Rag 308gsm, 100% cotton 109.5 x 61 cm Edition of 3 + 1AP </div> https://freight.cargo.site/t/original/i/X2593593761700020123311888692572/Wake-up-in-a-Miracle.jpg https://lianjiangzhu.com/have-you-received-my-signal-1 2026-07-06T14:50:12+00:00 always 0.5 https://freight.cargo.site/t/original/i/M2272720314432827865914172274012/2024_01_08_19_03_IMG_8140.JPG https://freight.cargo.site/t/original/i/T2425170533012529746579483293020/Have-you-received-my-signal--Lianjiang-Zhu.jpg https://freight.cargo.site/t/original/i/Y2488533449637674658230561961308/Have-you-received-my-signal-3.JPG https://freight.cargo.site/t/original/i/T2488568435013061836891484353884/Have-you-received-my-signal.jpg <div style="text-align: left">Have you received my signal? (2025) Single-channel video installation, anodized and sandblasted aluminum frame, electronic components with remote control, USB drive, green screen suit 27.5 x 15 x 6.3 cm Have You Received My Signal? documents a bodily action in which the body's image has been deliberately erased. The body enters a continuous cycle of ascending and descending, while mirroring and temporal delay produce two corresponding iterations of the same movement. They repeatedly draw close to one another, yet remain subtly out of sync. As the cycle unfolds, the movement gradually detaches from its immediate action and becomes a continuously transmitted signal. Sending, waiting and response coexist within the same temporal field, as the signal accumulates, is delayed and shifts over time, continually reshaping the experience of viewing. The moving image is housed within a metal frame, allowing the work to be approached only through a limited viewing aperture. Body, moving image and display together establish a structure for the transmission of signals. As the signal continues to shift through time, media and space, each encounter opens the work to new readings. </div> https://freight.cargo.site/t/original/i/D2500956104564775049568597603676/Have you received your signal <div style="text-align: left">Have you received my signal? (2023) Dual-channel projection with sound, moving image, green screen suit 6 mins 48 seconds </div> https://freight.cargo.site/t/original/i/X3021233111745870427508359591260/signal2.jpg https://lianjiangzhu.com/only-the-switchable-exists 2026-07-06T08:49:09+00:00 always 0.5 https://freight.cargo.site/t/original/i/M2272720314432827865914172274012/2024_01_08_19_03_IMG_8140.JPG https://freight.cargo.site/t/original/i/I2520257502008045515511504860508/1100.jpg https://freight.cargo.site/t/original/i/B2520470352144169998681358234972/2.jpg <div style="text-align: left">Only the Switchable Exists (2025) UV-cured ink on anodized aluminum, partially flame-oxidized copper and brass (iridescent surface), black mirror panel 60 x 90 cm, Edition of 1 + 1AP The work draws on the checkerboard pattern used in the PNG format to indicate transparency. This pattern does not appear in the final image itself, but exists within software interfaces as a visual convention for displaying transparent information. The checkerboard is progressively reduced in scale, repeated and layered, producing a visual field that appears to contract inward. As the eye moves through this constructed depth, it is drawn towards a black mirrored surface and a fire-treated copper plate at the centre of the work. The mirror continually reflects the surrounding space and the viewer's presence, while the copper retains the colour shifts and oxidation produced through controlled burning, allowing the material to register its own process of transformation. Once removed from the software interface and translated into physical form, a visual convention that ordinarily supports the production of digital images becomes the subject of viewing itself. Processes of duplication, replacement and revision that belong to digital systems are brought into relation with the irreversible transformations of the material surface. Rather than presenting a digital image, the work gives material presence to one of the conditions through which digital images become visible, shifting attention from the image itself to the structures that make its appearance possible. 《只有可转换的才存在》取用了 PNG 格式中用于表示透明区域的棋盘格。这一图案通常不会出现在最终图像中，而是在软件环境中作为透明信息的显示方式存在，帮助图像被编辑、识别与组织。作品将这一显示规则不断缩小、复制与叠加，使原本作为背景存在的界面逐渐成为观看本身。重复的棋盘格在平面上形成持续向内收缩的视觉空间，视线不断进入图像内部，并最终汇聚于中心的黑色镜面与烧灼后的铜板。镜面映照着周围空间与观众的身体，铜板则记录下火焰作用后留下的颜色变化与氧化痕迹，使数字生成的视觉结构与材料的物理变化在同一空间中相遇。 当一种原本服务于图像生成的显示规则脱离软件环境，并进入物质空间，它不再只是数字系统中的辅助界面，而成为观看的对象。作品并未再现数字图像，而是将支撑数字图像生成的条件转化为一种可以被感知的物质结构。观看也因此从图像本身，转向那些通常隐没于图像背后的规则、媒介与显示机制。 </div> https://freight.cargo.site/t/original/i/M2521730034807292738193460589916/3.jpg https://freight.cargo.site/t/original/i/M2595274854974184696523436356956/Only-the-Switchable-Exists-2.jpg <div style="text-align: left"> </div> https://freight.cargo.site/t/original/i/Q2595333188836267827132868359516/Only-the-Switchable-Exists-3.jpg <div style="text-align: left">Only the Switchable Exists (2025) UV print on aluminum 60 x 90 cm, Editiion of 2+ 1AP Collected by Swatch Art Peace Hotel Collection </div> https://freight.cargo.site/t/original/i/R2596531545796779609230781216092/Only-the-Switchable-Exists-4.jpg https://freight.cargo.site/t/original/i/Z3019201395119671312525094581596/only.png https://lianjiangzhu.com/at-the-origin-lies-the-likeness 2026-07-06T08:22:36+00:00 always 0.5 https://freight.cargo.site/t/original/i/M2272720314432827865914172274012/2024_01_08_19_03_IMG_8140.JPG https://freight.cargo.site/t/original/i/Z2558182825959146295136738375004/At-the-Origin-Lies-the-Likeness--2025--Lianjiang-Zhu-3.jpg https://freight.cargo.site/t/original/i/J2558182980081693030980042126684/At-the-Origin-Lies-the-Likeness--2025--Lianjiang-Zhu-2.jpg https://freight.cargo.site/t/original/i/Q2558183097716579989025852781916/At-the-Origin-Lies-the-Likeness--2025--Lianjiang-Zhu-6.jpg https://freight.cargo.site/t/original/i/H2558183201848450285116271654236/At-the-Origin-Lies-the-Likeness--2025--Lianjiang-Zhu-4.jpg https://freight.cargo.site/t/original/i/H2558183312805615888479224624476/At-the-Origin-Lies-the-Likeness--2025--Lianjiang-Zhu-5.jpg https://freight.cargo.site/t/original/i/H2558184699059986283678319015260/At-the-Origin-Lies-the-Likeness--2025--Lianjiang-Zhu-1.jpg https://freight.cargo.site/t/original/i/G3009752071700116023549492491612/At-the-Origin-Lies-the-Likeness--2025--Lianjiang-Zhu.jpg https://freight.cargo.site/t/original/i/X3009788130878922476917124003164/3.jpg https://lianjiangzhu.com/heshe 2025-09-18T02:01:10+00:00 always 0.5 https://freight.cargo.site/t/original/i/Y2339602555771421279550519407964/Obedience.jpg https://freight.cargo.site/t/original/i/P2370874474736749956905734272348/He--She.jpg <div style="text-align: left">He, She (2019) Archival pigment print on Hahnemühle Photo Rag 308gsm, 100% cotton, Edition of 5 + 1AP</div> https://freight.cargo.site/t/original/i/O2403087712679202935265200207196/he-she-2.jpg https://freight.cargo.site/t/original/i/B2403087712697649679338909758812/he-she3.jpg https://freight.cargo.site/t/original/i/V2403087712716096423412619310428/he-she4.jpg https://lianjiangzhu.com/ephemeral-dualities-1 2026-06-30T10:21:58+00:00 always 0.5 https://freight.cargo.site/t/original/i/P2272735608314744729250354722140/2024_05_17_21_10_IMG_1602.00_00_16_05.001.jpg https://freight.cargo.site/t/original/i/Q2275488313959263166188788938076/Ephemeral Dualities <div style="text-align: left">Ephemeral Dualities (2024) Moving image, Green screen suit 1 min 38 seconds In the video, the green-screen figure is split across two temporalities: the immediate and the delayed, the real and its digital mirror. It emerges from the gaps between frames, then divides, functioning independently before eventually collapsing back into the interval from which it came—repeating this cycle without resolution. The piece centres on the instability of the “self” within technical imagery: the body is no longer a single origin but is fragmented into retrievable, switchable units. It becomes a composite of temporal fragments, each capable of being summoned, displaced or overwritten.</div> https://freight.cargo.site/t/original/i/Y2497741357695185467026604062044/2.jpg https://freight.cargo.site/t/original/i/I2563498139639793848423419245916/Ephemeral-dualities.jpg https://freight.cargo.site/t/original/i/D2563599067974727122146719724892/Ephemeral-dualities--3.jpg https://freight.cargo.site/t/original/i/Z3011370674156867199777861039452/Ephemeral-Dualities.jpg https://lianjiangzhu.com/new-freedom 2025-09-18T02:01:10+00:00 always 0.5 https://freight.cargo.site/t/original/i/Z2272630924444078977146859844956/You-have-to-give-up-everything-you-have-gained--video.jpg <div style="text-align: left">New Freedom: You have to give up everything you have gained (2023) Video, Performance at Battersea, London 2 mins 4 seconds </div> https://freight.cargo.site/t/original/i/U2272789479005545969907482785116/DSCF7630.JPG https://freight.cargo.site/t/original/i/E2272791508553222447579770680668/DSCF7643.JPG https://freight.cargo.site/t/original/i/U2300921661336519662845844288860/You have to give up everything you have gained https://freight.cargo.site/t/original/i/C2370902330611573343488343045468/you-have-to-give-up-Lianjiang-Zhu.jpg <div style="text-align: left">New Freedom: You have to give up everything you have gained (2023) Video, Performance at Battersea, London 2 mins 4 seconds </div> https://lianjiangzhu.com/kaleidoscope-1 2025-09-18T02:01:10+00:00 always 0.5 https://freight.cargo.site/t/original/i/T1802162652598940515331700192604/IMG_0115.jpg https://freight.cargo.site/t/original/i/H1802163539075673721517912651100/01621073.jpg https://freight.cargo.site/t/original/i/X1802166028279319027884807714140/IMG_0115.jpg https://freight.cargo.site/t/original/i/M1802171491079662272157713724764/IMG_0117.jpg https://freight.cargo.site/t/original/i/Z2272630924444078977146859844956/You-have-to-give-up-everything-you-have-gained--video.jpg https://lianjiangzhu.com/narcissus-in-the-mirror-1 2026-07-06T10:24:36+00:00 always 0.5 https://freight.cargo.site/t/original/i/P2272632184485826420025202079068/Lianjiang-Zhu_Narcissus-in-the-Mirror_01.jpg https://freight.cargo.site/t/original/i/X2434679206543745930897425462620/Narcissus-in-the-Mirror.jpg <div style="text-align: left"> </div> https://freight.cargo.site/t/original/i/K2505973556990210704017765725532/Narcissus in the Mirror <div style="text-align: left">Narcissus in the Mirror (2024) Four-channel projection with sound, Moving image, AI technology 3 mins Narcissus in the Mirror draws on scenes from well-known romantic films, including Titanic and Edward Scissorhands. Using AI face replacement, the work repeatedly inserts the artist's Asian likeness into both male and female protagonists, allowing the same face to inhabit different characters, relationships and cinematic situations. Long before intimacy is encountered firsthand, much of our understanding of love has already been shaped through images. Returning to these familiar films, the work introduces a subtle displacement rather than a new narrative. As the same face repeatedly inhabits stories structured by Western romantic conventions, distinctions between characters begin to dissolve and separate narratives gradually overlap. Recognition gives way to repetition, and scenes once received as singular moments of intimacy begin to appear as variations of the same emotional script. Presented as a continuous loop, familiar declarations of love—"I will always love you," "Stay with me," "Don't leave me"—are repeated until they gradually detach from the characters who first spoke them. Emotional expression shifts from a singular exchange to a recurring pattern of voice, rhythm and address. 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