WORKS, RELATIONS & TIME

Work world

Stay with a work, or follow its connections elsewhere. Selected works, early explorations, collaborative practices and proposals retain their distinct positions here.

60 works and records7 lines of inquiryCatalogue view ↗

60 records

LIFE & WORK / TURNING POINTS IN THE RECORD

Let time open out.

Work dates remain distinct from the 2026 curatorial reading. These turning points follow available records; they do not presume undocumented personal motives.

2008–2012
One view is not enough
The early thesis starts with a difficulty: one frame cannot adequately record climbing. Montage and spatial construction become research methods. I brings a related procedure to the artist’s face; mountain and body require movement between fragment and whole. The direct evidence is photographic research, not later theatre theory projected backward.
Shanshui ↗I ↗
2012–2014
Delegating part of judgment to a rule
Cocktail orders by file size, Wu claims free growth, and Gewu brings formal research into manufacture. Central and Untitled retain insistence and repeated rejection. These works do not describe a steady relinquishment of control: rules, deliberate composition and the decision to stop coexist.
Cocktail ↗Wu ↗Gewu Studio / Twelve Water Lamps ↗Central ↗Untitled ↗
2015–2016
Bodies change where images appear
FakingAosome’s Hamlet’s Mirror returns projection to the body, while Shadow Counterpoint carries live work into GIF loops. Relations within images extend into screens, obstruction and live duration without leaving photography or editing behind. The 2016 four-screen proposal continues the inquiry but is not a verified exhibition.
Hamlet’s Mirror ↗Shadow Counterpoint ↗
2017–2018
Media begin speaking with us
Fafalish retains mishearing and machine translation; YourTube brings online remix, comments and seats into one space. The question expands from how an image is composed to how interpretation has already begun before it reaches me. Language and platforms distribute what can be said, how it is understood and who can answer.
Fafalish ↗YourTube ↗
2019–2020
Meeting again after the photograph
Shixiang alternates photography with viewing and includes publication decisions in its agreement. The portrait becomes material for a subsequent encounter. The work’s duration depends on whether participants return and whether they publish; announced long-term scale must remain distinct from actual completion.
Shixiang ↗
2020–2023
A “we” needs actual arrangements
Cocoon’s intense rehearsal, the dissenting Howler interviews, 3P’s concurrent publications and Duel Club’s votes create different arrangements for working together. Each involves openness as well as deadlines, selection and judgment. Keeping differing accounts beside the work allows a method to be assessed in particular circumstances.
Cocoon ↗The Rooftop Howler ↗Kill the Rose: 3P—Watching, Performing, Recording ↗Saturday Four-Hour Duel Club ↗
2023–2026
Judgment continues after a work ends
Personal Chronicle connects recording to new initiatives, while Human Surrender turns shared rehearsal and performance into a revisitable film. Collective direction and writing credits retain shared authorship; editing still establishes a particular version. A 2026 reading should be a traceable new layer, not a replacement for period texts or other participants’ accounts.
Personal Chronicle / PHA ↗Human Surrender / Shoot Self with You ↗

Read the full chronology ↗

Let time open out.

One view is not enough

Delegating part of judgment to a rule

Bodies change where images appear

Media begin speaking with us

Meeting again after the photograph

A “we” needs actual arrangements

Judgment continues after a work ends