Exibited Works in The Kind Stranger

UNArt Center



The concept of the “world” suddenly changed with the first image of the globe. The world is considered an integration, while human also sculpt it as a “whole”.

“The whole” represents the will to depart from the ground and turn our eyes back towards it: we employ all technological tools to receive “messages from the world”, we generate meandering rivers with artificial intelligence, we step on other planets.


Meandering River

onformative (Germany, Berlin)


Customised software, Multichannel HD 1080p, Audio-visual installation

11’58, 2018

Courtesy Artist

Meandering River is an audiovisual installation comprised of real-time visuals generated by an algorithm and music composed by an A.I. This digital artwork makes change perceivable by creating a unique awareness of time. Spanning over multiple screens, the piece reinterprets the shifting behaviors of rivers by visualizing and sonifying their impact on the surface of the earth. The audiovisual installation creates a bird’s eye view of a landscape. Based on a bespoke algorithm, the rippling and oscillating movement inherent in the generated imagery, provides a vantage point that transforms an understanding of progress, to examine the rhythm of natural forces. As the evolving patterns of Meandering River emerge, the viewer is left with a humbling sense of the unpredictability of change and the beauty of nature.



Marc Lee (Swiss)


4-Screen video installation, Stereo

53’20”, 2018

Courtesy Artist

Non-Places explores urbanization and globalization in the digital age. In these synchronized images, visitors navigate through a visual landscape defined by posts on the social networks Flickr, Freesound, Twitter and Youtube. The viewer participates in the social movements of our time and makes a virtual journey into constantly new image and sound collages in which one experiences local, cultural and linguistic differences and similarities. In virtual space, this information is visualized on cubes that rise at different heights akin to an urban skyline. As such, the work deals with how our cities are continuously changing and how virtual space is increasingly mimics urban space. We are witnessing more and more ‘Non-places’ which Marc Augé describes in his book - cities without personalities, where expressways, airports, hotel rooms and shopping centres are proliferating.


Ymgyrch Gofod CymruThe Welsh Space Campaign

Hefin Jones (UK, Wales)


Installation, Space suit, Flag, Archive, Documentary film

Dimensions variable, 2012

Courtesy Artist

The Welsh Space Campaign launches people into outer space, by finding a cosmic context for Welsh culture, skills and traditions. A plumber has built a pressure system for the spacesuit, a traditional clog maker has made space clogs, and the last remaining wool mills in Wales have produced fabric for the exterior. Through the Welsh Space Campaign, we explored opportunities for Welsh traditions and heritage to look forwards; allowing the people involved to reconsider their role and skill in relation to these cosmic contexts.


Lost in the Image

RMBit (China, Shanghai)


Video, Multichannel CG animation with sound

8’, 2019

Commissioned by UNArt Center

Turn on the terminal electronic device, connect to the network, immerse yourself into the illusory, endless information and images, which looks like jumping into a wet, soft and huge sponge. The information fragments are like the screaming cotton wool, cover the eyes. Multidimensional cyberspace is like a multifaceted universe, in which the exploring viewer is like an astronaut who floats in the vast universe, but never knows where is the end.


In the last picture taken by the Explorer before it left the solar system, the earth looked like a tiny blue dot.

In this image, the “blue dot” becomes a purified notion, an object to be observed at distance, a container of any planet in this cosmos.

The “blue dot” is a meta planet.


I’m Here

Lin Ke (China, Shanghai)


Digital video

1’35”, Loop

2018/05/25 Friday 2018

Courtesy Artist

This video tells a story in the near future when people no longer use the mouse. When the image of the mouse cursor becomes blurred in memory, people begin to miss it.


If there's a line between 'you' and 'you'

Feng Bingyi (China, Shanghai)


Single channel video, Color, Sound

4’18”, 2019

Commissioned by UNArt Center

The film tells a story based in a world in which the Earth is divided into three parts. The perspective switches between the first-person and the third-person. The film is inspired by "Theme Park", a management simulation video game, in which the Earth is also divided into three parts, with each part having different themes. The player builds a world on a planet, which can be understood as Earth. But the difference is that this planet is soft and elastic, it can cushion some of the impact by external forces, or simply absorb it in. This world, in contrast to the world we actually live in, where external forces are absorbed, buffered and rebounded.


Black Substance -1

Zhang Ding (China, Shanghai)


Installation, Black glass, Oxidized steel plate

126×126×126cm, 2014~2015

Courtesy Artist and ShanghART Gallery

Zhang Ding constructs confrontational scenes around the intensity of senses and consciousness via his installation works. This work consists of sub-transparent black glass balls and black steel panels that form a balanced space, but also dangerous, as fragile transparent dense glass and cold hard steel panel, such incompatible materials, confront each other. The dangerous feeling is like uncertainties in the dark, spreading across our feeble perceptions.


Is the journey outwards also one inwards?

If we keep diving into the deep space, and fast enough, we will eventually land on the past, a moment when we confront our own legacies.


Memory Vending Machine

aaajiao (China, Shanghai/Germany, Berlin)


Installation, Animation

120×70×170cm, 2009

Courtesy Artist and AIKE Gallery

Memory Vending Machines is an “invention” proposed by the artist based on the predicted scientific advancement (nano, biotech). The appearance and basic functions of this installation are similar to that of Capsule Vending Machine. This kind of easy-to-use self-service vending machines can be found in convenience shops across the entire city. Different from general Capsule Vending Machines, this Memory Vending Machine sells capsules, which, based on the conception by the artist, seem empty inside but have actually encapsulated numerous tiny nano-robots. Inhaled by the user of the air inside the capsule, these nano-robots carrying special data will enter and colonize the human brains, and propagate themselves to form memory zones. In addition, different individuals can communicate with each other, which actually means people can enter each other’s memories and fully read sensory information including vision, hearing, feeling, tasting, olfaction, etc., and acquire the whole “real” experience (revivification) on its own organic body. Descriptive animation is played on the electronic screen of the installation, elaborating the visitors on the principles and purposes of this “invention”.


Fast-Forward Future 2116

Zhang Haimeng, Lu Yunbo, Feng Kai, Karis Chang, Henry Yin (China, Shanghai/Hong Kong) 


Illustrations by Xu Yuan

Video, Digital image


Courtesy Artist

This work originally commissioned by Shanghai Project which organized by Shanghai Himalayas Museum

Fast-Forward Future 2116 is a social experiment based on an online game which allows players to invest in future projects. During the ten-week period, participants will receive an initial “funding” through WeChat. They can create their own company by crowdfunding (with other players' donations), also they can invest in other players' companies. Every week, the game's time will pass by ten years, and the game ends when it reaches the year 2116. After this "century" ends, the artists will enliven the common imaginations and creations of the players in the form of paintings.


Hi there, See You in a Billion Years

Liu Ren (China, Shanghai)


Installation, Straw paper, Oil, Mixed media

17×26.5×33cm, 2018

Courtesy Artist and Dong Gallery

Hi there, See You in a Billion Years is a conceptual painting on straw paper with various materials. The theme is inspired by the Tesla sent into the space. The work looks a stack of books. Paintings with relevant themes are on the two sides of the stack. On the one side, there are screenshots from Instagram about the Tesla in the space; and on the other side, there is the cover of "Galaxy Roaming Guide", the bible for sci-fi fans. The cover is designed by the artist when he was imagining the fragile human civilization drifting in the space. The work is based on the feeling of handcrafts and materials. It corresponds to the “new freedom” brought about by the advancement of technology. People enjoy all the conveniences brought by virtual networks and new tools, but there is no such thing as freedom before they are set free from physical constraints.


Self-made in Shanghai: Life Toolboxes of Four Shanghainese

Fu Fengyuan & Lin Qin (China, Beijing), Flower (China, Hangzhou)

屏幕快照 2019-08-22 上午11.13.27

Video, CG animation with sound

8’, 2019

Copyright©2019 Fu Fengyuan & Lin Qin, Flower

Commissioned by UNArt Center

50 years ago, Stewart Brand created “Whole Earth Catalog” for Americans living in the era of turmoils. This diverse living guide contains instructions on fungi plantation, menus for small digital devices, medical guide for deliverycare, and hands-on tutorials for building a house…all kinds of tools that allow the young generation to pursuit a type of self-sufficient life, alternative to the mainstream expectations.After 50 years, we revisit the concept and collect “tools” of four Shanghai residents - from little hooks near the basin to Chinese TV Series, from the top that can spin for “longest in the world”, to “Menu for Human Machine Interaction”. What kind of stories that the tools tell us, about both themselves and the user behind? What if we create a programmable, “tool for tools” - does it allow us to make more creative connections among the tools and their users?“We are as gods and might as well get good at it.” Said Stuart Brand.


Feel tool feel

Flower (China, Hangzhou)


Program video, No sound

5’, 2019

Courtesy Artist

Commissioned by UNArt Center

The creator used the visual effects software to build a real-time generated flame effect and took the opportunity to burn the software.



“Stranger” is a stranger living in the future. We know only few things about the civilization the stranger lives in:

It is an era after the technological singularity. The world’s system of understanding is, in general, unified.

The average life expectancy of the world’s population has greatly extended, and the proportion of work is much smaller.

Hobbies, especially the collection of old things, are far from uncommon and can indeed be said to be quite widespread.

So-called old things include not only the “artwork” of previous civilizations, but also various artifacts, data, and even archeological discoveries from different worlds.

They are usually placed in one room, in part because the naturalistic association of the collection is technically no longer dependent on the existence of space.

Rareness is no longer the core of a collection’s value.

A collector’s intelligence is invariably linked to each piece.

The resulting collection is always shared with the outside world and connected to the whole civilization of that era.

Regarding Stranger’s own life, we know only a few bits of information:

Stranger is middle-aged, whose ancestors once lived in a megacity known on Earth as “Shanghai”.

Here, as we span both time and space, we open four capsules of Stranger’s own personal collection, merging ourselves with it and becoming one with it….

Room 1



Jin Shan (China, Shanghai)


Sculpture, Plastic, Marble

36×44×109cm, 2015

Private Collection

The sculptures of Jin Shan are mostly inspired from the ancient Greek and Roman statues. He is experienced in teaching plaster statues and experimenting with different materials to fill in the space in the plaster statues. He has opened his imagination about the shapes and materials of statues, and uses plastic, marble and chewing gum frequently for his works. The shapes of his work blur the boundaries between solid and liquid, realism and abstraction. He pursues the fineness of the production and the peculiar shapes of the negative space. His hand-forged sculptures go beyond the images they represent, and deconstruct the narratives of the original statues. At the same time, it initiates an inquiry from the physical form to ideology, and denounces a core cultural issue in the contemporary society, which is the missing of consistency.

Room 2



Maya Kramer (USA/Shanghai)


Compressor, Copper pipe, Motor, Plexiglass and Refrigerant

200×67×134.2cm, 2018

Courtesy Artist and Capsule Shanghai

Decoy contains a complete refrigeration system. The copper tube of the AC is being continuously oxidized, and the water on it freezes or melts as the temperature and humidity change. A large amount of power is consumed during the operation of the installation and participates in the show in a subtle manner. The sound from the refrigerator is also part of the performance, which leads people to think and imagine. Preserved I reminds us that we are still living in a material world. Various physical or chemical reactions happen when the environment changes or as time pass by. Maya's experiment simulates and accelerates this process, and makes it visible in an artistic form.

Room 3



Shi Zhiying (China, Shanghai)


Painting, Watercolor on paper, 9 pieces

25×25cm, 2018 - 2019

Courtesy Artist

The Halo series were inspired by the halo of the Buddha in the Dunhuang frescoes. The originally murals are imbued with a sense of geometric order as well as a sense of contingency by hand-painted strokes. The colors are pure and simple. The artist selected the circles out from the mural and focused on them. Halo is not real, but in this series it was constructed by reality. The artist tried to find a balance between the paintings themselves and the subject depicted - the materiality of the paintings and the subtle conversion of the status of the matters conveyed by her strokes.  



Nick Ervinck(比利时)


Installation, 3D printing, Fiberglass, Interior decoration (Plaster ornaments, Wood floor, Light film ceiling)

5.35×3.92x2.4m, 2013 / 2019

Courtesy Artist

The artist divided this futuristic 3D printed sculpture into 8 parts for printing, coloring, polishing, and finally installing on site. Bright yellow is a signature of Nick's works. The printed sculpture connects and integrates with the real space. This work brings the question of the opposition between traditional architecture and virtual design to a new level. It breaks the established way of vertical display, and realizes an interesting dialogue between the structure and the surroundings. Nick's goal is to bring sculptures and buildings together and explore unknown areas by constantly challenging the limits of the reality.

Room 4


Monument for Progress nr. 5- Huangpu District

Monument for Progress nr. 6 - Jinan District

Monument for Progress nr. 18 - Baoshan District

Cédric Van Parys (Belgium/Netherland, Rotterdam)

Installation, 3D Printing、Handcrafted Landscapes

33×13× (max) 25cm, 2017

Documentary film Monuments for Progress, by Romain Vennekens, 13’13”

Courtesy Artist

“Over a period of ten months, Van Parys travelled to the different corners of Shanghai, seeking the architectural landmarks that gloriously represent the city’s breakneck progress since China’s economic accelerations in the early 1990’s. Investigating Shanghai’s urban development and architectural history, while living and experiencing the city, directed him towards a number of mysterious monuments, located on top of the metropolis’ skyscrapers.  This installation is the result of a selection of ‘monuments’ that truly represent the city’s history, present and future.”

Monument for Progress nr. 5  (272-380 Fangxie Road, Huangpu District, Shanghai, China.)
Located at the geographical center of Huangpu District (3) Centerpoint based on the district boundaries after July 26th, 2011.

Monument for Progress nr. 6 (418 Changde Road, Jing’an District, Shanghai, China.)
Located at the geographical center of Jing’an District (1) Centerpoint based on the district boundaries before Nov 4th, 2015.

Monument for Progress nr. 18 (205 Yangzong Road, Baoshan District, Shanghai, China.)
Located at the geographical center of Baoshan District.Centerpoint based on the district boundaries.

Room 5


Excessive Transition (bottleneck 5)

Geng Jianyi (China)



106×150cm, 2008

Private Collection

Geng Jianyi ’ works all seem to have come from life. He was once obsessed with Kant's epistemology, which inspired him to create a number of works. He is known for collecting and using common materials to express philosophical ideas by visual images. The rational and gloomy feelings in his works are rooted in the collective temperament of his contemporaries, and is a result of boldly questioning and denying certain popular art forms. The relationship between art and emotions has been a constant clue in the works of Geng Jianyi. For him, the quality of art works is always related to emotions. His photos are records of his life and thoughts. As a photographer sensitive to his own life, he demonstrates his exploration and experiences in the spiritual world from different angles to communicate his life lessons.



Su Chang (China, Shanghai)


Sculpture, High strength gypsum, Linen, Glue

181×25×50cm, 2008

Courtesy Artist and AIKE Gallery

Sculpture is the art of action. Su Chang is committed to exploring the texture of nature and the cities. His works are closely related to the urban lifestyle and modes of thinking behind mediocrity. He uses controlled techniques and familiar materials such as iron, clay, plaster and asphalt, which he has been experimenting for over the past few years to work. In this work, the movements of sculpture and the movements of the cities are separated and re-arranged. They are all related to the cities. But more importantly,  the work wants to express the subtle relationship between the city we live in and the emotions we have.



Hu Jieming (China, Shanghai)


Photography, B&W Chromogenic Print

95×155cm, 2008

Courtesy Artist and ShanghART Gallery

The creative inspiration of this work was the artist's thinking about the relationship between time, space and people in the city. The work runs through time and memory. The scene in the work, firstly, is a convergence of the extension of history and reality. It crosses several historical stages of urban development. Secondly, in terms of height and vision, the work provides an overlook. Once infatuated with the standing on the top of the building overlooking the city, the artist chose to show this perspective in a work of art. But his son, instead of him, is in his original position, while he himself stares from the back.


Poly Cinema, Jiading, Shanghai

Wu Yiming (China, Shanghai)


Painting, Ink and color on Xuan paper

175×265cm, 2016

Courtesy Artist and ShanghART Gallery

Since the early 1990s, Wu Yiming has been using traditional Chinese ink painting to create contemporary artworks. A sense of simplicity and restrained obscurity, as well as a social attribute can be found in Wu’s work. Poly Cinema, Jiading, Shanghai is a visual reflection of the artist through a detailed depiction of past life scenes. The artist uses brushstrokes to depict the city lights, which is not only an emotional account of city stories but also a gentle approach to combine the traditional and the contemporary, the handcraftsmanship and the industrial wisdom.



Fito Segrera (Columbia)


Video, Machinima 720p, Color, Sound

11’18”, 2012

Courtesy Artist

What constitutes the virtual world? What is its basic substance? Can the sea of code really support new forms and expressions of life? It may not be a physical entity, but it is aware of its existence. How does the meta universe evolve? Thinking about the meta universe of a second life means questioning the reality, and what we understand existing at this moment. This documentary captures the moments of creation. From abstraction to representation, from unknown to known, these data are presented in a logical and recognizable form.


Go On An Outing

Zhang Liaoyuan (China, Hangzhou)


Single channel video, HD, Color, Sound

3’, 2017

Courtesy Artist

This single-frequency video records the natural landscapes during an outing. What is different from the real landscape is that in post-production the artist rearranged the numerical values of each pixel on the timeline from small to large (the pixel position is unchanged). Therefore the images change from deep and shallow, from blurred to clear, and finally become completely exposed. This is a visual consequence of "misalignment" shown with the original pixel sequences changed. This video is not so much an outing, but rather an unnatural but ordered landscape created under the interference of the software system.

Room 6


One Minute Sea

Shi Zhiying (China, Shanghai)


Frame animation, Mute, Looping (oil on film)

1’1”, 2009

Courtesy Artist

This stop-motion animation is produced in conjunction with the artist's painting series, "Ocean". It looks like a simple output of the ocean’s dynamics. The artist made a number of drawings of the ocean in similar and subtly different states. Then a motion picture is made after arranging the sequences of drawings and shooting. The painting series “Ocean" shows Shi Zhiying's understanding and expressions of brushstrokes. She gives each stroke its own state, and then gradually expands the experience of every single into the overall picture. She uses the interaction of brush strokes to represent the visual transformation of an image appearing and disappearing.


Portrait 2

Ding Li (China, Shanghai)


Oil on canvas


Private Collection

Ding Li creates a new visual language with his brushstrokes. A single brushstroke looks three-dimensional through the changes of colour. The abstract brushstrokes serve the depiction of specific potraits. These portraits were handpicked by the artist from the Internet, processed and then reproduced in the way artist sketches. The lively lines form a picture with strong inner emotions. In the digital era, the artist uses this method to extract the alienation between people and create differences in everyday images.


Spitting Pearls

Louisa Galiardi (Swiss)


Painting, Nail polish, Gel medium, Ink on PVC

114.8×169cm, 2018

Courtesy Artist and Antenna Space

Galiardi's paintings often use suggestive speech to describe the blurring boundary between violence and sexuality, which is a metaphor of people's anxiety in public and private relationships. The smooth surface and strong contrasting colours are characteristic of Galialdi's paintings. The characters in her paintings are almost "perfect". They have no hair and sometimes it is difficult to tell their differences. Layers of gel as the media makes work dreamy and surreal. The work implies a strong potential relationship between the characters, a constant tension which confuses the viewers whether the work is about pain or happiness.

Room 7


constructive ambiguity - One will eventually arrive there by the opportunity for isolation 

Chen Zhou (China, Shanghai)


Digital Painting, Mixed media

150×120cm, 2018

Courtesy Artist

Constructive Ambiguity is originally a diplomatic term employed by Chen Zhou as an approach to art making, more precisely, logically constructing scenes that are semantically ambiguous, with a relevant yet unfamiliar feeling, which Zhou believes to be the reflection of what lies between order and chaos of the world we live in.
This painting series adopts SketchUp, an architectural software as paintbrush to collage and produce the paintings as if constructing film sets, which portrays and reflects the contemporary world from Chen Zhou’s perspective.

Room 8


Breast Spray

Pixy Liao (China/USA, New York)


Sculpture, Silicone, Plastic, Metal

15.2×20.3×30.4cm, 2015

Milking The Garden

Pixy Liao (China/USA, New York)


Video, Color, Sound

2’1”, 2015

Courtesy Artist

The idea came from a piece of news. There was a strange robbery in Germany. A woman robbed a store with her breast milk. Pixy Liao is fascinated by this woman's behavior. Her unexpected move debunked what people think of women’s breasts. It changed the breast from a soft, sexy, motherly female body part to a dangerous weapon. When the breast is shooting out milk, it is both feeding and attacking, which are almost opposite behaviors. In the video, her boyfriend became part of the garden. He’s enjoying/accepting/enduring the milk coming out of the breast.


Reading 008

Li Shan (China / USA)


Painting, Acrylic on canvas

176×363cm, 2008

Courtesy Artist and ShanghART Gallery

In the series painting, Reading, the artist made a special use of a large number of plants and insect pictures produced by the computer. These synthetic insects are abstract images created by digital technolog. Take a closer look, you may find them similar to human body parts such as fingers, ears or reproductive organs. They are like genetically mutated creatures coming out of imaginary gardening textbooks. In terms of the artistic style, the artist used a decorative technique similar to folk art to create a familiar but quirky organic matter. By presenting these insects in a peculiar way in painting, Li Shan questioned the hypocrisy in today's biotechnology experiments and the lack of judgment on the value of organisms.



Xiao Jiang (China, Shanghai)


Oil painting on canvas

200×100cm, 2017

Courtesy Artist and Vanguard Gallery

Xiao Jiang's works are based on the fragments in his life the photographed, which provide initial materials and emotions for his creation. Everything depicted in the paintings are an extension of the artist's life. People, objects and scenes are abstracted into a combination of geometrical color blocks, and the contours of objects are distinct. This is his unique painting language. The artists usually use basic complementary colours to construct an image which is both illusory and realistic, and finds a silent harmony in various contrasts through constant exploration and extraction of light and shade.


The Birth and Development of Thoughts

Ji Wenyu & Zhu Weibing (China, Shanghai)


Sculpture, Cloth, Wood, Metal, Cotton

161×37×34cm, 2011

Courtesy Artist and ShanghArt Gallery

The “Hua Ji” (flower shelf) is traditional decorative furniture at home, used to place orchids or other objects to show the owner's refined taste and lifestyle. In the iconic soft sculpture of Zhu Wenbing and Zhu Weibing, flowers are wrapped in canvas. A tree is flourishing and full of flowers, while its roots absorb the vitality generated by the person who is reading and thinking under the shelf. The duo created and handmade a small landscape with a Chinese puppet style installation using different textures of fabrics, which presents the process from absorption to bloom. This sculpture ridicules the prosperity and absurdity of the modern society.

Room 9


Let All Potential be Internally Resolved using Beautiful Form No.6

Shi Yong (China, Shanghai)


Installation, Polyvinylchloride, Polyethylene, Acrylic, Plastic, Dibond, Multi-layer board, Medium-density fibreboard, Paint, Aluminium

200×145×18cm, 2015

Courtesy Artist and ShanghArt Gallery

Let All Potential be Internally Resolved using Beautiful Form No.6 is a game of control or being controlled between space, materials and languages. Through actions such as “remove”, ”cut” and “hide”, the true stories of the artist  is weaved into the glamorous appearance and the abstracted forms in the form of texts. These text stories are processed into scraps and are covered by aluminum strips. The artist intends to imply a real situation through this kind of forced intervention: for the artist, what really controls us is not the decorated reality that you see, but the invisibility hidden behind the surface. They are invisible, but they are everywhere.  


Elevate the print head by 1cm - Time in Feilai Peak

Zhang Liaoyuan (China, Hangzhou)


Photography, Installation, UV printing, Multi layer, Wall coating

180×120×10cm, 2017

Courtesy Artist

This seemingly ordinary landscape photo may be taken by anyone. The trunk and the shades show that the object is in nature, but the visual effect of the work is romantic, beautiful and obscure that is not natural. The artist intentionally lifted the nozzle up 1 cm from the paper when printing the photos. This change made both the process of printing and the printed picture filled with uncertainties. This is the process of artistic production, and is also the visual result of "technological determinism".



Rena Giesecke (Germany)


Installation, Acrylic glass, Steel, Wood, Water, Wax


Video, 3’43”


Photographer: David Payr

Courtesy Artist

Like in nature, human-made forms might also come into existence through flow of material. Liquids of different density form each other in a fluid process. Their becoming is inscribed into their form, a result of their genesis. Once in a static state, the artifact will die. Now it wants to be preserved, frozen in a static state. As long as we try to protect this fragile creature, the genie will be engraved in its body as a memorial to the power of the action it took.

The process of formation is repeated with industrial precision by a machine. Its movement does not differ, but the artifact is never the same. The process is complex, and less intelligent than the process of natural formation.


Mouth Factory (Chewing drill)

Mouth Factory (Teeth lathe)

Mouth Factory (Blowing rotomolding machine)

Mouth Factory (Inhaling vacuum form machine)

Guo Cheng (China, Shanghai)

Wearable Installations, Mixed media, Video





3’18” (Black/White, with sound)

7’46” (Color, with sound)


Courtesy Artist

Mouth Factory is a work in the eponymous series exhibited by artist Guo Cheng during his graduation exhibition at the Royal College of Art. The work was inspired by human enhancement as a social issue. It consists of a series of mechanical devices driven by oral movements and a type of protruding attached recording device. The mechanical devices serve as tools, becoming a sustainable extension of the human body and expanding the mouth's existing capabilities, essentially giving it more "skills". Mouth Factory blends the worker with the tool, creating a cyborg of sorts and enacting manufacturing practices that should exist in virtual reality. The work explores the boundaries and interactions between humans and machinery as well as new ways of production and demonstrates the unique productive and behavioral aesthetics of the human body.

Room 10


The Body 

Liu Yi (China, Shanghai)


Installation, Fiberglass, Paint, IPhone 6

190×68×30cm, 2019

Commissioned by UNArt Center

Liu Yi has been working on the Smartphone Painting series since 2015, and Body marks its second style change. Since the end of 2017, the artist has been selecting pictures from his "Personal Image Pool" and turning them into everyday items of various shapes, such as carpets, strands of wallpaper, clocks, and even eccentric clothing. This creation began with digital images, and for the first time, he attempted to combine the mature visual art form of embossing with a carefully selected set of digital images with clear themes. The final work incorporates Liu's feelings toward his everyday struggle with a physical disability. In this series, the artist expresses his own state of mind in a materialized form and expresses the metaphysical concept of transcending individual physical experiences.


The Electric Skin

Vivian Xu (China, Shanghai)


Wearable installation, Plastic, Electronics, Fabric

37cm(Height) ×26cm (Width) ×25cm (Thickness) , 2016

Courtesy Artist

Works belonging to the Skin series are all wearable. They use the viewer's skin as an interface in order to explore how far the evolution of ecological technology can go in the field of human senses. After some exploration, a wearable piece of Electric Skin was finally created. It can expand the functions of human skin so that it can sense the presence of electromagnetic waves (mainly radio) and convert them into tactile signals. Electric Skin consists of two main functional components: the omnidirectional antenna matrix, which is both a probe and a sensor, and the electrodes corresponding to the matrix that can stimulate the wearer's skin. With wearable devices such as artificial "skins" or "exoskeletons", Xu is changing the way we perceive experience and understand space and movement. She is also attempting to change the way we interact with one another.


The Sonic Skin

Vivian Xu (China, Shanghai)


Wearable installation, Plastic, Electronics, PVC

37cm(Height) ×26cm (Width) ×25cm (Thickness) , 2018

PMG Collection,2018 W International Art Project

Sonic Skin is a wearable sound platform, the second work of the Skin series. Sonic Skin adds an extra skin layer, inspired by the echolocation capabilities of bats or whales. The wearer can feel the process of sound propagation and the refraction that occurs when a sound encounters the surface of an object or obstacle close to the wearer. Sonic Skin explores the negative space that exists between the wearer and the surrounding environment. The artist set up a matrix of ultrasonic sensors that are parallel to each other and that can be worn like armor, emitting directional sound from the wearer into the environment. Just as Electric Skin, Sonic Skin explores the relationship between body, movement, and space and raises the questions, "Will wearable technology make human sensory organs more sensitive in the future?" and, "Will it eventually replace humans' natural perception?"


Electric Head Massage 

From the series Experimental Relationship (on going since 2007)

Pixy Liao (China/USA, New York)


Photograph, Digital print

200×150cm, 2017

Courtesy Artist

The protagonists of the autobiographical photographic work Electric Head Massage are the artist herself and her significant other. They used the environments they were in as a stage and shot a series of photographs showing their relationship constituting the Experimental Relationships series. In this work, the artist and her boyfriend are either sitting or lying on a table in elegant and natural positions. Their body language subtly switches the focus from the relationship between a male and a female to the relationship between a female and a male, not just by simply changing their subjective positions, but by objectively expressing the deep and subtle emotions inherent to men and women. Considering the ethnic and cultural differences between the Chinese artist and her Japanese boyfriend and the artist being five years the man's senior, the couple has recorded a universal social issue, begging the question, "What is male dominance?" and, for that matter, "What is female dominance?"


The Program

Yutaka Makino (Japan/Germany, Berlin)


Installation, Visual stimulator, LED, Noise cancelling headphones, Tactile transducer, Amplifier, Audio interface, DMX interface, Computer

Dimensions variable, 2016

Courtesy Artist

This work is placed in an isolated room that creates a detached space for individual visitors. Outside light and sound are cut off, and visitors are faced only with a specially designed set of equipment that sends visual, auditory, and tactile stimuli that interact with each other and influence their senses in a highly abstract, alien way. This work allows us to experience the way human senses interact and urges us to reflect upon them. The artist disrupts, pauses, and reconfigures the way we are used to perceiving the world around us, and the visual, auditory, and tactile stimuli applied by the program ultimately allow viewers to perceive to their fullest, showing how unreliable human perception truly is. This work was developed by artist Yutaka Makino together with Shinsuke Shimojo, a professor of experimental psychology at the California Institute of Technology, as part of a continuing project.

Room 11



Liu Yi (China, Shanghai)


Multi-media Installation, Digital Screen, Metal, Digital drawing slideshow

120x45x26.5cm, 2019

Commissioned by UNArt Center

This piece uses a loop-and-play mode of rear projection imaging, showing the artist's mobile phone painting series since 2015, a part of the large number of digital images it draws, and a unique personal “visual log”. . He uses the mobile app software, Sketch Book X, to continuously experience time and experience life (unfinished) from a series of daily moments.


Wake Flow

Xu Zhe (China, Shanghai)


Video, HDV

3’51”, 2012

Xu Zhe made an army trumpet using an IKEA funnel and the trumpet mouthpiece. After half a year of practice, he blew the wakeup call with his trumpet on his balcony in an alley. The artist hopes to remind people of Shanyin Road, which was of great significance in the history of modern China because many writers and revolutionaries had lived here, and the contrast between the silent history and today’s banal clamors. The artist himself used to live on this road. The insight into the environment has allowed him to respond to the changes taken place in Shanyin Road in a personal manner, and to evoke the collective memory of a generation.

No matter whether the sky is bland blue or not. No matter whether windows keep leaking or not. No matter whether cockroaches flutters under a lamp or not. A red dragonfly and its long blue tail. No matter whether ants mate with each other in spring. It’s no matter that in the sweltering heat, dirty sweat was squeezed out of skin and eyeglasses stained by greasy hairs were crushed on the platform. It’s no matter that someone has kept shouting downstairs at two o’clock after the midnight with odd accent. It’s no matter that crumbling plaster stuff up gaps on the wall. No matter whether a fish moth has 48 legs. No matter whether the Leo will jump on the screen or not tonight. No matter whether umbrellas will crowd or not in the street. Camphor trees will betray themselves by the fallen leaves.

No matter whether dry mud spots stick to the glass or not. No matter whether dog tail grass hiding by the roadside will be trod on or not. No matter whether a stone will be in blossom or not. No matter whether the woman living in Room 303 will decide to shut up and go to naked sleep…

Xu Zhe (China, Shanghai)


Installation, Rimmed glass x2

10x7x7cm, 2019

Courtesy Artist


Semi-Enclosed Eccentric Circles

Bi Rongrong (China, Shanghai)


Music composed and made by Xu Cheng

Spatial Installation, Animation (Projection), Fabric, Wallpaper, Carpet

Dimensions variable, 2019

Commissioned by UNArt Center

"Pattern" is one of the representations of faith in regional culture. They are like a layer of skin in society.  The material in the work comes from the collection of the artist's journey, she gets it from street posters, ancient modern architecture, artifacts, textiles, and industrial design.  The work uses LED wallpapers to subtly combine these patterns with the architectural details and perfectly embeds the visual features of the gradient.  The patterns in the video slowly evolve from the rhythm of breathing, scaling or rotating from one pattern to another, and the intelligent evolution between these patterns brings people into the surrounding environment and brings into the history of the pattern.  In the association.  Can these disappearing patterns allow people to think about or recall the historical and cultural moments that have been absent?


Instrumental Performance / Recording

During the exhibition, musicians will be invited to play on the rooftop, to project the sound into urban sky, which will be heard by the neighborhood. Live recordings will be made into a digital album.

For details of the performance and subsequent album, please follow the UNArt Center website and WeChat release.



For details of each event, please follow the UNArt Center website and WeChat release.

Event 1 – Copresence Series




Yin Yi (China, Shanghai)


Producer: Tian Danni

1 to 1 performance × 30 sessions

40’, 2019

Commissioned by UNArt Center

COPRESENCE is a one-to-one performance project of YIN Yi.The artist YIN Yi started this project from the idea of “who are my audience”.Now the performance is taken place in UNArt centre opening exhibition The Kind Stranger. Each performance is between YIN Yi and one audience. There will be 30 performances in total, and an exhibiting period after the performances. YIN Yi is creating the performance together with the audience, like in Chinese medicine “one patient one prescription”. After each performance, YIN Yi will make a herbal tea bag for each audience based on his perception and impression, to establish a gustatory identity of the audience, and to convey this identity through the herbal tea.The content of a performance is not the only element that stimulate the perception of audience, so does the form of viewing, and how the performing-viewing relationship is established as well. The artist invites his audience to conduct the birth of the performance, to make the two of them co-present in the piece. By this co-presence, it’s suggested the social communication happened through art should enter public territory. When the body, mind, emotion, even life experience of the performer and the audience are simultaneously present with the event of a performance, the two of them have stepped out of anonymous, and built up a meaningful lifecycle together.COPRESENCE aims to leave trace in the two participants of a performance. Any happening is establishment during the time of two strangers getting along alone. Because of the regulations, the change of performing form, because the body, the eyes and ears, the heart of the participant are united, shall we make the artistic encounter standing from the everyday perception, transcend from it, and generate profound resonance?

Exhibiton The Kind Stranger 2019.08.24-10.20
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