LIJIN ZHU | 朱栎瑾
© Lijin Zhu 2026
Works
|
作品
There is a kind of moving forward that is
constantly becoming an outsider.
There is a kind of going back that is leaving.
有一种前行是出走
有一种回去是离开
Time Forgotten by Speed - Speed Animal
被速度遗忘的时间——速度动物
The Direction Between Directions
方向之间的方向
The Desire for Correction Will Keep the
Dialogue Going
矫正欲会让对话延续的
Sunken
匿名者凹陷
A Screw that Never Rusts
永不生锈的螺丝钉
Three, Two, One
三，二，一
We need imaginary enemies
我们需要假想敌
The Sketch
写生
Not Lit – Lit Point
点不着点着点
The Other Side, Same Side
另一边，同一边
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Three, Two, One
三，二，一
Cedarwood, Red pottery / 松木, 红陶，50cm×50cm×4cm, 2020
The Wujiaochang area in Shanghai has undergone two phases of development. The first took place as part of the “Greater Shanghai Plan” (an early urban planning initiative for the Shanghai International Settlement, which was ultimately only partially realised), which designated the area as an important central transport hub. As a result, Wujiaochang transformed from rural fields into a junction of five roads. The second phase of development replaced the former roundabout with a sunken square.
The “Greater Shanghai Plan” was an urban strategy developed by the Chinese-administered area (Huajie) to counterbalance the power of the foreign concessions, with the ambition of concentrating limited resources to establish its own city centre. The five roads of Wujiaochang were constructed as key arteries connecting the city centre to outlying regions. At this point, the area was named, and its first major transformation took place, as five roads converged on a single central point.
The work consists of two parts: a wood carving and a ceramic sculpture. When placed together, they form a complete countdown. This countdown refers both to a pre-planned moment of “impact” and to the inevitability of repeated “launches”.
The wood sculpture depicts a meteor approaching from a distant space. Its burning, oppressive force causes the ground to ignite and crack, as if destruction always precedes acts of construction. The five roads generated by the Greater Shanghai Plan cut through the original fields, dividing the continuous rural land into five directional zones. Using fire-burning techniques, I created five fissures in the wood, presenting the five roads as emerging from a single origin point and beginning to expand outward.
The ceramic sculpture is based on a perspective from the meteor itself, or from that of the planner, observing a fragment of urban planning. I combined the sunken square formed during Wujiaochang’s second phase of development with the form of a meteor crater, using red clay. Clay is baked earth, which reminds me of the meteor burning in Work “3”. In the second phase of development, what remains is scorched, reddened soil after surface vegetation has been burned away.
上海五角场地区经历过两次开发，第一次开发是由于“大上海计划”（珠三角地区的第一次城市规划，后未能全部实施）将其规划为市中心重要枢纽，于是五角场由乡野田畴变为五条道路。第二次开发是由环岛变成一个下沉式广场。“大上海计划”是华界为了抗衡租界的力量而着力打造的城市计划，希望集合有限的力量，建立自己的市中心。而五角场的五条道路，曾作为市中心通往各地的重要交通要道而被建立。至此这片区域被命名，发生了第一次大变化，汇集在同一中心点的五条道路出现了。
作品由两个部分木雕和陶塑两部分组成。两件作品合在一起时成为完整的倒数，这倒数既是对早有规划的“撞击”的倒数，也是对一次次必将到来的“发射”的倒数。
木雕描绘的是陨石从遥远处逼近，灼热的压迫力量让地面燃烧、开裂，就像是人们在着手建立之前总会先进行毁灭。因大上海计划产生的五条路将完整的农田野地从大陆上分割成五个方向的区域。我用火烧的方式让木头产生五条缝隙，呈现五条道路从同一出发点出发开始生长蔓延的过程。
陶土雕塑是基于站在陨石的视角，站在规划者的视角，去观看一个城市规划的局部。我将五角场地区第二次开发所形成的下沉式广场和陨石坑的形态结合在一起，使用红色陶泥制作。陶是烧过的土，让我联想到经过作品“3”的陨石燃烧，第二次开发时面对的是表层草木燃尽后被烧红的土。