LIJIN ZHU | 朱栎瑾

© Lijin Zhu 2026



Works | 作品

Project | 项目

       If you want me
       如果你想让我

       Looking Awry
       斜眼

Topo-graphies | 连通的形象
About |  关于
Contact | 联系

















If you want me
如果你想让我


Nov 11 - Dec 21, 2022 / 2022年11月11日 — 12月21日 
Imaginary Z, No. 90 Wansongling Road, Shangcheng District, Hang zhou / 
Imaginary Z，杭州市上城区万松岭路90号

Artists: Lijin Zhu & Cheng-Yang  Ku / 艺术家：朱丽瑾&顾承洋
Curator: Wen  Xie / 策展人：谢闻







Works / 作品 



a. If you want me to / 如果你想让我 

Two-channel video / 双通道影像
11’07” ，2023 






    

        

b.  If You Want Me to Become Someone Different — Neither the Person I Was Yesterday, Nor the One I Will Be Tomorrow
如果你想让我成为不同的人，不是昨天的那个我，也不是明天的

行为影像，2022

 


c. If You Want Me to Return to the Self — Neither the Self I Am Alone, Nor the Self I Am Among Others
如果你想让我回归自我，不是一个人的自我，也不是一群人的自我

皮革、气味，15x15x18cm，2022







d. Time Forgotten by Speed / 被速度遗忘的时间
Lijin Zhu  / 朱栎瑾

      


e.  A time-limited landscape / 限时风景
Ku Cheng-yang / 顾承洋

   








f. Fresh Air / 新鲜空气

Foam board, rice sack, acrylic sheet, colour print, 17 × 40 × 20 cm
Hair, transparent document bag, photographs, 30 × 24 cm
发泡板、米袋、压克力板、彩色输出，17x40x20cm
头发、透明文件袋、照片，30×24cm

                                 

      





g. Misalign /
    不
    正


Photographic print with adhesive backing, dimensions variable, 2022
摄影背胶印刷，尺寸可变，2022





   







Exhibition View/ 展览现场



















                                                                                     






Press Release / 新闻稿

This project originated in the early autumn of 2022, when three artists and curators began an extended online conversation. Taking the curatorial initiative “Make a Friend” as a point of departure, they attempted to continue this dialogue through artistic practice across three geographically distant locations: Hangzhou in China, Taoyuan in Taiwan, and London in the United Kingdom.

Each rule and experiment subtly reconfigured occurrences drawn from everyday life, transforming them into instructions, gazes, or rounds of collage, allowing the latent possibilities embedded within objects and relationships to emerge. This ongoing online dialogue and collaborative creation has no fixed end date. During the exhibition period, new works will continue to be added, while several “packages” are expected to arrive unexpectedly at different moments throughout the exhibition.

—
This exhibition emerges from an ongoing collaborative project in which the two artists, Zhu Lijin and Gu Chengyang, engage in a series of translocal artistic practices exploring subjectivity and intersubjective relations within friendship. “Making friends” serves as the project’s generative impulse. By establishing new linguistic mediums and organisational structures, the artists seek to partially deconstruct and reconfigure the relationships between “I,” “you,” “the other,” and “the world.” Echoing J. L. Moreno’s visual metaphor, “I shall see you with your eyes,” the collaborative process continually unfolds and retraces the textures of subjectivity and intersubjectivity.

Within the constraints of geographical distance and time difference, the artists initiate a mode of serious yet open-ended play. Trained originally in sculpture, both artists move across multiple media in search of new artistic possibilities. The disembodied limitations of online communication thoroughly mediate bodily exchange, transforming — and perhaps exhausting — the social instincts of embodied intersubjectivity, while simultaneously producing new forms of embodied experience through technological mediation. In Emmanuel Levinas’s ethics, the “face of the Other” occupies a central position; within this translocal process, however, it is displaced and transformed into these invented rules, unknown desires, and images awaiting response.

“If You Want Me To” operates as an impulse, a promise, a conjecture, a gift, a misreading, and a transference of desire. Between two subjects, “making a friend” functions less as a goal than as a point of departure for generating something from nothing and probing further possibilities. Within this long-distance experiment in friendship, grounded in an artistic context where reality and fiction intertwine, the “neighbour” encountered through the internet becomes possible: one who unconditionally sustains collectively constructed rules and is compelled to respond. To enact fictional and experimental relationships within everyday life is, perhaps, to reawaken a vigilant state of wakefulness.


本次项目缘起于2022年初秋之际，三位艺术家、策展人展开了一次漫长网聊，以游策计划 “交个朋友”为契机，尝试在三个远隔重洋的地方，以创作的方式将聊天持续下去。

每一次的规则和实验都是在日常中让那些常常发生的事情稍稍变形，变成一个指令、一束目光、一回合的拼贴，让这些事物和关系中内在的可能性得以浮现。本次网络对话创作将持续 进行，结束时间未知，在展览期间也将陆续更新创作，仍有“包裹”若干将在展期内的某几天不期而至，敬请期待。

—
本次展览来自于一个持续进行中的项目，两位艺术家朱丽瑾、顾承洋围绕探索“友谊”中的主体和主体间关系展开一系列跨地艺术创作实践。“交友”是整体项目的动力原点，通过设 定新的“语言”媒介和组织方式，一定程度上解构、重新辨认“我”、“你”、“他人”、 “世界”，如一个视觉隐喻“我
将以你的眼注视你”（J.L Moreno），在共同创作的过程中 不断铺展和重摹主体和主体间的纹理。

在跨地和时差的限制中展开严肃而自由的游戏，以此为契机，两位专业出身于雕塑的艺术家 跨越到多种媒介展开新的尝试，线上沟通所产生的非肉身的限制，让肉身交流被彻底地中介， 主体间肉身的社会本能被转化，或许被损耗着，但也在技术中介中形成新的肉身经验。列维 纳斯的伦理学中心——“他人的脸”，在跨地过程中，将变形为这些无中生有的规则、未知 的欲求、亟待回应的图像。

“如果你想让我”是一个起念、承诺、猜测、礼物、误读、愿望转移……在两个主体之间， “交个朋友”与其说是目标，不如视作为了无中生有和探知更多可能性的原点。在此次异地 的交友实验中，基于现实和虚构融合的艺术创作的语境，互联网中的“邻人”成为可能，即 无条件地持守共同制造的规则，不得不“回应”。在日常中执行虚构的实验性关系，恰好是 一个再唤起警觉的守夜时刻。





Work Description / 作品简介


After this period of exchange, we each posed to the other a demand we wished the other to enact. It is imagination, expectation, posture, and also a form of momentum. Through our own perspectives, we respond to the other’s instructions—both passively and actively—allowing unforeseen contingencies to emerge, and letting this dialectic unfold as a dialogue in the site itself.

在这段时间的交流后，我们面对彼此给出了一个想让对方实行的要求，是想像，是期待，是姿态，也是动力，而我们透过自己的视角去回应对方的指令，同时是被动也是主动可能会有难以预期的偶然，让这个辩证在现场展开对话。



a. If you want me to / 如果你想让我 

我们身处两个不同国家，在看不见对方的路的情况下，根据自己的需求给对方指路，并且约定必须按照对方的指令来行走，看看会发生什么。 影像是双方用手机以第一视角拍摄和录音的。拍摄地点在伦敦的中国城、中国超市附近，以及台湾省的桃园和台北。视频中的画面随着相互指路，不断漂移，向左向右、向前向后、靠近远离、上上下下。

We were in two different  countries, giving each other directions based on our own needs without being able to see the other's route. We agreed that each of us had to follow the other's instructions exactly, to see what would happen.

The video consists of first-person footage and audio recorded simultaneously on our mobile phones. Filming took place near London's Chinatown, as well as in Taoyuan and Taipei, Taiwan. As we followed each other's directions, the image continuously moves left and right, forwards and backwards, closer and further away, and up and down.















































Each party makes a work based on a proposition given by the other. This proposition is grounded in each side’s understanding of the other over this period of time, and also takes the form of a blessing.

双方根据对方给出的命题做一个作品，这个命题既是基于双方对彼此这段时间的了解，也是一句祝福。



b. If You Want Me to Become Someone Different — Neither the Person I Was Yesterday, Nor the One I Will Be Tomorrow
如果你想让我成为不同的人，不是昨天的那个我，也不是明天的

Lijin Zhu: If you ask me to become someone different — neither who I was yesterday, nor who I will be tomorrow; different from both the past and the future — my first response is to think of this difference as something emerging from the present moment itself. Sound, for me, is a medium in which cause and effect unfold simultaneously. Through the embodied subjectivity of the voice and the objectivity of listening, it produces an immediate form of resonance and complicity, allowing the present to stretch, linger, and solidify.

Throughout the exhibition, I will use my own voice each day to capture and imitate a non-human sound produced by human activity. I am interested in what happens when time is confined to the immediacy of the present, and when sounds become so numerous that they begin to converge into sameness. In that condition, how might I become a different version of myself? And can this difference itself continue to change?

栎瑾：不同于过去也不同于未来，我的第一反应是这个不同来自于某种当下。而声音就是一种即因即果的媒介，它通过主体性的身体感受和客体性的听觉判断，制造出一种即时的感应与共谋，让当下变得绵延而坚固。展览期间，我将会每天用我的人声捕捉和模仿一个由人所致的非人声。我也很好奇，当时间被限定在当下，当声音多到趋同的时候，我会用怎样的方式成为不同的自己，以及这种不同本身是否会有变化。



c. If You Want Me to Return to the Self — Neither the Self I Am Alone, Nor the Self I Am Among Others
如果你想让我回归自我，不是一个人的自我，也不是一群人的自我

Cheng-yang Ku: In responding to this proposition, I wanted to return to the question of how I position myself in relation to society. This organic, organ-like sculptural form emits a dense and ambiguous mixture of scents through its openings. The smell is composed of perfumes I use in everyday life, each fragrance shaping and performing a different identity.

These references to the self are now tanned, fused, and compressed together, leaking an atmosphere that resists precise description.

承洋：面对这个提问，我想回到我是以什么样的姿态面对这个社会开始，这件有机体看似脏器的雕塑作品，从孔洞中散发出复杂混合的味道，这个味道来自于平时使用的各种香水，每一种味道都塑造出我的不同身份，这些自我的指涉如今鞣制再一起，也渗漏着难以言诠气息。














We create works in the form of handmade books based on our respective local environments, and then post them to one another
我们以手工书的方式根据各自的在地坏境做创作，然后相互邮寄



d.  Time Forgotten by Speed / 被速度遗忘的时间

Lijin Zhu 朱栎瑾

On a night near the City of London, I first noticed aluminium cans flattened into two-dimensional forms on the road surface. They lay there, reflecting a sharp, almost excessive brightness. Later I realised this was not an isolated case in London, and I began to collect these crushed, faded, flattened cans across the city. In the process of being forgotten, they drift slowly, continuing their existence on another temporal scale, becoming traces of something overlooked by the city’s high-speed circulation.  And yet the the speed of the city is perceived precisely through the things it has forgotten.

I cast the collected cans using recycled newspapers, transforming them into the outer structure of a handmade book. They are wrapped with a grey ribbon that shifts between light and shadow, echoing the night in which they were first discovered. On the reverse side of the ribbon are fragments of text, recording the encounters between myself and these cans, as well as reflections on speed. The book is read by gradually unspooling the ribbon, layer by layer. When the ribbon is fully unwound, what remains for the viewer is a flattened object of speed and forgetting — a can found on the streets of London.

在伦敦金融城附近的夜晚路面上，我第一次注意到被压扁成二维的易拉罐，它们躺在路面上，反光锃亮。后来我发现这在伦敦不是个例，于是我在伦敦街头持续收集这些被碾压、褪色的平面易拉罐。它们在被遗忘的过程中缓慢漂移，以另一种时间尺度延续着自身的存在，成为某种被城市高速运转所遗忘的痕迹。而城市的速度恰恰是通过被它所遗忘的东西而感知到的。

我将收集到的易拉罐用废旧报纸进行翻模，并制作成手工书的外包装结构。并用一种与初次发现它们的夜晚相似的、时明时暗的灰色丝带将其包裹。丝带的背面有文字，记录了我与这些易拉罐相遇的情境和想法。阅读这本书的方式是一圈一圈拆开这些丝带，当丝带完全拆开时，观者最终会获得一片被速度遗忘之物——在伦敦街头捡到易拉罐。








e.  A time-limited landscape / 限时风景

Ku Cheng-yang  / 顾承洋

Collect photographs of the cityscape during election season  in Taiwan, extract various campaign advertisements from their original scenes, and turn them into plastic cards that cannot be fixed to the background images.

收集台湾选举季的市容照片，把各种竞选广告的图片从场景中抠出来，制作成无法固定在场景画面上的塑料卡片。























f. Fresh Air / 新鲜空气

What’s interesting is that Hangzhou, Taoyuan, and London are all places where it rains quite easily. The two of us sent out a rainbow and sent out sunlight respectively, as if something in between were trying to call forth the fresh air after the rain. And so, in the absence of both of us on site, a rainbow-coloured printed object becomes something that can be opened up and extended into colour, while faded hair becomes a trace of sunlight, continuing an imagination of light.

有意思的地方是杭州，桃园，伦敦，三个地方都很容易下雨。我们俩一个寄了彩虹，一个寄了阳光，好像有某种之间的部分在试着呼唤雨后的新鲜空气。于是在我们都不在的现场，一个彩虹色的印制物成为可以打开和延申的色彩，褪色的头发成为阳光的遗迹以延续对阳光的想象。

































g. Misalign /
    不
    正

Our photographs originate from the environments each of us inhabits, yet the precise points of reference and direction once contained within those environments are dissolved through the collage of mutual responses. What can no longer be reconstructed are their original "characteristics"; what remains instead are the relational tensions between the photographs themselves. “Misalign” is not only a response to misalignment but also an attempt, through another kind of response, to alter the question itself.

我们的照片来自于各自身处的环境，但环境中原本精确的定位和指向，在相互回应的拼贴中消失，无法还原出它们原本的“特征”，保留下来的是照片之间的相对关系。不正不仅是对歪了的回应，也是用另一种回应改变问题本身。