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

       Anonymous 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

Project | 项目
Topo-graphies |连通的形象
About | 关于
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Not Lit – Lit Point
点不着点着点

Two-channel video installation with electric candles, side table and white cloth / 双通道影像装置（电子蜡烛，矮桌，白布）
276×430×610cm, 2020



Only when viewing this domino video from the sole vanishing point will it appear as a rectangle without perspective.
只有站在唯一的透视焦点的位置上观看这个多米诺骨牌影像时，该影像才会呈现为没有透视的长方形。


   

   






相关展览 / Related Exhibitions


仿佛若有光，铜场，杭州，2020
A Weak Light In the Cave, T-projectspace, Hangzhou, 2020




偷月亮，富义仓艺术中心，杭州，2020
Moon escape, Fuyicang Art Centre, Hangzhou, 2020


Exhibition View/ 展览现场













                                                                                     
An untouchable wind was created in the exhibition site through the relationship between several abstract "points." The handle of the door shadow was the first point, the trigger mechanism leading to another unreachable space. The shadow implied that there was another door and layer of space behind the viewer. The continuous opening and closing of the door also meant that the wind was shuttling through the door. The candle was the second point. I placed the candle as if it was about to fall on the white cloth, in danger of burning. However, a close look showed an electronic candle, which could not light anything. The sound and picture of dominoes were the third point—the rhythm point—where each domino fell in turn, and the transmission process of the following dominoes reflected that the wind circulated in the field. The circular movement track and the dominoes formed a dial as if the infinite continuous presence was the inhomogeneous collapse of the homogeneous time.

The perspective point of the domino image was the fourth point, the structural point. The image of dominoes projected at an angle on the wall and appearing the front view of the rectangle only when viewed in the position of the perspective focus. Thus, controlled by this perspective point, the whole work was defined as an orientation. Therefore, the space inaccessible to each point was collapsed twice due to the appearance of this perspective focus, collapsing into one dimension.


在展览现场，通过几个抽象的“点”之间的关系，营造出了一阵无形的风。门影的把手是第一个点，是通往另一个无法触及的空间的触发机制。影子暗示着在观众身后还有一扇门和一层空间。门的不断开合意味着风在门中穿梭。蜡烛是第二个点。我将蜡烛放置得仿佛即将落在白布上，有被烧着的危险。然而，仔细一看，那是一支电子蜡烛，根本无法点燃任何东西。多米诺骨牌的声音和画面是第三个点——节奏点——每个多米诺骨牌依次倒下，后续多米诺骨牌的传递过程反映出风在场域中循环。圆形的运动轨迹和多米诺骨牌形成了一个表盘，仿佛无限的持续存在是同质时间的非均匀崩塌。

多米诺骨牌图像的透视点是第四个点，结构点。投射在墙上的多米诺骨牌影像，只有在透视焦点的位置观看时才会呈现出矩形的正面视图。因此，整个作品由这个透视点控制，被定义为一种方向。所以，由于这个透视焦点的出现，每个点都无法触及的空间被折叠了两次，折叠成了一维空间。