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
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The Desire for Correction Will Keep the Dialogue Going
矫正欲会让对话延续的
Two-channel video / 双通道影像，1’33’’，2021
Video stills / 影像截帧
工作坊 / Workshop
人声的叠加在合唱中并非是去差异化的声音的并列，而是立足于不同声部进行有距离的“对话”。活动邀请公众和意大利歌剧老师一起进行一场意大利歌曲的身体体验。 合唱段落选择了图兰朵即将改变心意的情绪巨变的时刻。
The layering of voices in a choir is not a de-differentiated alignment of sound, but a distanced “dialogue” grounded in the individuality of each vocal part. The event invites the public to take part in an embodied experience of Italian song together with an Italian opera teacher.
The choral section centres on the dramatic emotional turning point in Turandot when Turandot is on the verge of a change of heart.
相关展览 / Related Exhibitions
斜眼，天目里“之驻” BY ART MATTERS RESIDENCY，杭州，2021
LOOKING AWRY, BY ART MATTERS RESIDENCY, Hangzhou, 2021
斜眼，天目里“之驻” BY ART MATTERS RESIDENCY，杭州，2021
LOOKING AWRY, BY ART MATTERS RESIDENCY, Hangzhou, 2021
Exhibition View/ 展览现场
I swapped the melodies of selected passages from Turandot with those of the widely known Chinese folk song “Jasmine Flower” (Molihua), producing a deliberately “incorrect” instructional video of Jasmine Flower. The two videos are performed respectively by an Italian opera teacher and a Chinese folk vocal teacher. By combining karaoke aesthetics with vocal pedagogy, the original melody of “Jasmine Flower” is replaced with excerpts from Puccini’s opera. However, in its Puccini-adapted form, certain notes differ from the original version of Jasmine Flower, which may lead listeners familiar with the Chinese melody to perceive it as “wrong” and to feel an impulse to correct it.
In 1926, the opera Turandot, an “Italian work based on a Chinese story,” was first performed. The score incorporates the Chinese folk melody “Jasmine Flower,” yet from its music and set design to its narrative, it ultimately presents a version of the “Orient” imagined by Western culture.
Later, the Chinese director Zhang Yimou re-staged Turandot, presenting increasingly “Sinicised” versions of the work in places such as the Forbidden City in Beijing and the Stade de France in Paris, in an attempt to use a Chinese interpretation of an Italian story to reinterpret an Italian account of China. It may appear that he is “correcting” Western imaginaries of China, but in fact he can only keep producing new misreadings, without ever returning to a truly “pure Chinese story of China”.
This cyclical movement—oscillating between misreading, displacement, and continual correction—may in fact be what constitutes the very condition of cultural exchange itself.
我把《图兰朵》选段的旋律和广为人知的中国民歌《茉莉花》的旋律进行了互换，制作了一部有误的“茉莉花”教学视频。两个视频分别由一位意大利歌剧老师，和一位中国民歌老师演唱。将卡拉 OK 和声乐教学结合起来，并将茉莉花的旋律替换成了普契尼歌剧《图兰朵》中的选段。然而经过普契尼改编后的旋律有一些音是不同于茉莉花原曲的，这会让熟悉茉莉花旋律的中国人觉得它是被唱错了，并产生想要纠正它的欲望。
1926 年意大利人所作的中国故事《图兰朵》首次上演，歌剧使用了中国民歌 “茉莉花”的旋律，然而从音乐到布景再到叙事，呈现的其实都西方人想象中的东方。后来中国导演张艺谋曾重新编排图兰朵，先后将更满足中国特点的《图兰朵》搬进紫禁城、巴黎法兰西体育场等地，又试图用中国的意大利故事还原意大利的中国故事。他看起来是在“纠正”西方想象中的中国，但实际上只能不断制造新的误读，而无法回到一个真正“纯粹的中国中国故事” 。这种在误读、错位与不断修正之间展开的循环，也许恰恰构成了交流本身。
Acknowledgements / 致谢
Orientiamoci in Cina (Oriental Cultural Association of Prato), Italy
意大利普拉托东方文化协会
Italian opera singing & piano accompaniment: Claudia Mazzarisi Elena, Droujenkova
Chinese folk singing & piano accompaniment: Shu Chang, Sheng Haifeng
Workshop translation & assistance: Isabel Shen, Li Linwei
意大利歌剧演唱 & 钢琴伴奏：Claudia Mazzarisi Elena，Droujenkova
中国民歌演唱 &钢琴伴奏：舒畅，盛海峰
工作坊翻译及助演：沈思云，李林蔚