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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Time Forgotten by Speed - Speed Animal
被速度遗忘的时间——速度动物

Cans, Jesmonite / 废弃易拉罐，水性复合石材, 300cm×34cm×20cm, 52cm×14cm×15cm, 2023

 

      

   



相关展览 / Related Exhibitions

Another Day, Another Archetype, Lewisham Arthouse, London, 2023


Exhibition View/ 展览现场












                                                                                     
On the streets of London, it is common to find aluminium cans that have been repeatedly crushed, flattened to the point of becoming almost paper-thin. Pushed by pedestrians, traffic, and wind, they shift from three-dimensional containers into flat surfaces shaped by speed. Across different areas of the city, their degree of flattening and the distance they travel vary significantly.

In various locations across London, I recorded the position, form, and movement traces of these cans over the course of one month, and translated these changes into sculptures that resemble the bones of ancient animals. Near Waterloo Station, where pedestrian flow is dense, these “speed animals” appear larger and more extended; in south-east London, they are smaller and more subdued, as if time itself moves more slowly there.

As non-degradable urban waste, these cans become an unintended measure of time, a material witness to differences in urban speed. The sculptures bring back the time that has been forgotten by speed. The length of each sculpture corresponds to the distance the can has travelled, while its two ends represent the forms of the can at two different moments of observation.


伦敦街头常能看到被反复碾压、几乎像纸一样扁平的易拉罐。它们被人流、车流和风不断推动，从立体容器变成被速度塑形的平面。不同区域的易拉罐，扁平程度与移动距离也不同。

我在伦敦不同地点，记录了这些易拉罐一个月内的位置、形状与移动轨迹，并将这些变化转化为雕塑，使之像是远古动物的白骨：在滑铁卢车站附近，人流密集，“速度动物”更加巨大；在伦敦东南部，它们则更短小，时间在这里更缓慢。

这些易拉罐作为难以降解的城市排泄物，意外成为某种时间刻度，某种城市速度差异的物证。雕塑还原了这些被速度遗忘的时间，每件雕塑的长度对应易拉罐移动的距离，两端的形态则分别来自两个时间点记录的易拉罐状态。