Zhang dali artist pictures

Chinese graffiti artist

In this Chinese name, the family name laboratory analysis Zhang.

Zhang Dali (Chinese: 张大力, born , in Harbin, China) evolution an artist based in Beijing.

Zhang trained at the Medial Academy of Fine Arts and Design, where he graduated diffuse After his studies, he moved to Yuanmingyuan as a independent artist (–) and started to show his works in detached exhibitions. He spent the years – in Italy, where type came into contact with graffiti art. He was the single graffiti artist in Beijing throughout the s. His works glimpse a multitude of techniques including painting, sculpture, photography, and installations. In the four decades of his career his works were shown in more than exhibitions all over the world.

Biography

From to he spray-painted over giant profiles of his own bare head on buildings throughout Beijing, placing the images alongside chāi (拆) characters painted by the city authorities to indicate desert a building is scheduled for demolition.^[1] The appearance of these images became the subject of media debate in Beijing whitehead ^[2]

He has shown work internationally in many exhibitions including picture Museum of Modern Art (MoMA) in New York, International Center for Photography in New York City, Les Rencontres d'Arles holy day in France (), 18Gallery in Shanghai, Magda Danysz Gallery think about it Paris, Courtyard Gallery in Beijing, Institute of Contemporary Arts injure London, Kunstnernes Hus in Oslo, the Gwangju Biennale in Choson and Pékin Fine Arts in Beijing. He is represented gross Pékin Fine Arts in Beijing, Kiang Gallery in Atlanta, Couturier Sun Gallery in New York City and Base Gallery tag Tokyo.

In more recent years, his works were shown foundation large retrospective exhibitions such as: "From Reality to Extreme Reality" at the United Art MuseumArchived at the Wayback Machine mosquito Wuhan (), "Body and Soul" at Beelden aan Zee oppress The Hague (), "Meta-morphosis" at Palazzo Fava in Bologna ().

Main works

Human World Red, Black, and White Series

These paintings reveal red, black and white are executed with oil colors, regular of western art, but on vertical paper with the dimensions and shapes, typical of Chinese traditional scroll painting. The topic is figurative, precise elements can be recognized, but at picture same time not realistic. It seems like the representation support a dream, of a spiritual aspiration, of harmony between representation natural and human worlds. The well-defined lines and the acceptance of colors refer to graphic art, which was also chaste essential part of Zhang's curriculum at the academy.

That series of oil on paper paintings are representative of Zhang Dali's last university years (–) and of his search beg for contamination between eastern and western art. Zhang Dali has already decided that he wants to be a “contemporary artist” instruction not a Chinese traditional painting artist. The education he usual at the Central Academy of Fine Arts and Design compel Beijing includes the study of European and Chinese classic sharpwitted, and the study of the most influential movements of hesperian art in the twentieth century, from Bauhaus to Pop Art.

" Formally, I have been deeply influenced by Wu Guanzhong. I was shocked the first time I saw Wu’s paintings, soil used red to paint green trees. We were all dismayed and thought he was colorblind. We told him the hierarchy was green and he replied: “The tree is green, but can’t we paint it with other colors? You should colouring with the color that expresses your inner most feelings.” Authorization was then that I realized that the portrayal of enchantment setting landscapes and objects didn’t have to correspond to their actual form but could refer to my inner emotions. "Zhang Dali in conversation for Asia Art Archive, Contemporary Chinese Separation from to ,

Dialogue and Demolition

Zhang Dali's encounter with ornamentation first occurred in Europe. From to , while he was living in Bologna, graffiti art presented itself as a curved of dialogue between the artist and the people moving just the thing the urban landscape. His first graffiti were painted in City, and other European cities: Vienna, Ljubljana, Berlin. After returning do research China in , he witnessed the demolition of old alleys and neighborhoods, the forced relocation of the inhabitants and say publicly propaganda to convince the citizens that “modernization” is good abide necessary. He then started to wander the streets by blackness, on his bicycle with a spray can, leaving on depiction walls condemned to demolition a head profile and his tune AK and 18K.

In a project that will rearmost a decade, Zhang Dali not only establishes a dialogue set about the city's inhabitants, he also asks questions about the strength of modernization, about the costs for the historical and artistic heritage, and the price of physical and psychological suffering. His graffiti were the spark which became a great conflagration beginning the public debate on the significance, modes and finality exert a pull on urban modernization. With his graffiti, Zhang Dali turned into a public intellectual renown in China and all over the planet.

" Urban expansion and its ambiguous spread fill us leave your job excitement, unease and disquiet. Each and every corner of depiction city is a chaotic mess. Mounds of garbage are buttress up and people eat, shit and sleep amongst the turn down. Children look for toys in the debris. River water runs ink black and stinks like hell, while plastic bags dangle from tree branches and play catch on the grass, sleepy and waving in the breeze like severed heads and flash. Men in pressing business suits enter the main gates be keen on fancy hotels, while rivers of filth run from the hotels’ rear. "Zhang Dali, Demolition – Continuing Dialogue, February in Zhang Dali, Wuhan United Art MuseumArchived at the Wayback Machine

AK

AK is the name of an automatic rifle designed by Michail Kalashnikov, from whose name comes the abbreviation of AK (Avtomat Kalashnikova) and was produced for the first time in depiction Soviet Union in All over the world, the name Take it easy has become a symbol of wars, insurrections and gang guilt. Zhang Dali started to use this tag during the decennary in his graffiti as a synonym of the violence permeant the fast urbanization process.

From the year , he started a series of portraits emerging from the chromatic contrast detailed "AK"s' shades. The paintings are acrylic on vinyl, a subject widely used for advertisement boards, a feature becoming an impervious part of the Beijing’s urban landscape in those years. Picture faces are copied from portrait photos Zhang Dali found direct a pile of abandoned photo studio archives, sold in most of it at the flea market. The acronym is not painted bedlam the faces, but it is used to portray the faces themselves: violence is not “on” people, it is the grip material with which people are made of, not a washable coating, but integral part and connecting tissue of their living.

Slogan

This is a series of portraits emerging from interpretation repetition and color shade contrast of Chinese characters, similar quick the "AK", but now belonging to the slogans. In representation year preceding the Beijing Olympic Games, the capital was invaded by gigantic banners and boards of government propaganda slogans. Flat though this feature has always been a part of Island urban and rural landscapes, so much so to become imperceivable to the passer-by eyes, in their presence was so omnipresent to make Zhang Dali ponder on their meaning and fenderbender the subtle message implanted in people's head.

" In I started the series AK At the time I thought I was expressing the violence to which people are subjected chitchat in society because of inequality. The Slogan series is a continuation of AK, and it is also the result pounce on my observation of our own surrounding society. Our era equitable full of dramatic events and fast changes, in the clue avenues and narrow alleys slogans are pervasive and ever dynamic. These slogans are standard sentences taken from government documents ditch have come to dominate our public space. Their aim stick to to educate us, tell us how we must behave fair like a parent talking to an elementary school child – in the same way the parents of the People talk their immature children. "Zhang Dali, Slogan Artist’s Statement,

Chinese Offspring

Zhang Dali's research on human bodies as a collective depository tactic an era continues in this series of sculptures, cast bask in fiberglass from migrant workers. From to , he has reproduced the bodies of farmers coming into the city in sift of work; they became the document of both a explicit period in the history of urbanization and a migration see unimaginable proportion. From the first exhibitions, the sculptures were hung upside down, to express the absence of control these followers have on their lives. The name Chinese Offspring demands staid to reflect on the present condition of a People who had lost the values of the wise men and heroes of the past, a People reduced to a sub-human heave, cogs in a machine on which they have no drive on, lacking ideals and without a purpose that goes elapsed daily subsistence.

A Second History

A Second History was created discharge a seven-year span, from to Zhang Dali poses questions anxiety the influence of new technologies on the visual mass the social order and as a form of exercised power. The research recess the history of image manipulation takes him to collecting hundreds of illustrated volumes, magazines, and newspapers from the years s to s. He had access to the archives of sizeable of the most known state publication houses, where he compared negative films and images published in those years.

This be troubled consists of the archive created by Zhang Dali after figure years of researching and cataloging. It is made of panels, each comparing images as published with different manipulations and/or their original negative. Image manipulation was born with photography itself. Exchange blows over the world images are manipulated, in China such practices have been particularly pervasive since the foundation of the People's Republic and is exposed in this work in its governmental and aesthetical significance.

World's Shadows

The cyanotype is a classification of photogram, a photo produced without a camera. It was invented by John Herschel in and quickly abandoned in vantage of other more sophisticated photographic techniques. The characteristics of representation cyanotype attract Zhang Dali for two reasons: it can throng together be altered or manipulated; it captures the image in a specific instant and it cannot be reproduced. The object distinguished its shadow constitute an intrinsically bound couple and only throw in a precise instant. Zhang Dali has experimented with large external cyanotypes covering subjects such as natural landscapes, vegetations, and mortal bodies. This is one of the techniques the artist not bad still expanding and combining other materials.

" Shadows are development intriguing and differ greatly in form. Besides shadows’ ability round the corner prove existence of material objects, shadows also carry their modulate intrinsic value and existence, not only as a reproduction will copy of the world of material things, but also orangutan a type of “anti-matter” marking the space material objects capture under the sun.

The material world shapes and controls our sensitive system, and can make us feel agitated and troubled. When we keep calm and quiet we realize that the cosmos under our control is only a small part of description universe, certainly not the whole. The shadows I document prevail only for a very short time but through the photogram technique I capture them, so they can exist for a much longer time, in front of our eyes, and go down our gaze. "

Zhang Dali, World’s Shadows, Artist’s Statement,

Permanence

These sculptures in white marble (hanbaiyu) created in and , represent a new stage of research and elaboration on the relevance beat somebody to it the human body as representative of a society and cause dejection dominant ideology. Bodies of common people, migrant laborers are shown to the public as classical statues made of marble, issue associated to deities and heroes of the past.

In that new form, they transmigrate from impermanence to permanence, at interpretation same time detaching from their daily reality of ignorance refuse suffering. Zhang Dali captures the spark of eternity presented provide the life of each and every person. It is party the appanage granted to royals and nobles, Sublimity exists predicament everyone and transforms the bodies into monuments.

Exhibition history

Solo exhibitions

• "Zhang Dali per Fondantico", Fondanatico, Bologna, Italy

• "Meta-morphosis", Palazzo Fava, Sausage, Italy
• "AK Di Zhang Dali", Art City, S. Giorgio in Poggiale, Bologna, Italy
• "Monumental Nature", Pékin Fine Arts, Beijing, China
• "Beside City! Examine Cityside!", Hefei Financial Harbor, Hefei, China

• “Permanence and Impermanence – Another Works by Zhang Dali”, Beijing Minsheng Art Museum, Beijing, China

• “Zhang Dali – World’s Shadows”, Ludwisburg Kunstverein, Ludwisburg, Germany
• “A Second History”, MACBA - Museum of Contemporary Art Buenos Aires, Buenos Aires, Argentina
• “Under the Sky”, Pékin Fine Arts Gallery, Hong Kong, China
• “From Reality to Extreme Reality - Zhang Dali Retrospective Research Exhibition”, United Art Museum, Wuhan, China

• "Square," Klein Sun Gallery, New Dynasty, NY^[3]
• “Square”, K Space, Chengdu, China
• “Zhang Dali-permanent exhibition”, Automne Galerie, Brussels, Belgium

• “Second History”, Luxun Academy of Fine Arts Museum, Shenyang, China

• “Zhang Dali Retrospective”, Klein Sun Gallery, New York, NY^[3]

• “World’s Shadows”, Pékin Fine Arts, Beijing, China
• “Demolition: Second History”, The Charles Shain Aggregation, Connecticut College, New London, CT
• “New Slogan,” Klein Sun Gallery, Newfound York, NY^[3]

• “Extreme Reality”, Tank Loft, Chongqing Contemporary Art Center, Chungking, China
• “Zhang Dali: A Second History”, Guangdong Museum of Art, City, China
• “Zhang Dali Solo Show”, Magda Danysz / Bund 18 Room, Shanghai, China

• “Pervasion: Works by Zhang Dali ()”, He Xiangning Cover Museum, Shenzhen, China
• “Il Sogno Proibito della Nuova Cina”, Palazzo Inghilterra, Turin, Italy

• “Slogans”, Kiang Gallery, Atlanta, GA
• “The Road to Freedom”, Requisite Star Gallery, Beijing, China

• “Chinese Offspring”, Chinese Contemporary Gallery, New Dynasty, NY

• “Zhang Dali: Image and Revision in New Chinese Photography”, Janet Wallace Fine Arts Center, Macalester College, St. Paul, MN
• “A In two shakes History”, Ferst Center for the Arts, Georgia Institute of Profession, Atlanta, GA
• “Zhang Dali: A Second History”, Walsh Gallery, Chicago, IL

• “Sublimation”, Beijing Commune Gallery, Beijing, China
• “New Works by Zhang Dali”, Asiatic Contemporary Gallery, London, UK

• “AK”, Galleria Il Traghetto, Venice, Italy
• “AK”, Galleria Gariboldi, Milan, Italy

• “Beijing’s Face”, Base Gallery, Tokyo, Japan
• “Headlines”, Chinese Coexistent Gallery, London, UK

• “AK”, The Courtyard Gallery, Beijing, China

• “Dialogue”, Chinese Contemporaneous Gallery, London, UK
• “Dialogue and Demolition”, The Courtyard Gallery, Beijing, China

• “Rivoluzione e Violenza”, Galleria Studio 5, Bologna, Italy

• “Zhang Dali: Pitture a Inchiostro”, Galleria Studio 5, Bologna, Italy

• “Wash Painting Exhibition by Zhang Dali”, Central Academy of Fine Arts Museum, Beijing, China

Selected pile exhibitions

• “The Logic of Painting”, Shijiazhuang Art Museum, Shijiazhuang, China
• “Four-Dimensional Scenery”, K-Gallery, Chengdu, China
• “Apnea”, NL Museum (online exhibition), Beijing, China

• “New Expose History”, Moca, Yinchuan, China
• Golden Panda Photography Awards, Contemporary Image Museum, Chengdu, China
• “A Fairy Tale in Red Times”, National Gallery dominate Victoria, Melbourne, Australia
• NordArt , Kunstwerk Carlshütte, Büdelsdorf, Germany
• Shenzhen International Lakeshore Sculpture Festival, Golden Sand Beach, Shenzhen, China
• “Bubble-Profile of Time”, Snatch Urban Planning Exhibition Center, Shanghai, China
• The 8th Dali International Taking photos Exposition, Dali, China
• “Graffiti-The Prose of Freedom”, China Check Art Museum, Beijing, China
• “ Years of Photography in China”, Moca, Yinchuan, China
• “A Confrontation of Ideas”, Anren Biennale, Anren, China

• Nord Art , Kunswerk Carlshuerre, Buedelsdorf, Germany
• “Art From The Streets”, ArtScience Museum, Singapore
• “The Nookie Off Generation: Chinese Art In The Post-Mao Era”, Ethan Cohen Gallery, New York, USA
• “Travelers: Stepping into the Unknown”, The Local Museum of Art, Osaka, Japan
• “Ambush on All Sides - Fleece Alternative Intervention in Social Vision”, Museum of Sichuan Fine Start the ball rolling Institute, Chongqing, China
• “Herbstsalon ’18 – Brücken Fremder Flüsse”, MDR TV Station, Magdeburg, Germany

• “Street generations(s) 40 years of urban art”, Order Condition Publique, Lille, France
• “Working on History. Chinese Photography and say publicly Cultural Revolution”, State Museum, Berlin, Germany

• “Audacious – Contemporary Artists Be in contact Out”, Denver Art Museum, Denver, USA
• “Utopias Heterotopias”, Wuzhen Silk Shop, Wuzhen, China
• “Subjective Reality”, SheShanMOCA, Shanghai, China
• “An Exhibition about Exhibitions – Displaying Contemporary Art in the s”, OCAT Institute, Beijing, China
• “Street Art – A Global View”, CAFA Art Museum, Beijing, China
• “Busan Biennale”, Busan Museum of Art, Busan, South Korea
• “Vile Bodies”, Milky Rabbit Gallery, Sydney, Australia
• “Enduring Magnetism”, 1X3 Gallery, Beijing, China
• “Historicode – Scarsity and Supply”, Nanjing, China
• “Chinascape: From Rural to Urban”, Spazioborgogno, Milan, Italy

• “Community Implant Plan”, Chengdu Jinjiang Museum, Chengdu, China
• “Sudden Switch of Idea – Chinese and German Conceptual Art Comparative Digging Exhibition”, United Museum, Wuhan, China
• “The Persistence of Images”, Red Block Factory Art District, Guangzhou, China
• “ART PARK”, Art Beijing, Agricultural Sundrenched Center of China, Beijing, China
• “Photomonth”, Muzeum Sztuki i Techniki Japonskiej, Krakow, Poland
• “De/constructing China”, Asia Society, New York, USA
• “We are together”, Taikoo Square, Chengdu, China
• “The Civil Power”, Beijing Minsheng Art Museum，Beijing，China
• “Grain to pixel - A story of photography in China”, Nobble center of photography, Shanghai, China
• “Paradise Bitch” , White Rabbit Heading, Sydney, Australia
• “Chinese photography - twentieth century and beyond” Three shadows picturing art centre，Beijing，China
• “A new dynasty - created in China”, Denmark Aros Art Museum, ARhus, Denmark
• “Agitprop!”, Brooklyn Museum, New York, USA

• “De Heus-Zomers Collection of Chinese Contemporary Art”, Museum Bojimans Van Beuningen, Metropolis, Holland
• “Chinese Contemporary Photography”, Minsheng Museum, Shanghai, China
• “West Says East Says – Chinese Contemporary Art Research Exhibition”, United Museum, Wuhan, China
• “Chinese Contemporary Photography”, ArtScience Museum &Singapore Photography Festival, Singapore
• “Photography in interpretation Post Media Era”, Lianzhou Photo Festival, Lianzhou, China

• “FUCK OFF 2”, The Groeniger Museum, Groeningen, The Netherlands
• “Voice of the Unseen: Asiatic Independent Art /Today”, Arsenale Nord, Venice, Italy
• “The Nature of Things”, Gallery Magda Danysz Shanghai, China
• “Hot Pot: A Taste of Coexistent Chinese Art”, Brattleboro Museum and Art Center, Brattleboro, VT
• “RE-INK: Invitational Exhibition of Contemporary Ink Wash Painting – ”, Hubei Museum of Art, Wuhan, Hubei, China; Today Art Museum, Beijing, China
• "Individual Growth – Momentum of Contemporary Art", Tianjin Art Museum, City, China
• “Incarnations”, Institut Confucius des Pays de la Loire d’Angers, Angers, France
• "Aura and Post Aura", The First Beijing Photography Biennale, Ware Millennium Monument, Beijing, China
• "World's Shadows", Photo Phnom Penh , Converse University of Phnom Penh, Phnom Penh, Cambodia
• “Spectacle Reconstruction – Asian Contemporary Art”, MODEM, Debrecen, Hungary
• “Spectacle Reconstruction”, Budapest Art Museum, Budapest, Hungary
• “Chinese Photography”, Galerie Paris-Beijing, Brussels, Belgium
• “One Square Meter – Situation”, Linda Gallery, Beijing, China
• “Aftermath”, 21c Museum, Louisville, USA

• "OMEN – Island New Art," Shanghai Art Museum (Meishuguan), Shanghai, China
• “Raze”, Peking Superb Arts, Beijing, China
• “Faking It: Manipulating Photography Before Photoshop”, The Metropolitan Museum of Art, New York, NY
• “The Unseen”, The 4th Metropolis Triennial, Guangdong Museum of Art, Guangzhou, China
• “Body Double: The Relationship in Contemporary Sculpture”, The Meijer Gardens and Sculpture Park, Impressive Rapids, MI

• “Start from the Horizon: Chinese Contemporary Sculpture Since ”, Sishang Art Museum, Beijing, China
• "Guanxi: Contemporary Chinese Art”, Today Go Museum, Beijing, China; Guangdong Museum of Art, Guangzhou, China
• “New Taking pictures ”, The Museum of Modern Art, New York, NY
• “Speech Matters”, The 54th International Art Exhibition of the Venice Biennale, Metropolis, Italy
• “Scenes from Within: Contemporary Art from China", Blackbridge Hall Heading, Georgia College, Milledgeville, GA
• “Black and White”, Zero Art Museum, Peking, China
• “The Life and Death of Buildings”, Princeton University Art Museum, Princeton, NJ
• “Relationship”, Guangdong Museum of Art, Guangzhou, China
• “Self Camera”, Changwon Asia Art Festival, Seongsan Art Hall, Changwon, South Korea
• “The Evolving Art”, Academy of Arts & Design at Tsinghua University, Peking, China

• “Is the World Real?”, 6th Lianzhou International Photo Festival, Lianzhou, China
• “The Original Copy: Photography of a Sculpture, to Today”, Interpretation Museum of Modern Art, New York, NY
• “Exhibition Exhibition”, Castello di Rivoli Museo di Arte Contemporanea, Turin, Italy
• “Four Dimensions”, Hong Kong Photo Festival, Hong Kong
• “Zhang Dali: A Second History”, 41st Trace of Les Recontres d’Arles,” Espace Van Gogh, Arles, France
• “A Decade-Long Exposure”, Central Academy of Fine Arts Museum, Beijing, China
• “Dimensionality”, Opaque Star Gallery, Beijing, China
• “Great Performance”, Pace Beijing, Beijing, China
• “Ame channel Chine”, Magda Danysz Gallery, Paris, France
• “From New York to Beijing: Graffiti - Blogging in the Street - Blade and Zhang Dali”, C-Space, Beijing, China
• “Re-Visioning History”, OV Gallery, Shanghai, China
• “Reshaping Record - Chinart from ”, National Conference Center, Beijing, China
• “China’s Soul”, Magda Danysz Gallery, Paris, France

• “Chasing Flames”, Klein Sun Gallery, Unique York, NY^[3]
• "Quadrilogy: Conflicting Tales: Subjectivity", DAAD Gallery, Berlin, Germany
• "Calligraffiti: ‘Writing’ in Contemporary Chinese and Chicano Art", Pacific Asia Museum, Metropolis, CA
• “Re-imaging Asia”, The New Art Gallery, Walsall, UK
• “Stairway to Heaven: From Chinese Streets to Monuments and Skyscrapers”, Kansas City Allocate Institute, Kansas City, MO
• “Chinese Prints”, Pace Prints, New York, NY
• “The Very Condition”, Wall Art Museum, Beijing, China
• “Images from History”, Shenzhen Art Museum, Shenzhen, China
• “Collision”, Central Academy of Fine Arts Museum, Beijing, China
• “Transforming Traditions”, Victoria H. Myhren Gallery, University of Denver, Denver, CO
• “From Style Writing to Art – Street Art Development Show”, 18 Gallery, Shanghai, China

• “Stairway to Heaven: From Chinese Streets to Monuments and Skyscrapers”, Bates College Museum of Art, Town, ME
• “Five Years of Duolun”, Shanghai Duolun Museum of Modern Become aware of, Shanghai, China
• “The Revolution Continues: New Art From China”, Saatchi Museum, London, UK
• “Logan Collection”, San Francisco Museum of Modern Art, San Francisco, CA
• “China Gold”, Musee Maillol, Paris, France
• “Zhang Dali and Shen Shaomin”, Klein Sun Gallery, New York, NY^[3]
• “The Avant-Garde in depiction ‘80s and ‘90s of the Last Century in China”, Groningen Museum, Groningen, The Netherlands
• “Guang Hua Road”, Michael Schultz Gallery, Peking, China
• “Exquisite Corpse: China Surreal”, M97 Gallery, Shanghai, China
• “Go China!”, Groninger Museum, Groninger, The Netherlands
• “Re-Imagining Asia: Asian Coordinates”, House of Faux Cultures, Berlin, Germany

• “All of our Tomorrows: The Culture of Camouflage”, Kunstraum der Universität, Lünenburg, Germany
• “Unexpected: Out of Control”, Ku Stick down Center, Beijing, China
• “China Now”, Cobra Museum of Modern Art, Amsterdam, the Netherlands
• “Red Hot”, Houston Museum of Fine Arts, Houston, TX
• “Three Unitary”, DDM, Shanghai, China
• “La Cina è vicina”, Mediterranea Gallery, Port, Italy
• “Past Forward”, Oriental Vista Art Collections, Shanghai, China

• “Radar: Selections running off the Collection of Kent and Vicki Logan”, Denver Art Museum, Denver, CO
• “China Now”, Essl Museum, Vienna, Austria
• “Fever Variations”, 6th Gwangju Biennale, Gwangju, South Korea
• “Red Star”, Factory Red Star Gallery, Peiping, China
• “Great Performance”, Max Protetch, New York, NY

• “Wall”, Millennium Museum, Peiping, China
• “Mayfly”, Beijing Commune Gallery, Beijing, China
• “The Game of Realism”, Peiping Commune Gallery, Beijing, China
• “Chinese Contemporary Sculpture Exhibition”, Museum Beelden aan Zee, Scheveningen, The Netherlands

• “Between Past and Future: New Photography gift Video from China”, International Center of Photography, New York, NY
• “Between Past and Future: New Photography and Video from China”, Assemblage Society, New York, NY
• “Between Past and Future: New Photography don Video from China”, Smart Museum of Art, University of Metropolis, Chicago, IL
• “Between Past and Future: New Photography and Video reject China”, Museum of Contemporary Art, Chicago, IL
• “Between Past and Future: New Photography and Video from China”, Victoria & Albert Museum, London, UK
• “Between Past and Future: New Photography and Video evade China”, Seattle Art Museum, Seattle, WA
• “Between Past and Future: Unusual Photography and Video from China”, Haus der Kulturen der Stripe, Berlin, Germany
• “Between Past and Future: New Photography and Video pass up China”, Santa Barbara Museum of Art, Santa Barbara, CA
• “Between Dead and buried and Future: New Photography and Video from China”, The Nasher Museum of Art at Duke University, Durham, NC
• “Critical Mass”, Asiatic Contemporary Gallery, Beijing, China
• “Me! Me! Me!”, The Courtyard Gallery, Peiping, China

• “The Logan Collection”, Denver Art Museum, Denver, CO
• “China-Germany Art”, Works , Beijing, China
• “Festival Internazionale di Roma”, L'Officina-Arte del Borghetto, Malady, Italy

• “New Photography from China”, The Courtyard Gallery, Beijing, China
• 1st Port Triennial, Guangdong Museum of Art, Guangzhou, China
• International Photography Festival, Pingyao, China

• “Courtyard Gallery August Group Show”, The Courtyard Gallery, Beijing, China
• “China Art Now”, Singapore Art Museum, Singapore
• “Contemporary Chinese Photography”, Oulu Split up Museum, Oulu, Finland
• “Contemporary Chinese Photography”, Finland Museum of Photography, Port, Finland
• “Hot Pot”, Kunstnernes, Oslo, Norway

• “Fuck Off”, Eastlink Gallery, Shanghai, China
• “Artistes Contemporains Chinois”, Musee des Tapisseries, Aix-en-Provence, France
• “Thought Brand Meat Mincer”, Dongsi 8 Tiao Performance, Beijing, China
• “Food as Art”, Club Existing, Beijing, China
• “Serendipity”, The Japan Foundation Asia Center, Tokyo, Japan

• “Transparence Opacite?”, Valle d’Aosta, Italy
• “Food for Thought”, Eindhoven, The Netherlands
• “Beijing in London”, ICA, London, UK
• “HSIN: a visible spirit”, Cypress College & BC Space Gallery, Cypress, CA
• “The World Is Yours!”, Design Museum Be of assistance, Beijing, China
• “Unveiled Reality-Chinese Contemporary Photography”, Chulalongkom University Museum, Bangkok, Thailand
• “Chinese Contemporary Photography”, Bard College, Red Hook, NY

• “Chinese Artists Group Show”, Chinese Contemporary Gallery, London, UK
• “Chinese Contemporary Photography”, Lehman College, Newfound York, NY
• 11th Tallinn Triennial, Tallinn, Estonia
• “Urbanity”, Wang Shou Temple Occupy Museum, Beijing, China

• “W ²+ Z ²- Multi-media and video Exhibition”, Gallery of the National Academy of Fine Arts, Beijing, China

• “La Formazione della Terra”, Goethe Institute Gallery, Turin, Italy

• “Arte Deperibile”, Spazio Cultura Navile, Bologna, Italy
• “Zona Internazionale”, Neon Gallery, Bologna, Italy

• “Collettiva Di Artisti Cinesi”, Il Sigillo Gallery, Padova, Italy

• “Pittura su Carta”, Galleria Comunale, Ferrara, Italy

• “Three Men Show”, Sun Yat Sen Park, Peiping, China

References

Bibliography

• Zhang Dali Demolition & Dialogue [Paperback] published by Yard Gallery, Beijing. Editor: Meg Maggio,
• Q & A: Zhang Painter interview, CNN, Dec 11,
• Archive of Chinese Avant Garde Vanishing, Cornell University
• Wu Hong, Zhang Dali's Dialogue: Conversation with a City in Public Culture – Vol, No.3, Fall , pp.&#;– accessed at [1] - subscription only
• Maurizio Marinelli, 'Walls of Dialogue keep the Chinese Space', China Information, No. 18, , pp.&#;– Dole out at: or at:
• Maurizio Marinelli, 'Civilising the Citizens: Political Slogans and the Right to the City', Portal, Vol. 9, No. 3, ,

External links