"Monochrome Bund" (黑白堤岸)
// BLURB //
OneThere was an era when the world arrived in shades of gray, flickering gently inside a wooden box. Black and white television did not pretend to show everything; it suggested. Faces were carved from light and shadow, cities from contrast and imagination. The limits were visible, and somehow that made the vision feel more sincere. In those years, city skylines looked like promises rather than declarations. Towers rose slowly, confident they had time. Antennas traced thin lines against the sky, and windows glowed like punctuation marks in the evening. One can imagine the skyline along The Bund, where history and modernity faced each other across the water, rendered in silver tones, colonial facades standing calmly before a future still loading. Black and white softened ambition. Without color to distract, attention lingered on form, rhythm, silhouette. Streets felt cinematic even when nothing much happened. A passing tram, a drifting cloud of cigarette smoke, a couple sharing silence, all became worthy of focus. That era reminds us that clarity does not always require brightness. Sometimes meaning sharpens when excess is stripped away. In the quiet glow of monochrome screens, the world learned how to be romantic simply by leaving room for imagination.
OneThere was an era when the world arrived in shades of gray, flickering gently inside a wooden box. Black and white television did not pretend to show everything; it suggested. Faces were carved from light and shadow, cities from contrast and imagination. The limits were visible, and somehow that made the vision feel more sincere. In those years, city skylines looked like promises rather than declarations. Towers rose slowly, confident they had time. Antennas traced thin lines against the sky, and windows glowed like punctuation marks in the evening. One can imagine the skyline along The Bund, where history and modernity faced each other across the water, rendered in silver tones, colonial facades standing calmly before a future still loading. Black and white softened ambition. Without color to distract, attention lingered on form, rhythm, silhouette. Streets felt cinematic even when nothing much happened. A passing tram, a drifting cloud of cigarette smoke, a couple sharing silence, all became worthy of focus. That era reminds us that clarity does not always require brightness. Sometimes meaning sharpens when excess is stripped away. In the quiet glow of monochrome screens, the world learned how to be romantic simply by leaving room for imagination.
EDITION, MEDIA, SIZE & WEIGHT
One-of-a-kind work, issued as a unique edition. A preliminary prototype may exist within the collective’s archive and may serve as a museum proof for future exhibition or provenance traceability.
Shanghai 2025
RGB LED display, Giclée print face-mounted on plexiglass, black-stained teakwood frame
124.6(W)×124.6(H)×7.2(D) cm // 49 kg
CRATE SIZE & WEIGHT
138(W)×138(H)×24(D) cm // 99.1 kg
EXPOSURE
“The Fourth Wall” at island6 Shanghai
CREDITS
Yang Ziqi 杨子奇 (game performance) • Thomas Charvériat (art direction) • Yeung Sin Ching 杨倩菁 (production supervisor) • Tiara Alvarado-Leon (blurb)
One-of-a-kind work, issued as a unique edition. A preliminary prototype may exist within the collective’s archive and may serve as a museum proof for future exhibition or provenance traceability.
Shanghai 2025
RGB LED display, Giclée print face-mounted on plexiglass, black-stained teakwood frame
124.6(W)×124.6(H)×7.2(D) cm // 49 kg
CRATE SIZE & WEIGHT
138(W)×138(H)×24(D) cm // 99.1 kg
EXPOSURE
“The Fourth Wall” at island6 Shanghai
CREDITS
Yang Ziqi 杨子奇 (game performance) • Thomas Charvériat (art direction) • Yeung Sin Ching 杨倩菁 (production supervisor) • Tiara Alvarado-Leon (blurb)
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