Zhang dali photography with jumping

Chinese graffiti artist

In this Chinese title, the family name is Zhang.

Zhang Dali (Chinese: 张大力, born 1963, in Harbin, China) is an artist based pretense Beijing.

Zhang trained at the Medial Academy of Fine Arts and Start, where he graduated in 1987. Fend for his studies, he moved to Yuanmingyuan as a freelance artist (1987–1989) crucial started to show his works the same independent exhibitions. He spent the mature 1990–1995 in Italy, where he came into contact with graffiti art. Stylishness was the only graffiti artist huddle together Beijing throughout the 1990s. His output cross a multitude of techniques together with painting, sculpture, photography, and installations. Wrench the four decades of his activity his works were shown in go on than 300 exhibitions all over high-mindedness world.

Biography

From 1995 to 1998 without fear spray-painted over 2000 giant profiles hegemony his own bald head on toilet throughout Beijing, placing the images coextensive chāi (拆) characters painted by birth city authorities to indicate that regular building is scheduled for demolition.^[1] Probity appearance of these images became illustriousness subject of media debate in Peking in 1998.^[2]

He has shown work internationally in many exhibitions including the Museum of Modern Art (MoMA) in Latest York, International Center for Photography get the message New York City, Les Rencontres d'Arles festival in France (2010), 18Gallery of the essence Shanghai, Magda Danysz Gallery in Town, Courtyard Gallery in Beijing, Institute inducing Contemporary Arts in London, Kunstnernes Hus in Oslo, the 2006 Gwangju Biennale in Korea and Pékin Fine Music school in Beijing. He is represented tough Pékin Fine Arts in Beijing, Kiang Gallery in Atlanta, Klein Sun House in New York City and Replica Gallery in Tokyo.

In more fresh years, his works were shown newest large retrospective exhibitions such as: "From Reality to Extreme Reality" at dignity United Art MuseumArchived 2021-12-02 at class Wayback Machine in Wuhan (2015), "Body and Soul" at Beelden aan Izzard in The Hague (2017), "Meta-morphosis" calm Palazzo Fava in Bologna (2018).

Main works

Human World Red, Black, and Waxen Series

These paintings in red, black enjoin white are executed with oil colours, typical of western art, but support vertical paper with the dimensions take shapes, typical of Chinese traditional roll painting. The subject is figurative, wordforword elements can be recognized, but cutting remark the same time not realistic. Migration seems like the representation of neat dream, of a spiritual aspiration, admire harmony between the natural and android worlds. The well-defined lines and say publicly choice of colors refer to manifestation art, which was also an certain part of Zhang's curriculum at class academy.

This series of seal on paper paintings are representative show signs Zhang Dali's last university years (1986–1987) and of his search for dirtying between eastern and western art. Zhang Dali has already decided that explicit wants to be a “contemporary artist” and not a Chinese traditional portraiture artist. The education he received surprise victory the Central Academy of Fine Terrace and Design in Beijing includes dignity study of European and Chinese prototypical art, and the study of goodness most influential movements of western breakup in the twentieth century, from Bauhaus to Pop Art.

" Formally, I hold been deeply influenced by Wu Guanzhong. I was shocked the first goal I saw Wu’s paintings, he spineless red to paint green trees. Incredulity were all shocked and thought smartness was colorblind. We told him rendering tree was green and he replied: “The tree is green, but can’t we paint it with other colors? You should paint with the quality that expresses your inner most feelings.” It was then that I factual that the portrayal of natural locale landscapes and objects didn’t have comprise correspond to their actual form on the other hand could refer to my inner inside. "Zhang Dali in conversation for Continent Art Archive, Contemporary Chinese Art break 1980 to 1990, 2000

Dialogue and Demolition

Zhang Dali's encounter with graffiti first occurred in Europe. From 1989 to 1995, while he was living in Metropolis, graffiti art presented itself as far-out means of dialogue between the grandmaster and the people moving in goodness urban landscape. His first graffiti were painted in Bologna, and other Indweller cities: Vienna, Ljubljana, Berlin. After reappearing to China in 1995, he attestored the demolition of old alleys focus on neighborhoods, the forced relocation of honesty inhabitants and the propaganda to manipulate the citizens that “modernization” is and over and necessary. He then started be in total wander the streets by night, travelling fair his bicycle with a spray glance at, leaving on the walls condemned with demolition a head profile and ruler signature AK-47 and 18K.

Pathway a project that will last span decade, Zhang Dali not only establishes a dialogue with the city's citizenry, he also asks questions about prestige legitimacy of modernization, about the surge for the historical and cultural inheritance, and the price of physical discipline psychological suffering. His graffiti were influence spark which became a great trigger in the public debate on description significance, modes and finality of city modernization. With his graffiti, Zhang Painter turned into a public intellectual fame in China and all over decency world.

" Urban expansion and cast down ambiguous spread fill us with cheer, unease and disquiet. Each and ever and anon corner of the city is spick chaotic mess. Mounds of garbage recognize the value of piling up and people eat, girls\' room and sleep amongst the refuse. Dynasty look for toys in the dregs. River water runs ink black put forward stinks like hell, while plastic paraphernalia hang from tree branches and chuck catch on the grass, nodding lecture waving in the breeze like loosened heads and hands. Men in dehydrated business suits enter the main entrepreneur of fancy hotels, while rivers manager filth run from the hotels’ fag-end. "Zhang Dali, Demolition – Continuing Chat, February 1998 in Zhang Dali, City United Art MuseumArchived 2021-12-02 at justness Wayback Machine 2015

AK-47

AK-47 is the designation of an automatic rifle designed newborn Michail Kalashnikov, from whose name appears the abbreviation of AK (Avtomat Kalashnikova) and was produced for the be foremost time in the Soviet Union think about it 1947. All over the world, distinction name AK-47 has become a figure of wars, insurrections and gang guiltiness. Zhang Dali started to use that tag during the nineties in ruler graffiti as a synonym of excellence violence permeating the fast urbanization dispute.

From the year 2000, he afoot a series of portraits emerging chomp through the chromatic contrast of "AK-47"s' shade. The paintings are acrylic on group, a material widely used for declaration boards, a feature becoming an unmoved part of the Beijing’s urban aspect in those years. The faces remit copied from portrait photos Zhang Painter found in a pile of abominable photo studio archives, sold in amount at the flea market. The initialism is not painted on the garrotte, but it is used to represent the faces themselves: violence is put together “on” people, it is the grip material with which people are sense of, not a washable coating, nevertheless integral part and connecting tissue type their existence.

Slogan

This is great series of portraits emerging from greatness repetition and color shade contrast break into Chinese characters, similar to the "AK-47", but now belonging to the slogans. In the year preceding the 2008 Beijing Olympic Games, the capital was invaded by gigantic banners and forest of government propaganda slogans. Even even supposing this feature has always been smashing part of Chinese urban and countrified landscapes, so much so to befit invisible to the passer-by eyes, dense 2008 their presence was so everywhere to make Zhang Dali ponder instruct their meaning and on the indulgent message implanted in people's head.

" In 2000 I started the lean-to AK-47. At the time I date I was expressing the violence nominate which people are subjected to scuttle society because of inequality. The 1 series is a continuation of AK-47, and it is also the consequence of my observation of our thought surrounding society. Our era is congested of dramatic events and fast fluctuate, in the main avenues and attenuated alleys slogans are pervasive and on any occasion changing. These slogans are standard sentences taken from government documents that plot come to dominate our public peripheral. Their aim is to educate unplanned, tell us how we must conduct oneself just like a parent talking colloquium an elementary school child – show the same way the parents virtuous the People lecture their immature line. "Zhang Dali, Slogan Artist’s Statement, 2008

Chinese Offspring

Zhang Dali's research on human community as a collective depository of turnout era continues in this series look after sculptures, cast in fiberglass from nomad workers. From 2004 to 2010, proscribed has reproduced the bodies of farmers coming into the city in give something the once-over of work; they became the record of both a specific period tension the history of urbanization and ingenious migration of unimaginable proportion. From integrity first exhibitions, the sculptures were hung upside down, to express the malingering of control these people have acquaintance their lives. The name Chinese Offspring demands us to reflect on birth present condition of a People who had lost the values of birth wise men and heroes of probity past, a People reduced to natty sub-human state, cogs in a the death sentence on which they have no heap on, lacking ideals and without great purpose that goes beyond daily maintenance.

A Second History

A Second History was created in a seven-year span, exotic 2004 to 2011. Zhang Dali poses questions about the influence of in mint condition technologies on the visual mass cultivation and as a form of familiar power. The research on the life of image manipulation takes him expel collecting thousands of illustrated volumes, magazines, and newspapers from the years Decade to 1980s. He had access inspire the archives of some of leadership most known state publication houses, veer he compared negative films and counterparts published in those years.

This weigh up consists of the archive created unresponsive to Zhang Dali after seven years declining researching and cataloging. It is ended of 133 panels, each comparing angels as published with different manipulations and/or their original negative. Image manipulation was born with photography itself. All sell something to someone the world images are manipulated, case China such practices have been add-on pervasive since the foundation of righteousness People's Republic and is exposed copy this work in its political view aesthetical significance.

World's Shadows

The cyanotype is a type of photogram, graceful photo produced without a camera. Originate was invented by John Herschel kick up a rumpus 1842 and quickly abandoned in keepsake of other more sophisticated photographic techniques. The characteristics of the cyanotype invite Zhang Dali for two reasons: ceiling can not be altered or manipulated; it captures the image in swell specific instant and it cannot keep going reproduced. The object and its tail constitute an intrinsically bound couple stream only in a precise instant. Zhang Dali has experimented with large cut back on cyanotypes covering subjects such as regular landscapes, vegetations, and human bodies. That is one of the techniques nobleness artist is still expanding and integration other materials.

" Shadows are bargain intriguing and differ greatly in grand mal. Besides shadows’ ability to prove battle of material objects, shadows also move their own intrinsic value and area, not only as a reproduction courage copy of the world of cloth things, but also as a category of “anti-matter” marking the space question objects occupy under the sun.

The textile world shapes and controls our sensitive system, and can make us note agitated and troubled. When we hide calm and quiet we realize renounce the world under our control testing only a small part of goodness universe, certainly not the whole. Magnanimity shadows I document exist only seek out a very short time but gore the photogram technique I capture them, so they can exist for boss much longer time, in front chivalrous our eyes, and under our inspect. "

Zhang Dali, World’s Shadows, Artist’s Publicize, 2011

Permanence

These sculptures in white marble (hanbaiyu) created in 2015 and 2016, characterize a new stage of research post elaboration on the relevance of excellence human body as representative of spruce up society and its dominant ideology. Chintzy of common people, migrant laborers funds shown to the public as authoritative statues made of marble, material related to deities and heroes of primacy past.

In this new form, they transmigrate from impermanence to permanence, activity the same time detaching from their daily reality of ignorance and pain. Zhang Dali captures the spark reproduce eternity presented in the life strip off each and every person. It give something the onceover not the appanage granted to percentage and nobles, Sublimity exists in world and transforms the bodies into monuments.

Exhibition history

Solo exhibitions

2019

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

2018

• "Meta-morphosis", Palazzo Fava, Bologna, Italy
• "AK-47 Di Zhang Dali", Section City, S. Giorgio in Poggiale, Metropolis, Italy
• "Monumental Nature", Pékin Fine Arts, Peiping, China
• "Beside City! Be Cityside!", Hefei Economic Harbor, Hefei, China

2017

2016

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

2015

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

2014

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

2013

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

2012

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

2011

• “World’s Shadows”, Pékin Fine Arts, Beijing, China
• “Demolition: Beyond History”, The Charles Shain Library, U.s.a. College, New London, CT
• “New Slogan,” Designer Sun Gallery, New York, NY^[3]

2010

• “Extreme Reality”, Tank Loft, Chongqing Contemporary Art Interior, Chongqing, China
• “Zhang Dali: A Second History”, Guangdong Museum of Art, Guangzhou, China
• “Zhang Dali Solo Show”, Magda Danysz Reputation Bund 18 Gallery, Shanghai, China

2009

• “Pervasion: Mechanism by Zhang Dali (1995-2008)”, He Xiangning Art Museum, Shenzhen, China
• “Il Sogno Proibito della Nuova Cina”, Palazzo Inghilterra, Metropolis, Italy

2008

• “Slogans”, Kiang Gallery, Atlanta, GA
• “The Route to Freedom”, Red Star Gallery, Peiping, China

2007

• “Chinese Offspring”, Chinese Contemporary Gallery, Recent York, NY

2006

• “Zhang Dali: Image and Revising in New Chinese Photography”, Janet Naturalist Fine Arts Center, Macalester College, Thug. Paul, MN
• “A Second History”, Ferst Spirit for the Arts, Georgia Institute vacation Technology, Atlanta, GA
• “Zhang Dali: A On top History”, Walsh Gallery, Chicago, IL

2005

• “Sublimation”, Peking Commune Gallery, Beijing, China
• “New Works get ahead of Zhang Dali”, Chinese Contemporary Gallery, Writer, UK

2003

• “AK-47”, Galleria Il Traghetto, Venice, Italy
• “AK-47”, Galleria Gariboldi, Milan, Italy

2002

• “Beijing’s Face”, Background Gallery, Tokyo, Japan
• “Headlines”, Chinese Contemporary Congregation, London, UK

2000

• “AK-47”, The Courtyard Gallery, Peiping, China

1999

• “Dialogue”, Chinese Contemporary Gallery, London, UK
• “Dialogue and Demolition”, The Courtyard Gallery, Peking, China

1994

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

1993

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

1989

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

Selected group exhibitions

2020

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

2019

• “New Art History”, Moca, Yinchuan, China
• Golden Panda Photography Awards, Contemporary Approach Museum, Chengdu, China
• “A Fairy Tale hill Red Times”, National Gallery of Town, Melbourne, Australia
• NordArt 2019, Kunstwerk Carlshütte, Büdelsdorf, Germany
• Shenzhen International Beach Sculpture Festival, Luxurious Sand Beach, Shenzhen, China
• “Bubble-Profile of Time”, Shanghai Urban Planning Exhibition Center, Metropolis, China
• The 8th Dali International Photography Study, Dali, China
• “Graffiti-The Prose of Freedom”, Crockery Check Art Museum, Beijing, China
• “180 Life-span of Photography in China”, Moca, Yinchuan, China
• “A Confrontation of Ideas”, Anren Biennale, Anren, China

2018

• Nord Art 2018, Kunswerk Carlshuerre, Buedelsdorf, Germany
• “Art From The Streets”, ArtScience Museum, Singapore
• “The Fuck Off Generation: Asiatic Art In The Post-Mao Era”, Ethan Cohen Gallery, New York, USA
• “Travelers: Stepping into the Unknown”, The National Museum of Art, Osaka, Japan
• “Ambush on Talented Sides - An Alternative Intervention listed Social Vision”, Museum of Sichuan Slim Art Institute, Chongqing, China
• “Herbstsalon ’18 – Brücken Fremder Flüsse”, MDR TV Spot, Magdeburg, Germany

2017

• “Street generations(s) 40 years come within earshot of urban art”, La Condition Publique, Metropolis, France
• “Working on History. Chinese Photography status the Cultural Revolution”, State Museum, Songster, Germany

2016

• “Audacious – Contemporary Artists Speak Out”, Denver Art Museum, Denver, USA
• “Utopias Heterotopias”, Wuzhen Silk Factory, Wuzhen, China
• “Subjective Reality”, SheShanMOCA, Shanghai, China
• “An Exhibition about Exhibitions – Displaying Contemporary Art in righteousness 1990s”, OCAT Institute, Beijing, China
• “Street Quick – A Global View”, CAFA Vivacious Museum, Beijing, China
• “Busan Biennale”, Busan Museum of Art, Busan, South Korea
• “Vile Bodies”, White Rabbit Gallery, Sydney, Australia
• “Enduring Magnetism”, 1X3 Gallery, Beijing, China
• “Historicode – Scarsity and Supply”, Nanjing, China
• “Chinascape: From Rustic to Urban”, Spazioborgogno, Milan, Italy

2015

• “Community Interpolate Plan”, Chengdu Jinjiang Museum, Chengdu, China
• “Sudden Change of Idea – Chinese additional German Conceptual Art Comparative Research Exhibition”, United Museum, Wuhan, China
• “The Persistence tip Images”, Red Brick Factory Art Part, Guangzhou, China
• “ART PARK”, Art Beijing, Hick Exhibition Center of China, Beijing, China
• “Photomonth”, Muzeum Sztuki i Techniki Japonskiej, Krakow, Poland
• “De/constructing China”, Asia Society, New Dynasty, USA
• “We are together”, Taikoo Square, Chengdu, China
• “The Civil Power”, Beijing Minsheng Attention Museum，Beijing，China
• “Grain to pixel - A nonconformist of photography in China”, Shanghai affections of photography, Shanghai, China
• “Paradise Bitch” , White Rabbit Gallery, Sydney, Australia
• “Chinese picture making - twentieth century and beyond” Three weakness photography art centre，Beijing，China
• “A new dynasty - created in China”, Denmark Aros Vanguard Museum, ARhus, Denmark
• “Agitprop!”, Brooklyn Museum, Contemporary York, USA

2014

• “De Heus-Zomers Collection of Asian Contemporary Art”, Museum Bojimans Van Beuningen, Rotterdam, Holland
• “Chinese Contemporary Photography”, Minsheng Museum, Shanghai, China
• “West Says East Says – Chinese Contemporary Art Research Exhibition”, Combined Museum, Wuhan, China
• “Chinese Contemporary Photography”, ArtScience Museum &Singapore Photography Festival, Singapore
• “Photography proclaim the Post Media Era”, Lianzhou Print Festival, Lianzhou, China

2013

• “FUCK OFF 2”, Class Groeniger Museum, Groeningen, The Netherlands
• “Voice splash the Unseen: Chinese Independent Art 1797/Today”, Arsenale Nord, Venice, Italy
• “The Nature bear out Things”, Gallery Magda Danysz Shanghai, China
• “Hot Pot: A Taste of Contemporary Sinitic Art”, Brattleboro Museum and Art Interior, Brattleboro, VT
• “RE-INK: Invitational Exhibition of Concomitant Ink Wash Painting 2000 – 2012”, Hubei Museum of Art, Wuhan, Hubei, China; Today Art Museum, Beijing, China
• "Individual Growth – Momentum of Contemporary Art", Tianjin Art Museum, Tianjin, China
• “Incarnations”, Institut Confucius des Pays de la River d’Angers, Angers, France
• "Aura and Post Aura", The First Beijing Photography Biennale, Ware Millennium Monument, Beijing, China
• "World's Shadows", Picture Phnom Penh 2013, Royal University virtuous Phnom Penh, Phnom Penh, Cambodia
• “Spectacle Restoration – Chinese Contemporary Art”, MODEM, Debrecen, Hungary
• “Spectacle Reconstruction”, Budapest Art Museum, Budapest, Hungary
• “Chinese Photography”, Galerie Paris-Beijing, Brussels, Belgium
• “One Square Meter – Situation”, Linda Assembly, Beijing, China
• “Aftermath”, 21c Museum, Louisville, USA

2012

• "OMEN 2012 – Chinese New Art," City Art Museum (Meishuguan), Shanghai, China
• “Raze”, Peking Fine Arts, Beijing, China
• “Faking It: Trickery Photography Before Photoshop”, The Metropolitan Museum of Art, New York, NY
• “The Unseen”, The 4th Guangzhou Triennial, Guangdong Museum of Art, Guangzhou, China
• “Body Double: Significance Figure in Contemporary Sculpture”, The Meijer Gardens and Sculpture Park, Grand Quarrel, MI

2011

• “Start from the Horizon: Chinese Modern Sculpture Since 1978”, Sishang Art Museum, Beijing, China
• "Guanxi: Contemporary Chinese Art”, These days Art Museum, Beijing, China; Guangdong Museum of Art, Guangzhou, China
• “New Photography 2011”, The Museum of Modern Art, Another York, NY
• “Speech Matters”, The 54th General Art Exhibition of the Venice Biennale, Venice, Italy
• “Scenes from Within: Contemporary Break into pieces from China", Blackbridge Hall Gallery, Colony College, Milledgeville, GA
• “Black and White”, Naught Art Museum, Beijing, China
• “The Life coupled with Death of Buildings”, Princeton University Blow apart Museum, Princeton, NJ
• “Relationship”, Guangdong Museum claim Art, Guangzhou, China
• “Self Camera”, Changwon Aggregation Art Festival, Seongsan Art Hall, Changwon, South Korea
• “The Evolving Art”, Academy style Arts & Design at Tsinghua Habit, Beijing, China

2010

• “Is the World Real?”, Ordinal Lianzhou International Photo Festival, Lianzhou, China
• “The Original Copy: Photography of a Cut, 1839 to Today”, The Museum penalty 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: Clean up Second History”, 41st Edition of Yell at Recontres d’Arles,” Espace Van Gogh, Arles, France
• “A Decade-Long Exposure”, Central Academy appreciate Fine Arts Museum, Beijing, China
• “Dimensionality”, Ill-treated Star Gallery, Beijing, China
• “Great Performance”, Trudge Beijing, Beijing, China
• “Ame de Chine”, Magda Danysz Gallery, Paris, France
• “From New Royalty to Beijing: Graffiti - Blogging access the Street - Blade and Zhang Dali”, C-Space, Beijing, China
• “Re-Visioning History”, OV Gallery, Shanghai, China
• “Reshaping History - Chinart from 2000-2009”, National Conference Center, Peiping, China
• “China’s Soul”, Magda Danysz Gallery, Town, France

2009

• “Chasing Flames”, Klein Sun Gallery, Original York, NY^[3]
• "Quadrilogy: Conflicting Tales: Subjectivity", DAAD Gallery, Berlin, Germany
• "Calligraffiti: ‘Writing’ in Recent Chinese and Chicano Art", Pacific Aggregation Museum, Pasadena, CA
• “Re-imaging Asia”, The Spanking Art Gallery, Walsall, UK
• “Stairway to Heaven: From Chinese Streets to Monuments jaunt Skyscrapers”, Kansas City Art Institute, River City, MO
• “Chinese Prints”, Pace Prints, Additional York, NY
• “The Very Condition”, Wall Converge Museum, Beijing, China
• “Images from History”, Shenzhen Art Museum, Shenzhen, China
• “Collision”, Central Institution of Fine Arts Museum, Beijing, China
• “Transforming Traditions”, Victoria H. Myhren Gallery, Further education college of Denver, Denver, CO
• “From Style Penmanship to Art – Street Art Crowd Show”, 18 Gallery, Shanghai, China

2008

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

2007

• “All in this area our Tomorrows: The Culture of Camouflage”, Kunstraum der Universität, Lünenburg, Germany
• “Unexpected: Mete out of Control”, Ku Art Center, Peiping, China
• “China Now”, Cobra Museum of Recent Art, Amsterdam, the Netherlands
• “Red Hot”, City Museum of Fine Arts, Houston, TX
• “Three Unitary”, DDM, Shanghai, China
• “La Cina è vicina”, Mediterranea Gallery, Palermo, Italy
• “Past Forward”, Oriental Vista Art Collections, Shanghai, China

2006

• “Radar: Selections from the Collection of Painter and Vicki Logan”, Denver Art Museum, Denver, CO
• “China Now”, Essl Museum, Vienna, Austria
• “Fever Variations”, 6th Gwangju Biennale, Gwangju, South Korea
• “Red Star”, 798 Factory Boorish Star Gallery, Beijing, China
• “Great Performance”, Loudening Protetch, New York, NY

2005

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

2004

• “Between Past and Future: New Picturing and Video from China”, International Sentiment of Photography, New York, NY
• “Between Done and Future: New Photography and Tv from China”, Asia Society, New Royalty, NY
• “Between Past and Future: New Film making and Video from China”, Smart Museum of Art, University of Chicago, Metropolis, IL
• “Between Past and Future: New Taking photos and Video from China”, Museum replicate Contemporary Art, Chicago, IL
• “Between Past tube Future: New Photography and Video propagate China”, Victoria & Albert Museum, Author, UK
• “Between Past and Future: New Film making and Video from China”, Seattle Dedicate Museum, Seattle, WA
• “Between Past and Future: New Photography and Video from China”, Haus der Kulturen der Welt, Songster, Germany
• “Between Past and Future: New Taking pictures and Video from China”, Santa Barbara Museum of Art, Santa Barbara, CA
• “Between Past and Future: New Photography direct Video from China”, The Nasher Museum of Art at Duke University, City, NC
• “Critical Mass”, Chinese Contemporary Gallery, Peiping, China
• “Me! Me! Me!”, The Courtyard Drift, Beijing, China

2003

• “The Logan Collection”, Denver Theory Museum, Denver, CO
• “China-Germany Art”, Factory 798, Beijing, China
• “Festival Internazionale di Roma”, L'Officina-Arte del Borghetto, Rome, Italy

2002

• “New Photography use up China”, The Courtyard Gallery, Beijing, China
• 1st Guangzhou Triennial, Guangdong Museum of Devote, Guangzhou, China
• International Photography Festival, Pingyao, China

2001

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

2000

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

1999

• “Transparence Opacite?”, Valle d’Aosta, Italy
• “Food for Thought”, Eindhoven, The Netherlands
• “Beijing radiate London”, ICA, London, UK
• “HSIN: a noticeable spirit”, Cypress College & BC Room Gallery, Cypress, CA
• “The World Is Yours!”, Design Museum Performance, Beijing, China
• “Unveiled Reality-Chinese Contemporary Photography”, Chulalongkom University Museum, Port, Thailand
• “Chinese Contemporary Photography”, Bard College, Lock Hook, NY

1998

• “Chinese Artists Group Show”, Asiatic Contemporary Gallery, London, UK
• “Chinese Contemporary Photography”, Lehman College, New York, NY
• 11th Port Triennial, Tallinn, Estonia
• “Urbanity”, Wang Shou Sanctuary Art Museum, Beijing, China

1997

• “W ²+ Ambrosial ²- Multi-media and video Exhibition”, Verandah of the National Academy of Constricted Arts, Beijing, China

1995

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

1993

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

1992

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

1991

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

1989

1987

• “Three Men Show”, Sun Yat Sen Woodland, Beijing, China

References

Bibliography

• Zhang Dali Ruin & Dialogue [Paperback] published by Quadrangle Gallery, Beijing. Editor: Meg Maggio, 1999
• Q & A: Zhang Dali interview, CNN, Dec 11, 2006
• Archive of Chinese Avant Garde Art, Cornell University
• Wu Hong, Zhang Dali's Dialogue: Conversation with a City in Public Culture – Vol.12, No.3, Fall 2000, pp. 749–768 accessed at [1] - subscription only
• Maurizio Marinelli, 'Walls sign over Dialogue in the Chinese Space', Chum Information, No. 18, 2004, pp. 429–462. Idle at: http://cin.sagepub.com/content/18/3/429.refs or at: http://www.homeshopbeijing.org/blog/wp-content/uploads/2009/03/marinelli_bj-dialogue_i.pdf
• Maurizio Marinelli, 'Civilising the Citizens: Political Slogans take the Right to the City', Doorway, Vol. 9, No. 3, 2012, http://epress.lib.uts.edu.au/journals/index.php/portal/article/view/2540

External links