Tianyi Zheng


Installation
  1. Where the windows are open, pigeons can nest.., 2022
  2. We No Longer Remember How We Got Here, 2022
  3. A Haunted Home is Haunting Us, 2021
  4. The Freeway to a New Planet, 2020 - 21
  5. A Reminder from Last Summer, 2019-21
  6. Will You, 2020
  7. Everyday I make a flag, 2019 
  8. The Story of Brick, 2018
  9. PLAY LIST, 2018
  10. The explosion has already been happening, 2017
  11. Cassini Lover, 2017

Video
  1. We no longer remember how we got here (video), 2022
  2. Will you pick me up tomorrow , 2021
  3. Intro. Fall asleep on the freeway, 2020
  4. You with me, 2020
  5. Memory Not Found, 2019
  6. A few more vomiting will make us get used to it, 2018
  7. Man Fish, 2018
  8. The Borderman, 2017
  9. When the Kite Has no Wind, 2016
  10. Grey Water Trader, 2016

Painting/ Drawing
  1. Seems to have been here, 2022
  2. Will you remember me, 2020
  3. I’ll never gonna dance again, 2018
  4. The Chariot / ACE of Swords, 2017

Performance/ Behavior/ Event /Other
  1. Tie-up-loose-ends, 2022
  2. Department of Collective Collaboration, 2022
  3. Trash Bin Office, 2021
  4. Nothing Exercise, 2020 - 21
  5. I’m so sorry Mr. Brick, 2020
  6. The Cruise to Nowhere, 2020
  7. The Cold Ground, 2019
  8. Magical Realism LIVE Broadcast Series, 2019
  9. Hetero Room – Karaoke Cemetery, 2017
  10. The Early Train, 2016

About me
Info
  1. Tianyi is always in either a second-hand shop or on second-hand sale apps where she encounters found objects, images and footage (and she never feels bored). Her love for used/ collected/ found objects originates from, instead of nostalgia, a haunted feeling experienced in the contemporary days as the past has not been shed away while our world keeps moving, or in fact it can never be...
  2. CV

Mark
Tie-up-loose-ends


Tie-up-loose-ends
2022
Performance work with the collective BTCY Chao-Chun Huang, Beth Wong and Yuqi Wang
Performed on 1st Oct 2022 in DIHAN Happening in Groningen, for 20 mins.

 The performance focused on the materiality of cable ties, which we find interesting as they can be functional as well as metaphorical. They are commonly found in our daily life, on construction sites, and in exhibition spaces. But also on the roadblock made by protesters, and at the hands of the arrested. During the performance, we explored how cable ties restrain, reshape or transform our bodies. By amplifying the repetitive zipping and breaking sound, it was just like never-ending fights.

Mark