This work consists of twenty-five monochromatic photographs arranged in a grid of five rows. Each photograph features the same smiling young woman with other young people. The photographs become increasingly fuzzy, with the last being almost unreadable. To produce this work, Zhang Peili photographed a propaganda image from China taken in the 1950s. His photograph was then photographed, and he repeated this process to create the twenty-five prints. With each photograph, details were lost, resulting in a growing blurriness. While the distinctions between neighbouring photographs are minute, the difference between the first and the last photographs in the series is stark. Zhang’s work, including oil paintings and videos, often incorporates repetition to question systems of representation. Here, he uses the process of photography and the element of time to reflect on distortions and losses in representations of Chinese history, while also displaying the limitations of the medium of photography.
Zhang Peili (born 1957, Hangzhou) graduated from the Zhejiang Academy of Fine Arts, Hangzhou, in 1984 with a degree in oil painting, and previously served as Dean of the New Media Department at the same institution, later renamed China Academy of Art. He was a founding member of the Pond Society and a prominent figure of the avant-garde movement in Hangzhou in the 1980s. Primarily working in video, photography, and new media, his work acts as a form of protest to reveal the forces that shape Chinese society and the lives of its citizens. Zhang lives and works in Hangzhou.