Ride the Waves of Whales

ART LABOR Gallery is delighted to announce the upcoming solo exhibition “Ride the Waves of Whales” by emerging Chinese artist Zhang Wenzhi. This exhibition will be held from December 14th, 2024 to February 15, 2025, with an opening reception on December 14th, 3 – 6 pm. The exhibition will be available for viewing by appointment.

This new series of works, inspired by the marine mammal specimens housed in the Dalian Natural History Museum, explores the intersection of history, mythology, and environmental change. Zhang Wenzhi delves into the profound historical significance of these specimens, many of which were collected during the Japanese colonial era and remain displayed in a Russian-style building dating back to the early 20th century. These marine mammal specimens, some of which have suffered significant distortion over time, now stand as ghostly monuments in the museum, evoking a complex narrative that spans centuries of colonialism, industry, and environmental exploitation.

The exhibition draws heavily from the museum’s rich history—beginning with its origins as the Geological Survey under the South Manchuria Railway Company, and later evolving into the Dalian Natural History Museum. It was here that large marine mammals, including whales, were brought in during China’s early whaling industry in the 1950s and 1960s. Whales that once swam freely in the oceans are now imprisoned in a stilled, formaldehyde-soaked reverence, surrounded by wooden fences in the small, aging rooms of the museum.

Zhang’s works transform these haunting figures into symbols that link past and present. His creations take on an almost mythical quality, with references to local folklore and the mysticism of Northeast China. For example, one of his works might suggest the transformation of a giant whale into a deity, invoking themes of worship and reverence in a world where nature has become industrialized and commodified. In doing so, Zhang paints a rich narrative of tension between man’s technological advancements and nature’s majestic forces, between mythology and reality, and between the human need to control and the uncontrollable power of the natural world.

The exhibition is not only a visual exploration of marine life and colonial history but also a meditation on the intersection of nature and industry, myth and fact. By juxtaposing the historical background of whaling in Dalian with the ongoing ecological concerns surrounding marine life, Zhang’s works offer a contemporary reflection on the legacies of industrialization, environmentalism, and the reverence of the natural world.

Zhang Wenzhi, born in 1993 in Dalian, China, is a graduate of the Central Academy of Fine Arts (CAFA) in Beijing, where he earned both a BFA and an MFA. A talented ink painter and avid researcher of history, Zhang’s work is deeply rooted in the rich cultural and historical context of his native Northeast China. His practice involves a unique blend of meticulous historical research, personal mythology, and bold visual storytelling. He is known for creating immersive installations that combine ink painting, sculpture, and archival documents to explore the complex narratives of history, nature, and society. His works have been exhibited in numerous domestic and international exhibitions and are permanently collected by the Art Museum of the Central Academy of Fine Arts. Zhang’s previous solo and 2-person exhibitions include Ride the Waves of Whales, ART LABOR Gallery, Shanghai (2024); Tiger in Mountains, Deer at Ocean, Blindspot Gallery, Hong Kong (2023); The Northern Hills, ART LABOR Gallery, Shanghai (2022); Alice’s Natural History Museum, ART LABOR Gallery, Shanghai (2020);, The Journal of The Black Dragon, ART LABOR Gallery, Shanghai (2019). His previous group exhibitions include Shanghai Calling, ART LABOR Gallery, Shanghai (2024); An Unlikely Menagerie and The Resulting Chaos, Vanguard Gallery, Shanghai (2024); Multispecies Clouds, Macalline Art Center, Beijing (2022); OCAT Biennale-Resonances of One Hundred Things, OCAT Shenzhen, Shenzhen (2021); ART POWER 100, Garry Culture Center, Beijing (2020); Anren Biennale: A Confrontation of Ideals, Anren Old Town, Sichuan (2019).