Ruiqi Zhang
张瑞麒








































email: info@zhang-ruiqi.com 
instagram: ruiqi_zhang_
about

© Ruiqi Zhang 2024


Ruiqi Zhang
张瑞麒

He is a multimedia artist and educator based in Richmond Virginia. His practice and research press on sensitivity to digital technology when engaged in issues of online identity, media discourse, Internet culture, and critical surroundings. His initial awareness of digital power was formed by and linked through video art, which prompted his further exploration of ideology and cross-cultural experiences in 3D software, moving images, and video installations.

He employed a meandering narration approach to redirect his focus to the potential of reconfiguring autonomy, confrontation, and imagination. Through the organization of various irrelevant materials (3D objects, quotes, found images, theories, and scattered factors) in random juxtapositions, a hybrid stimulus is generated for snap meditation. His idea/method emulates the platform-based algorithmic mechanism, cultivating a non-human-centered perspective to reexamine the locus of our language.

email: info@zhang-ruiqi.com
ins: ruiqi_zhang_
about

Galaxy Equivalent Parallel Objects
digital video, 25:32, 2019

Galaxy Equivalent Parallel Objects is a fictional autobiographical film about the artist's artistic concepts, childhood anecdotes, and online identity construction strategies. This work explores the contemporary narrative influenced by mobile technology, that restored the viewing experience of people browsing short-video social media through continuous visual and audio stimulation and ever-changing content editing. Self-portraits from different social media filters, found footage from Kwai, consumer product advertisements, vintage animation loops, and dictated family history are collaged in the film, to challenge people’s ability to read complex information.

Inspired by the article Movies and Objects—Is There an Object-Oriented Film Theory? (电影与物——是否存在一种以物为导向的电影理论?) , this widescreen film exams the decentralized creation method and the unconscious montage. By offering the ostensible intellectual questions and irrelevant answers, the dialogue raises questions about how we build connections among disordered footages, and how short-video social media algorithms imperceptibly shaped our way of watching.

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