Yanzi is an internationally acclaimed visual artist whose practice focuses on time-based media and speculative approaches. He impressively combines interdisciplinary methods juxtaposing irony and critique in analysis of modern world issues. Yanzi’s work includes video art, installations, video-game-like pieces, CGI, sound and expanded animation.
Yanzi. Kasseta (screenshot), 2020
Yanzi as part of Alycha group. Too weird to live, too rare to die, 2018
Yanzi. Ticker, 2017
Using mixed media Yanzi boldly explores the boundaries of contemporary art discourse. His practice amazingly reflects on cultural discourses around time and memory. In this research Yanzi concentrates on the early net culture and street culture. The magnificient feature of Yanzi“s videos is a turned inside out 3D surface which reminds of the way that memory works. Such gaps refer to the intermittency of memories and illustrates its” variability. Leaving 3D objects collapsed Yanzi examines the phenomenon of misuse of technology. Media theorist and former curator of the Guggenheim Museum Jon Ippolito notes that by misusing technology “artists can exploit a technology’s hidden potential in an intelligent and revelatory way”.
Yanzi as part of Current group. Current, 2019
Yanzi as part of Alycha group. Too weird to live, too rare to die, 2018
Yanzi. Farewell, 2019
Referencing the heritage of the 90s the artist investigates visual languages of the livestream culture and computer-based technologies. This artistic investigation leads to fresh and vivid appearance of his artworks. Yanzi’s videos often addresses post-cinematic affect in order to describe the visual strategies shaped by new media, e.g. AI deep fakes, VFX cinema and volumetric cinema. “Kasseta” (2020), “Current” (2019) and “Too weird to live, too rare to die” (2018) projects are powerful in the way that they encourage the uncanny feeling and totally capture the attention of the viewer.
