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 the analysis of modern world issues. Yanzi’s work includes video art, installations, video-game-like pieces, CGI, sound and expanded animation.
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 magnificent 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 illustrate their” 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”.
Referencing the heritage of the 90s the artist investigates visual languages of the livestream culture and computer-based technologies. This artistic investigation leads to the fresh and vivid appearance of his artworks. Yanzi’s videos often address the post-cinematic effect 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.