TANK 新展｜祝金坤、张楠、张听：术 TechDiumMory

In English

TANK Shanghai presents TechDiumMory, a Threefold Exhibition featuring works by Jinkun Zhu, LazyBackHome, and Zhang Ting. Opening on 24 July 2026, the exhibition will be on view until 25 October 2026.

TechDiumMory

Opening: 24 July 2026 (INVITATION ONLY)

               14:00–17:00

               Exhibition Opening & Guided Tour

               17:00–19:30

               DiaoBaode Live

               by BUMPY & TechDiumMory

Exhibition Dates: 25 July – 25 October 2026

Venue: Tank Shanghai

Artists: jinkun Zhu, LazyBackHome, Zhang Ting

Academic Chairs: Ziyang Wu, Cao Shu, Rhett Tsai

*TANK MEMBERSHIP enjoy free admission to exhibitions and events with a valid membership.

“Shu (术)” originally referred to a method of making and transforming the world. Today, this “Shu” has expanded into a mechanism for producing reality itself, operating between technological systems, media circulation, and cultural memory. As Technology, Medium, and Memory become increasingly intertwined, human experience can no longer be separated into independent parts. Together, they form a new structure through which reality is continuously produced.

Fire@Data Center 2026 marks Zhu Jinkun’s response to his first solo exhibition five years ago—a delayed reply to the questions it first posed. Over the past five years, rapid technological development has fundamentally reshaped the operational logic of reality. Artificial intelligence, algorithmic systems, computational infrastructures, and automated networks have gradually evolved from tools that intervene in the world into the underlying structures through which it is organized. Reality is increasingly abstracted into data, models, and systems, while geopolitics, economic networks, natural environments, and individual experience are decomposed into computational, transmissible, and reconfigurable units circulating across global information infrastructures. Rather than revisiting the past, Fire@Data Center 2026 documents this ongoing transformation, in which reality is no longer merely represented by technology but continuously produced through processes of computation, transmission, and algorithmic mediation, unfolding as an open and perpetually evolving structure.

Jinkun Zhu

Scenery Supplier series, 2023 - NOW

UV Printing on Chevron Board

Variable Size

LazyBackHome presents an “image war” after the loss of textual authority, unfolding through the fictional public event “T-DOS (The Day of Strikes)”. The work explores how a bird-strike accident gradually detaches from the original event through the combined forces of news media, social platforms, and popular circulation. It transforms into an endlessly reproducible symbol without fixed meaning, eventually gaining new social value through continuous replication like a meme.

“Freshly Chopped Reality” serves as the central metaphor, comparing reality to a salad that is constantly chopped, mixed, and reconstructed. Alchemy is borrowed as a methodology of image production — revealing how authoritative images are continuously created, circulated, and collapsed within media loops, becoming an endless “dialogue with the underworld” without response.

LazyBackHome

T-DOS, 2026

Mixed Moving Image

Variable dimensions

In this exhibition, Zhang Ting draws on the narrative format of Humor Master, a Chinese comic magazine from the 1980s, to construct a new narrative context for the character “Xiaoming.” As a recurring figure in China's compulsory education textbooks, workbooks, and reading materials, Xiaoming does not represent any specific child but functions instead as a standardized educational symbol reproduced through repetition.

Using the motifs of the “house” and “adventure” as narrative threads, Zhang Ting relocates this long-standing textbook character into a series of constructed spatial situations, transforming him from a model of prescribed educational behavior into the protagonist of the exhibition's narrative. At the same time, Zhang Ting incorporates pirated toys, cartoon characters, and everyday objects from his childhood, reorganizing them within Xiaoming's reconstructed environment into a shared yet complex generational experience. Throughout the exhibition, Xiaoming is repeatedly placed in situations of danger and disorder. This departure from the standardized narrative reveals the distance between individual lived experience and educational norms, while reflecting the profound ways in which pirated visual culture, existing beyond the framework of formal education, has shaped the lived experience of an entire generation.

Zhang Ting

Boxer vs. Gundam Shield, 2023

oil on canvas

90×120 cm

艺术家介绍 Artists

毕业于中国美术学院跨媒体艺术学院。他聚焦庞杂的网络社会，揭示媒体与科技权威下的光晕，并以其中的怪象回应或颠覆现实。在割裂的硬体与软体之间，反思后世社会中的“超真实”以及符号和图像的关系，以计算机作为手段呈现“内爆”过程中的暴力与无力。

他的创作涉及影像、装置、声音等。于2023年初驻留于阿那亚艺术中心,年底于MartinGoyaBusiness与Birtish Council的交流中进行展演。作品曾展出于660 Madison Avenue, COMA Gallery, 威尼斯军械库，浙江美术馆、上海当代艺术博物馆、马丁·戈雅生意、K11美术馆、油罐艺术中心、西岸艺术中心、北京中间美术馆、刘海粟美术馆、大田秀则画廊，CEF实验影像中心,、天目里等。作品曾被美术馆和机构收藏，其中包括：马丁·戈雅生意、澳大利亚白兔美术馆、CC基金会、X美术馆、B1OCK Gallery、 中国美术学院美术馆等。

He graduated from the School of Intermedia Art at the China Academy of Art. His practice focuses on the complex landscape of networked society, revealing the aura constructed by media and technological authority, and responding to—or subverting—reality through its inherent absurdities. Operating between the fractured realms of hardware and software, his work interrogates the “hyperreality” of contemporary society and the relationship between signs and images, employing the computer as a medium to articulate the violence and impotence embedded in processes of implosion.

His multidisciplinary practice encompasses video, installation, and sound. In early 2023, he undertook a residency at Aranya Art Center, and later that year presented a performance as part of an exchange program organized by Martin Goya Business and the British Council. His works have been exhibited internationally at venues including 660 Madison Avenue (New York), COMA Gallery, the Venice Arsenale, Zhejiang Art Museum, Power Station of Art (Shanghai), Martin Goya Business, K11 Art Museum, Tank Shanghai, West Bund Art Center, Liu Haisu Art Museum, Taka Ishii Gallery, CEF Center for Experimental Film, and Tianmu Li.

His works are held in the collections of institutions such as Martin Goya Business, White Rabbit Gallery (Australia), CC Foundation, X Museum, B1OCK Gallery, and the Art Museum of the China Academy of Art, among others.

张楠LazyBackHome，视觉及影像艺术、导演，2024年获伦敦艺术大学硕士学位，现工作生活于杭州。 曾驻留斯沃琪和平饭店艺术中心，其创作跨越影像、雕塑与版画等媒介，研究全球化之后的图像政治、媒体仿像与当代寓言。通过对神话、寓言、新闻图像与流行文化符号的重构，探索图像如何成为现实生产、权力分配与社会叙事建构的工具。

作品曾放映于柏林HAU2、维也纳新艺术协会会馆、伦敦巴比肯艺术中心、威尼斯军械库、THE WRONG双年展、南京艺术学院美术馆、北京德国文化中心、First影展、Fotografiska影像中心，并展出于上海当代艺术博物馆、Ars Electronic、大田秀则画廊、油罐艺术中心、Mikke Gallery、INNA Art Space等，曾入围In Motion London by Playgrounds 最佳新人导演奖、Aisolation 最佳影像及Digerati 实验媒体艺术节最佳影像。2022年由想象力学实验室及马丁戈雅生意呈于B1ock Gallery“谁说真实未必虚幻”，2024年举办个展“死海之果”。

作品曾被澳大利亚白兔美术馆、CC基金会、宫津大辅、B1ock Gallery等收藏。

Zhang Nan (LazyBackHome) is a visual artist, moving image artist, and director. She received her Master’s degree from the University of the Arts London in 2024 and is currently living and working in Hangzhou. She has participated in a residency at the Swatch Art Peace Hotel. Working with video, sculpture, and printmaking, her practice focuses on image politics in the post-globalization era, media simulations, and contemporary storytelling. By reinterpreting myths, fables, news images, and popular culture symbols, she explores how images shape reality, reflect power relations, and influence social narratives.

Her works have been screened at HAU2 in Berlin, the Neuer Kunstverein Wien in Vienna, the Barbican Centre in London, the Venice Arsenal, The Wrong Biennale, the Art Museum of Nanjing University of the Arts, the Goethe-Institut in Beijing, First Film Festival, and Fotografiska. Her works have also been exhibited at the Power Station of Art, Ars Electronica, Ota Fine Art Gallery, Tank Shanghai, Mikke Gallery, and INNA Art Space. She has been shortlisted for the Best New Director Award at In Motion London by Playgrounds, the Best Moving Image Award at Aisolation, and the Best Image Award at Digerati Experimental Media Art Festival. In 2022, her work was presented by Imaginary Laboratory and Martin Goya Business in the exhibition “IT’S ALL TRUE, MAN” at B1ock Gallery. In 2024, she presented her solo exhibition “Apple of Sodom”.

Her works are held in collections including White Rabbit Gallery (Australia), CC Foundation, Daisuke Miyatsu Collection, and B1ock Gallery.

b.1999 浙江宁波，本科、硕士毕业于中国美术学院跨媒体艺术学院，现于日本东京艺术大学绘画专攻攻读双硕士学位。作品囊括装置、实验影像和绘画，他的创作总是和当下密切挂钩，以中国2000至2010年代的视觉经验为切入点，对记忆中童年时期的图像进行检索和提炼、把大众熟知并且遗忘的形象再次展现在当下的艺术语境中。张听试图借由这些被反复复制、消费与遗忘的视觉元素，重新审视个体成长经验与时代变迁之间的联系，并以此构建对当下现实的持续观察与思考。

曾于2023、2022年在马丁·戈雅生意 狸瑞金卮、马丁·戈雅生意 宅HOME Theatre、仁·美术馆举办个展，于2022、2021年在剩余空间、啥空间、dongx3进行个人项目。

作品曾被美术馆和机构收藏，其中包括：马丁·戈雅生意、澳大利亚白兔美术馆、CC 基金会等。

b. 1999, Ningbo, Zhejiang, China. Zhang Ting received both his B.A. and M.F.A. from the School of Intermedia Art at the China Academy of Art and is currently pursuing a second Master's degree in the Department of Painting at Tokyo University of the Arts, Japan.

His practice encompasses installation, experimental video, and painting. Closely engaged with the present, his work takes the visual experiences of childhood in China during the 2000s and 2010s as its point of departure. By retrieving and distilling images from childhood memory, he recontextualizes familiar yet forgotten figures within contemporary artistic discourse. Through these visual elements that have been repeatedly reproduced, consumed, and forgotten, Zhang reexamines the relationship between individual experiences of growing up and broader social transformations, constructing an ongoing reflection on contemporary reality.

He has held solo exhibitions at MARTIN GOYA BUSINESS VERRE LIQUIDE, MARTIN GOYA BUSINESS HOME Theatre, and Ren Community Art Museum in 2023 and 2022, and presented individual projects at SURPLUS SPACE, ScheinSpace, and dongx3 in 2022 and 2021.

His works are held in the collections of museums, galleries, and institutions including MARTIN GOYA BUSINESS, White Rabbit Gallery (Australia), and the CC Foundation.

开幕预告 Opening

特别支持

 马丁·戈雅生意(MARTIN GOYA BUSINESS)