Chronical

He draws on memories, rumors, and hearsays from abrupt fractures of media histories in China. Peng makes this visible but also tangible; in his films, there is a tension between a past that wants to be forgotten and a present that is still steeped in the influences of the past. This tension is emphasized by the way image and concept intertwine. For example, in the film “The Cyan Garden,” two identical projections can be seen. One on a large screen hanging just in front of the wall, the other on that wall, in a slightly different format with a slightly duller color. The one projection can be seen through the other, like a shadow of the one in front. In the film, two storylines are interwoven; one is abruptly interrupted in the image but continues to be heard as a voiceover in the background. In ‘autocorrect’, a scene is filmed several times and the projections of that one and the same story are placed side by side. A voice-over plays monotonous muzak of interchangeable self-reflective one-liners. Peng draws connections between the meaning and symbolism of the material film, and stories and events from the past, 

forming a site of memory that resists erasure and amnesia.

Concordia invited Peng Zuqiang to exhibit his work in the main hall. Concordia is a place where dialogue with visitors is paramount, and Peng's work displays the necessary polyphony that will strengthen and deepen that dialogue.