{"id":116,"date":"2025-05-15T20:45:36","date_gmt":"2025-05-15T20:45:36","guid":{"rendered":"http:\/\/lianzhang.co.uk\/?page_id=116"},"modified":"2025-05-24T20:58:25","modified_gmt":"2025-05-24T20:58:25","slug":"exhibitions","status":"publish","type":"page","link":"http:\/\/lianzhang.co.uk\/?page_id=116","title":{"rendered":"Exhibitions"},"content":{"rendered":"\n<pre class=\"wp-block-verse\" style=\"font-size: 20px;\"><strong>Solo Exhibitions<\/strong><\/pre>\n\n\n\n<div id=\"image-switcher-4\" style=\"cursor:pointer; text-align:center; margin-bottom: 5px;\">\n  <img decoding=\"async\" id=\"switch-image-4\" src=\"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/The-Rabbit-Who-Hunts-Tigers-1-scaled.jpg\" style=\"max-width:100%; height:auto;\" \/>\n<\/div>\n\n<script>\n  (function() {\n    const images4 = [\n      \"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/The-Rabbit-Who-Hunts-Tigers-2-scaled.jpg\",\n\"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/The-Rabbit-Who-Hunts-Tigers-3-scaled.jpg\",\n\"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/The-Rabbit-Who-Hunts-Tigers-4-scaled.jpg\",\n\"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/The-Rabbit-Who-Hunts-Tigers-5-scaled.jpg\",\n\"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/The-Rabbit-Who-Hunts-Tigers-6-scaled.jpg\",\n\"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/The-Rabbit-Who-Hunts-Tigers-1-scaled.jpg\"\n    ];\n\n   let currentIndex4 = 0;\n    const img4 = document.getElementById(\"switch-image-4\");\n    const container4 = document.getElementById(\"image-switcher-4\");\n\n    container4.addEventListener(\"click\", () => {\n      currentIndex4 = (currentIndex4 + 1) % images4.length;\n      img4.src = images4[currentIndex4];\n    });\n  })();\n<\/script>\n\n\n\n<details class=\"wp-block-details is-layout-flow wp-block-details-is-layout-flow\"><summary><em><em><em><em>The Rabbit Who Hunts Tigers<\/em><\/em><\/em><\/em>, Geneva Switzerland, 2023.<\/summary>\n<p><strong>Sebastien Bertrand <\/strong>are pleased to present <em>The Rabbit Who Hunts Tigers<\/em> the first solo show of the artist Lian Zhang (1984, Hangzhou) at the gallery.<\/p>\n\n\n\n<p id=\"yui_3_17_2_1_1747580387492_2197\">Zhang creates powerful, emotional landscapes that transport the viewer to another time and place. Her nostalgic, illusory scenes incorporate autobiographical fragments alongside references to Eastern and Western mythology, folklore, art, history, and popular culture. Each composition dwells on contradictions that blend past and future, good and evil, myth and reality, tragedy and comedy, and hints at multifaceted narratives that strain in many different directions at once. Her works draw from Surrealism, Symbolism, Taoist philosophy, and her personal experience living in London as an immigrant.<\/p>\n\n\n\n<p>Executed with a vivid color palette and filled with the energy of both stasis and motion, her paintings embody a fluidity between objects and figures. Zhang aspires to achieve a form of soft power via delicate, flowing, water-like brushstrokes that interlace disparate elements across the surface of the canvas.<\/p>\n\n\n\n<p id=\"yui_3_17_2_1_1747580387492_2205\"><em>\u201cI always imagine that my hands become water; they travel freely when moving here to there in a painting.\u201d <\/em>\u2013 Lian Zhang<\/p>\n\n\n\n<p>Water \u2013 formless, shapeless, and adaptable \u2013 is an important component of Zhang\u2019s work and a great source of inspiration. In that regard, she refers to Bruce Lee\u2019s metaphor about water, quoted in Yin Yin\u2019s album <em>The Rabbit that Hunts Tigers,<\/em> which gives its title to the exhibition.<\/p>\n\n\n\n<p id=\"yui_3_17_2_1_1747580387492_2258\">While many of Zhang\u2019s previous paintings were about exploring the experience of living abroad, this new body of works is about returning to an estranged homeland and confronting one\u2019s deepest fear by ripping off the old wounds. They are based on the idea that life is impermanent, but one should never stop battling with inner demons and fight for a better future. The exhibition features ten paintings, three of which are large-scale atmospheric, dreamlike scenes. The other seven are uncanny portraits of female hybrid characters defying the viewer with their intense gaze.<\/p>\n\n\n\n<p id=\"yui_3_17_2_1_1747580387492_2220\">The large work <em>Tiger\u2019s Den<\/em> challenges the conventional storyline of predators and preys and reminds us that those presented as the perfect embodiment of strength and evil are, first and foremost, animals. Indeed, the demons we are afraid to face are always inside us. We are also reminded of this through <em>All of our waves are water<\/em> that depicts a tidal viewing ceremony of the Qian Tang River, which the artist could witness from her balcony.<\/p>\n\n\n\n<p><em>\u201cMy studio was on the 24th floor, I saw so many tiny humans standing on the shore the whole afternoon just to see the waves which pulled by the gravitation of the moon goddess<\/em>.\u201d \u2013 Lian Zhang.<\/p>\n\n\n\n<p id=\"yui_3_17_2_1_1747580387492_2219\">This piece takes this event further, to when everything gets out of control and the moon goddess stands on the water and fights her way out by cutting waves with her warping swords to kill the beast that blocks her way.<\/p>\n\n\n\n<p id=\"yui_3_17_2_1_1747580387492_2212\"><em>The Invasion<\/em>, semi-autobiographical in a surrealist way, depicts a time when both the inner life and outer world are floating, leading to a plot that repeatedly happens in a distorted, dreamlike labyrinth inspired by reality.<\/p>\n\n\n\n<p id=\"yui_3_17_2_1_1747580387492_2259\">Her ongoing series of female portraits explores Asian female identity, while highlighting and undermining some of the ways in which Asian women are stereotyped and objectified. <em>Ambush<\/em> is based on Anna May Wong, the first Chinese American actress to gain international recognition, but is yet mostly remembered for her stereotypical supporting roles as \u201cDragon Lady\u201d. <em>Huntress, Bystander, Tropical Sun<\/em> and <em>The Silent One<\/em> are inspired by vintage posters in which the main protagonists were objects of male gaze. By giving these models a peculiar twist, Zhang makes them gaze back at the viewer with their monster eyes and unconventional expressions. <em>Cry of a Friend<\/em> and <em>The Archer<\/em> explore the symbol of rebellion and satisfy our thirst for freedom.<\/p>\n\n\n\n<p><em>I said empty your mind<br>Be formless<br>Shapeless<br>Like water<\/em><\/p>\n\n\n\n<p id=\"yui_3_17_2_1_1747580387492_2239\"><em>Have you put water into a cup?<br>It becomes the cup<br>You put water into a bottle, it becomes the bottle<br>You put it in a teapot, it becomes the teapot<br>Now water can flow or it can crash<br>Be water, my friend<\/em><\/p>\n\n\n\n<p>\u2013 Bruce Lee quoted by Yin Yin, in \u201cOne Inch Punch\u201d \u2013 <em>The Rabbit That Hunts Tigers<\/em>, 2019<br><\/p>\n\n\n\n<p><\/p>\n<\/details>\n\n\n\n<div id=\"image-switcher-3\" style=\"cursor:pointer; text-align:center; margin-bottom: 5px;\">\n  <img decoding=\"async\" id=\"switch-image-3\" src=\"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/Fast-Dreams-Slow-Days-1-scaled.jpg\" style=\"max-width:100%; height:auto;\" \/>\n<\/div>\n\n<script>\n  (function() {\n    const images3 = [\n      \"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/Fast-Dreams-Slow-Days-2-scaled.jpg\",\n \"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/Fast-Dreams-Slow-Days-3-scaled.jpg\",\n \"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/Fast-Dreams-Slow-Days-4-scaled.jpg\",\n \"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/Fast-Dreams-Slow-Days-5-scaled.jpg\",\n \"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/Fast-Dreams-Slow-Days-6-scaled.jpg\",\n \"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/Fast-Dreams-Slow-Days-7-scaled.jpg\",\n\"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/Fast-Dreams-Slow-Days-1-scaled.jpg\"\n    ];\n\n   let currentIndex3 = 0;\n    const img3 = document.getElementById(\"switch-image-3\");\n    const container3 = document.getElementById(\"image-switcher-3\");\n\n    container3.addEventListener(\"click\", () => {\n      currentIndex3 = (currentIndex3 + 1) % images3.length;\n      img3.src = images3[currentIndex3];\n    });\n  })();\n<\/script>\n\n\n\n<details class=\"wp-block-details is-layout-flow wp-block-details-is-layout-flow\"><summary><em><em><em>Fast Dreams, Slow Days<\/em><\/em><\/em>, LA USA, 2022.<\/summary>\n<p><em>Lian Zhang: Fast Dreams, Slow Days<\/em>&nbsp;is the artist\u2019s first exhibition with <strong>Nicodim<\/strong>. Zhang\u2019s works hint at multifaceted narratives that strain from multiple directions simultaneously. Each composition is a theater of contradictions that blend past and future, good and evil, myth and reality, tragedy and comedy, interweaving allusions to historical moments and classical forms from Zhang\u2019s Eastern and Western heritage. Investigating the connections between interior and exterior worlds, she constructs scenes from both personal memories and imagined landscapes wherein figures and objects operate fluidly between stasis and motion.&nbsp;Set within rich art historical tradition, Zhang\u2019s works draw from Surrealism, Symbolism, Taoist philosophy, and her personal experience living in London as an immigrant. Challenging preconceptions through painterly narratives, the artist\u2019s work negotiates a space for her own intersecting cultural identities.<\/p>\n\n\n\n<p>Within&nbsp;<em>Fast Dreams, Slow Days<\/em>, gods, fairies, demons, humans, plants, and animals morph into and repel against one another. In&nbsp;<em>Forever and Ever<\/em>&nbsp;(2022), a half goat\/half human figure holds court beside a circular mirror-portal into a traditional Chinese garden. Resembling the Greek god Pan (god of poetry, music, and love) the figure\u2019s sly smile implies a sinister edge, where creation and dreams teeter on destruction and horror. An auspicious symbol in Taoist tradition, the gourd in his hand is a container that holds the elixir of life, a magical substance produced through Chinese alchemy. The gourd and the god are both capable of unlocking everlasting power, but can also be weaponized for destruction.&nbsp;<\/p>\n\n\n\n<p><br>Her piece&nbsp;<em>Windy Paradise&nbsp;<\/em>(2022) questions and confronts the socio-political dynamics of the United Kingdom, her second homeland. The work encapsulates the beauty and strangeness of establishing a new home where she has built her family and career by her own hand. Also inspired by the Yu Xiuhua poem \u201cWind Blow,\u201d Zhang\u2019s painting acts as a visual homage to the text. The poem discusses the life cycle of a morning glory, whose petals open and close depending on the time of day. Zhang\u2019s mother and daughter figures, skirts swept up by a gust of wind panging English seaside cliffs, mirror Xiuhua\u2019s gentle blue morning glories, their vines climbing upwards, forever&nbsp; reaching for something on which to hold.<\/p>\n\n\n\n<p><\/p>\n<\/details>\n\n\n\n<div id=\"image-switcher-2\" style=\"cursor:pointer; text-align:center; margin-bottom: 5px;\">\n  <img decoding=\"async\" id=\"switch-image-2\" src=\"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/Weathering-with-you-1-scaled.jpg\" style=\"max-width:100%; height:auto;\" \/>\n<\/div>\n\n<script>\n  (function() {\n    const images2 = [\n      \"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/Weathering-with-you-2-scaled.jpg\",\n\"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/Weathering-with-you-3-scaled.jpg\",\n\"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/Weathering-with-you-4-scaled.jpg\",\n\"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/Weathering-with-you-5.jpg\",\n\"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/Weathering-with-you-6.jpg\",\n\"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/Weathering-with-you-7.jpg\",\n\"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/Weathering-with-you-8.jpg\",\n\"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/Weathering-with-you-9.jpg\",\n\"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/Weathering-with-you-1-scaled.jpg\"\n    ];\n\n   let currentIndex2 = 0;\n    const img2 = document.getElementById(\"switch-image-2\");\n    const container2 = document.getElementById(\"image-switcher-2\");\n\n    container2.addEventListener(\"click\", () => {\n      currentIndex2 = (currentIndex2 + 1) % images2.length;\n      img2.src = images2[currentIndex2];\n    });\n  })();\n<\/script>\n\n\n\n<details class=\"wp-block-details is-layout-flow wp-block-details-is-layout-flow\"><summary><em><em>Weathering with you<\/em><\/em>, London, 2022.<\/summary>\n<p><strong>Lychee One<\/strong> proudly presents&nbsp;<em>Weathering with You<\/em>, a solo exhibition of new work by London-based Chinese artist Lian Zhang. The exhibition is curated by Marcelle Joseph with the exhibition text below written by Gabriella Pounds.<\/p>\n\n\n\n<p>\u2018Fucking you and being fucked by you are quite the same,\u2019 opens&nbsp;<em>Crossing Half of China to Fuck You<\/em>, a poem by Yu Xiuhua. [1]In 2014, a Chinese literary magazine published the poem on the messaging app WeChat, attracting a million shares. Xiuhua\u2019s verse floats in the undertow between beauty and violence. There are images of political prisoners, infra-red-eyed deer, rain composed of silver bullets, a virtual spring. Bodies being disgusting. After the poem went viral, Internet users condemned it as \u2018slut poetry\u2019. Xiuhua responded: \u2018So what if I am a slut?\u2019<\/p>\n\n\n\n<p>Xiuhua\u2019s punkish sensibility respawns throughout Lian Zhang\u2019s paintings. In&nbsp;<em>Reincarnation<\/em>&nbsp;(2022), a severed nude lies in a steel blue lake. A butterfly rests its wings on her pink nipple. Above her, a planet mixes with an eyeball. If Xiuhua\u2019s poems explore infinite desire, then Zhang\u2019s paintings sync a lover\u2019s iris with nebulae.<\/p>\n\n\n\n<p>Cosmos. Oceans of time and space. On principle, the Surrealists loved it. Zhang, however, belongs to the Surrealist tradition outside of Western history.&nbsp;<em>At Night<\/em>&nbsp;(2022) depicts a figure immersed in waves of blue paint. She wears an angular, quiet-coloured shirt like an ancient envelope. A feminine-faced-disk inflames the ravine. And recalls poet and post-colonial philosopher Aim\u00e9 C\u00e9saire in<em>&nbsp;Solar Throat Slashed<\/em>&nbsp;(1948): \u2018the sun is a raped girl\u2019 of \u2018polarized light\u2019. [2]For C\u00e9saire, fire is not a destructive image. It is a \u2018cosmic anger\u2019 of the marginalised. [3] It vomits forth a maimed life.<\/p>\n\n\n\n<p>Zhang\u2019s brushstrokes are like&nbsp;<em>manga<\/em>&nbsp;moths circling a flame.<em>&nbsp;In Future<\/em>&nbsp;(2022), a figure emerges from whirlpools of navy and lily-white paint. A cute plant grows from her hair caught in the teeth of the wind. She colours a 1960s home with a fluorescent green fingertip. While her outfit recalls medieval China, the atmosphere feels all the assassination of U.S. President J. F. K., petal-shaped sunglasses, and space oddity. In<em>&nbsp;Dealer<\/em>&nbsp;(2022), meanwhile, blades of paint simulate a turtle-necked protagonist. She appears equal parts gamer Susan Sontag and a baby fox.<\/p>\n\n\n\n<p><em>Weathering with You<\/em>&nbsp;(2019) refers to Makoto Shinkai\u2019s animation film. It imagines a dystopian Tokyo amid silent rain. The character Hina, however, can manipulate the weather and invoke drifting cherry petals, sunshine. Like Makoto Shinkai, Yu Xiuhua and Aim\u00e9 C\u00e9saire, Zhang shares an apocalyptic, surgical approach to art in the service of a brighter future.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p>[1]&nbsp;From Yu Xiuhua,&nbsp;<em>Crossing Half of China to Fuck You,&nbsp;<\/em>in \u2018Moonlight Rests On My Left Arm\u2019 (2021), p.1.<br>[2]&nbsp;From Aim\u00e9 C\u00e9saire,&nbsp;<em>Secret Society,&nbsp;<\/em>in \u2018Solar Throat Slashed\u2019 (1948), p.19.<br>[3]&nbsp;Annick Thebia Melsan,&nbsp;<em>An Interview with Poet Aim\u00e9 C\u00e9saire,&nbsp;<\/em>Journal of Pan African Studies, vol.2. no.4, June 2008, p.6.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p>Text by Gabriella Pounds<\/p>\n<\/details>\n\n\n\n<div id=\"image-switcher-1\" style=\"cursor:pointer; text-align:center; margin-bottom: 5px;\">\n  <img decoding=\"async\" id=\"switch-image-1\" src=\"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/Constellation-and-Folds-1-scaled.jpg\" style=\"max-width:100%; height:auto;\" \/>\n<\/div>\n<script>\n  (function() {\n    const images1 = [\n      \"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/Constellation-and-Folds-2-scaled.jpg\",\n\"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/Constellation-and-Folds-3-scaled.jpg\",\n\"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/Constellation-and-Folds-4-scaled.jpg\",\n\"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/Constellation-and-Folds-5-scaled.jpg\",\n\"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/Constellation-and-Folds-6-scaled.jpg\",\n\"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/Constellation-and-Folds-7-scaled.jpg\",\n\"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/Constellation-and-Folds-8-scaled.jpg\",\n      \"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/Constellation-and-Folds-1-scaled.jpg\"\n    ];\n\n   let currentIndex1 = 0;\n    const img1 = document.getElementById(\"switch-image-1\");\n    const container1 = document.getElementById(\"image-switcher-1\");\n\n    container1.addEventListener(\"click\", () => {\n      currentIndex1 = (currentIndex1 + 1) % images1.length;\n      img1.src = images1[currentIndex1];\n    });\n  })();\n<\/script>\n\n\n\n<details class=\"wp-block-details is-layout-flow wp-block-details-is-layout-flow\"><summary><em>Constellation and Folds<\/em>, London, 2020.<\/summary>\n<p><strong>Lychee One<\/strong> proudly presents Constellations and Folds, Lian Zhang\u2019s first solo exhibition with the gallery.<\/p>\n\n\n\n<p>Rather than being introduced into a leaden sense of suspended time, we are instead invited to roam through a lost or yet to come labyrinth of temporalities. The dominate mood circulates around various modes of enchantment, as opposed to anxieties born out of late time. Attached to this circulation are registers related to virtual, childhood, mythic, and mystical spaces that all float free from the weight historical exactness. Following from this the tone of the paintings are light in ways that induce sensations related to reverie or imaginative drifting.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p>These paintings are born out of the last three months of \u2018lock down\u2019 in which other resources of living and absorption have to be invented. A counterintuitive response has been formed within this contraction of social space, a response that invites a multiplicity of optical attachments that pass over, through and before. All of this occurs without the process of objectification or fixed modes of identification manifesting as a constellation of images as opposed to a serialised progression.<\/p>\n\n\n\n<p>Part of this difference between constellation and serialised progression is, or can be viewed as a relationship between fragmentation and detachment becoming re-inscribed into metamorphic patterns of becomings born out a belief in the world being composed out of a single substance. In this world all elements appear to reconnect with dispute realms in a series of fresh encounters mixing the realms of the vegetal, animal, insect, human, objects, elements, and gestures. Within this, there are the circulation of moods connected to the play of absorption and fascination in which detachment and abstract measure are abolished. The paintings themselves are sensual, even fleshy, inviting a touch-feel relationship as a way of being-with as surface encounter.<\/p>\n\n\n\n<p>In many ways this marks a turning away from earlier work with its pre-occupations with the detached fragment, image appropriation, visual arrest, collage and layering. This indicates quite another perspective not only in regard to painting but more fundamentally the world in its passage from one schema to another. The question which is being posed within this shift relates to how the artist might make manifest this moment of both temporal register and schematic reconfiguration. Being thrown to the wind and finding a place within a remote order of things is to follow a gesture, a mode of gesture that finds its coherence within the multiplicity of folds of temporality and the image\u3002<\/p>\n\n\n\n<p>Text by Jonathan Miles<\/p>\n<\/details>\n\n\n\n<pre class=\"wp-block-verse\" style=\"font-size: 20px;\"><strong>Group Exhibitions<\/strong><\/pre>\n\n\n\n<div id=\"image-switcher-5\" style=\"cursor:pointer; text-align:center; margin-bottom: 5px;\">\n  <img decoding=\"async\" id=\"switch-image-5\" src=\"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/Installation-Views_05-scaled.jpg\" style=\"max-width:100%; height:auto;\" \/>\n<\/div>\n\n<script>\n  (function() {\n    const images5 = [\n      \"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/Installation-Views_04-scaled.jpg\",\n\"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/Installation-Views_03-scaled.jpg\",\n\"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/nicodim-youmemeyou--scaled.jpeg\",\n\"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/HD_GstaadArtFair-SebastienBertrand-JulienGremaud-001-HD-scaled.jpg\",\n\"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/IMG_9434.jpg\",\n\"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/DSC9640LR.jpg\",\n\"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/DSC9653LR.jpg\",\n\"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/in2.jpg\",\n\"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/in4-copy-scaled.jpg\",\n\"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/2021-05-15_609f507d4b904.jpg\",\n\"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/2021-05-15_609f4fdcab895.jpg\",\n\"http:\/\/lianzhang.co.uk\/wp-content\/uploads\/2025\/05\/Installation-Views_05-scaled.jpg\"\n    ];\n\n   let currentIndex5 = 0;\n    const img5 = document.getElementById(\"switch-image-5\");\n    const container5 = document.getElementById(\"image-switcher-5\");\n\n    container5.addEventListener(\"click\", () => {\n      currentIndex5 = (currentIndex5 + 1) % images5.length;\n      img5.src = images5[currentIndex5];\n    });\n  })();\n<\/script>\n","protected":false},"excerpt":{"rendered":"<p>Solo Exhibitions Group Exhibitions<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-116","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"http:\/\/lianzhang.co.uk\/index.php?rest_route=\/wp\/v2\/pages\/116","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/lianzhang.co.uk\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/lianzhang.co.uk\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/lianzhang.co.uk\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/lianzhang.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=116"}],"version-history":[{"count":5,"href":"http:\/\/lianzhang.co.uk\/index.php?rest_route=\/wp\/v2\/pages\/116\/revisions"}],"predecessor-version":[{"id":416,"href":"http:\/\/lianzhang.co.uk\/index.php?rest_route=\/wp\/v2\/pages\/116\/revisions\/416"}],"wp:attachment":[{"href":"http:\/\/lianzhang.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=116"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}