Parabola 03, Precision Gaze

Year: 2025

Material/Technique: Photograph, Mixed Media

Size: 50 × 40 cm

Edition: Multiple

Signed:Included

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Parabola 03, Precision Gaze

About the Work

Year
2025
Material/Technique
Photograph, Mixed Media
Size
50 × 40 cm
Edition
Multiple
Signed
Included
Frame
Included
Work Certificate
Included
Category
Photograph
Style
Conceptual, Abstract, Fantasy, Emotional, Society / Politics / History, Geometry, Minimalism, Philosophy / Vanitas

Work Details

这件作品将显微镜般的观察手势与模型飞机的影像并置,构成了“凝视”与“投掷”之间的隐喻性联结。通过显微镜镜头的紧张凝视与飞机的飞行轨迹,作品揭示了科学与战争之间的潜在共谋关系:技术化的精确观看不再是中立的,而是不断为权力与暴力提供支持。这里,投掷的逻辑不只在于物体的抛射,而在于凝视本身如何作为一条无形的抛物线,将观察者与被观察对象捆绑在战争经验的框架中。

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Parabola 03, Precision Gaze
Parabola 03, Precision Gaze
Parabola 03, Precision Gaze
Parabola 03, Precision Gaze
Parabola 03, Precision Gaze
Parabola 03, Precision Gaze
Parabola 03, Precision Gaze
Parabola 03, Precision Gaze
Parabola 03, Precision Gaze

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Artist

YINXIANGQI
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YINXIANGQI

Contemporary Artist

Yin Xiangqi is a visual artist based in Nagoya, Japan, working across photography, installation, and moving image. His interdisciplinary practice visualizes the mechanisms of violence, structures of power, and historical memory. Through installation-based video narratives, he intervenes in viewers’ sensory experience, investigating how technological media shape the dynamics of looking and being looked at. His works have been exhibited at institutions such as Three Shadows Photography Art Centre, Kong Space Art Museum, Chengdu Art Museum, TOFU (Denmark), and Der Greif (Germany). His ongoing project Very Good Me and You has been presented across China and Japan, and was selected for the Guest Room Scholarship Program by Der Greif in 2024. He has been interviewed by Der Greif, Three Shadows Photography Art Centre, among others. Yin Xiangqi (b. 1999, China) is a visual artist based in Nagoya, Japan. Working across photography, installation, and moving image, his practice explores the topologies of violence, the mechanisms of institutional power, and the ways history is mediated through objects, images, and technology. By reconfiguring symbolic forms, he investigates how cultural authority and systemic structures discipline the body, perception, and memory, while his installation-based video narratives intervene directly in the viewer’s sensory experience. In works such as Bone Concerto, Explosive Statement, Structural Tension, and No Target, Yin dismantles the symbols of instruments, weapons, and disciplinary mechanisms, rendering them as inoperative fragments of systemic structures. These works function as “fractured nodes,” preserving unresolved tensions between power and resistance, and compelling audiences to confront the persistence of conflict. He constructs a “topological network” in which viewers, as they navigate the space, enter a field of interwoven reflections where violence no longer appears solely as an event, but operates latently, through concealment and sedimentation. In recent years, his practice has shifted toward larger-scale moving-image installations. The solo exhibition Parabola (2025) metaphorically linked trajectories and the logic of throwing with mathematics, social structures, and war experience. His ongoing project Very Good Me and You (since 2021) examines intimacy, negotiation of power, and embodied projection of will within personal relationships. Together, these works articulate a central inquiry: how technological media construct and control the dynamics of looking and being looked at. Looking ahead, Yin plans to expand a “cartography of invisible violence” through material experimentation and immersive installation, creating sensory fields in which viewers directly confront how media regulate the conditions of visibility. His work has been exhibited at institutions such as Three Shadows Photography Art Centre, Kong Space Art Museum, Chengdu Art Museum, TOFU (Denmark), and Der Greif (Germany), and he has been featured in interviews by Der Greif and Three Shadows. Selected exhibitions include: Parabola (Solo, Smoke Gallery, Nagoya, 2025), N.G.Y. — Nagoya・Art・Future (YPF PHOTO AWARD Finalists Exhibition, Nagoya, 2025), Chengdu Biennale Satellite Program (Chengdu Art Museum, 2024), Throwing the Stone (Solo, SUMMER OF LOVE, Tokyo, 2023), Moon Observation (Solo, Hanzan Gallery, Kyoto, 2022), and EAGER TO (Solo, Kong Space Art Museum, Hangzhou, 2021). In 2024, he received the Guest Room Scholarship from Der Greif and was featured in its Group Question program. Selected Exhibitions: • 2025 Parabola, Solo Exhibition, Smoke Gallery, Nagoya • 2025 N.G.Y. — Nagoya・Art・Future, YPF PHOTO AWARD Finalists Exhibition, Nagoya • 2024 Chengdu Biennale Satellite Program, Group Exhibition, Chengdu Art Museum • 2023 Throwing the Stone, Solo Exhibition, SUMMER OF LOVE, Tokyo • 2022 Moon Observation, Solo Exhibition, Hanzan Gallery, Kyoto • 2021 EAGER TO, Solo Exhibition, Kong Space Art Museum, Hangzhou Awards: • 2024 Guest Room Scholarship Awardee, Der Greif, Germany Press: • 2024 Group Question, Featured Artist, Der Greif, Germany • Interview, Three Shadows Photography Art Centre

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我目前在名古屋进行摄影、装置与影像的跨媒介创作,作品关注暴力的拓扑结构、权力的制度机制,以及历史如何被物件、图像与技术所中介。维持工作室的日常开销、材料与设备的更新、展览的布展与运输,都是我创作过程中必须面对的现实挑战。您的赞助将直接帮助我继续进行新的作品实验,并推动我正在展开的研究与展览计划——例如正在进行的《放物线》和长期项目《非常好的我和你》。我希望通过这些作品,让更多人感受到艺术对于历史记忆与当下经验的再思考。每一份支持不仅是物质上的帮助,更是让我能够坚定走在艺术道路上的力量。非常感谢您的关注与鼓励!

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Last updated date
09.25.2025