Jinkun Zhu
Tech No Legend
VIBE3-UBIK-TrashVision(TV)
VIBE3-UBIK-TrashVision(TV)
Jinkun Zhu (BIO)
Zhu Jinkun graduated from the School of Intermedia Art at China Academy of Art. His practice focuses on internet culture, the ways in which technological narratives continually reshape experiences of reality, and the material infrastructures and power structures underlying constantly shifting technological imaginaries and promises of the future. Through the reconfiguration of commercial imagery, everyday objects, networked symbols, and technological artifacts, he compresses and translates lived experience into a visual system situated between the product, interface, advertisement, and monument. Through humor and satire, his work repeatedly examines how technological promises are produced, packaged, iterated, and gradually rendered obsolete, as well as how energy, capital, and the natural environment collectively sustain algorithmic simulacra.
His practice encompasses installation, moving image, games, sound, and other media.
His work has been exhibited at 660 Madison Avenue, COMA Gallery, the Arsenale di Venezia, Tank Shanghai, MartinGoyaBusiness, Inside-Out Art Museum, the Power Station of Art, the British Council, Zhejiang Art Museum, K11 Art Museum, West Bund Art Center, Liu Haisu Art Museum, Ota Fine Arts, CEF Experimental Image Center, Tianmuli, and other institutions and venues.
His works are held in the collections of museums and institutions including Tank Shanghai, White Rabbit Gallery, MartinGoyaBusiness, CC Foundation, X Museum, B1OCK Gallery, and the Art Museum of China
Academy of Art.
SOLO EXHIBITION
2026“TechDiumMory”, Tank Shanghai, Shanghai
2024“UBIK”, ABI Space, Hangzhou
2023“Fire@Data Center”, B1OCK Gallery, Hangzhou
EXHIBITION
2026
“Crash, Crush”, Inside-Out Art Museum1, Beijing
“What You Want”, ART SPACE BORDER, Seoul
“Incommensurable Multistates”, Delta, Hangzhou
“ToDay”, X Museum&INS&YAO Club, Beijing
“The Multiple Lives”, Longxi Museum, Wenzhou
2025
“Noon, Wildness, Stream, Washe, Ruins, Theater”, Power Station of Art, Shanghai
“Re;Archive”, Mikke Gallery, Tokyo
“Asian Squat”, Tokyo Geisai, Tokyo
“loveisthetruth”, Online Exhibition, Madrid
“ENDLESS CANVAS”, Tank Shanghai, Shanghai
“hyperhood”, andfood, Hangzhou
“Art-Van-Tent”, Xintiandi, Shanghai
“NoRestForTheWicked”, Current Plans, Hongkong
“DimSum Collevtion”, K11, Guangzhou
“Meme to Jam”, J7 Art, Shanghai
“Meme to Jam”, BAC, Hangzhou
....
VIDEO SCREENING
“THE RESIDENCY”, Martin Goya Business
LOUIS VUITTON, 660 Madison Ave, NEW YORK
“Digital Jungle：V33N0 pres”, COMA Gallery，Sydney
“Digital Jungle：V33N0 pres”，Arsenale di Venezia，Venice
....
His practice encompasses installation, moving image, games, sound, and other media.
His work has been exhibited at 660 Madison Avenue, COMA Gallery, the Arsenale di Venezia, Tank Shanghai, MartinGoyaBusiness, Inside-Out Art Museum, the Power Station of Art, the British Council, Zhejiang Art Museum, K11 Art Museum, West Bund Art Center, Liu Haisu Art Museum, Ota Fine Arts, CEF Experimental Image Center, Tianmuli, and other institutions and venues.
His works are held in the collections of museums and institutions including Tank Shanghai, White Rabbit Gallery, MartinGoyaBusiness, CC Foundation, X Museum, B1OCK Gallery, and the Art Museum of China
Academy of Art.
Exhibition Experience
SOLO EXHIBITION
2026“TechDiumMory”, Tank Shanghai, Shanghai
2024“UBIK”, ABI Space, Hangzhou
2023“Fire@Data Center”, B1OCK Gallery, Hangzhou
EXHIBITION
2026
“Crash, Crush”, Inside-Out Art Museum1, Beijing
“What You Want”, ART SPACE BORDER, Seoul
“Incommensurable Multistates”, Delta, Hangzhou
“ToDay”, X Museum&INS&YAO Club, Beijing
“The Multiple Lives”, Longxi Museum, Wenzhou
2025
“Noon, Wildness, Stream, Washe, Ruins, Theater”, Power Station of Art, Shanghai
“Re;Archive”, Mikke Gallery, Tokyo
“Asian Squat”, Tokyo Geisai, Tokyo
“loveisthetruth”, Online Exhibition, Madrid
“ENDLESS CANVAS”, Tank Shanghai, Shanghai
“hyperhood”, andfood, Hangzhou
“Art-Van-Tent”, Xintiandi, Shanghai
“NoRestForTheWicked”, Current Plans, Hongkong
“DimSum Collevtion”, K11, Guangzhou
“Meme to Jam”, J7 Art, Shanghai
“Meme to Jam”, BAC, Hangzhou
....
VIDEO SCREENING
“THE RESIDENCY”, Martin Goya Business
LOUIS VUITTON, 660 Madison Ave, NEW YORK
“Digital Jungle：V33N0 pres”, COMA Gallery，Sydney
“Digital Jungle：V33N0 pres”，Arsenale di Venezia，Venice
....
THERAVADA / trvd_prod (PROduct)
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E-Mail: workjinkun@yeah.net
Recently Exhibitions
2026.07.24-10.25
@Tank Shanghai
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2026.07.11-10.11
@IOAM
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Recently Works ↓
VIBE3 2026
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MetaVoodoo 2026
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Crypto No Mercy 2026
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A
Fire@Data Center 2026
5 Video Installations
Fire@Data Center 2026 examines technology as a cultural system shaped by infrastructure, capital, belief, and collective desire. Across five video installations, the series explores how technological narratives continually repackage material contradictions and reactivate failed promises of progress.
- VIBE3 2026
- Crypro No Mercy 2026
- MetaVoodoo 2026
- Acting Intelligence 2026
- Cloud Command 2026
INFO
Fire@Data Center 2026 revisits and expands upon Zhu Jinkun’s 2022 series of the same title. Emerging amid the rise of Web3, NFTs, and networked society, the earlier works examined the increasingly visible connections between virtual value and material production. By 2026, technological infrastructure no longer enters reality as something novel; it has become an underlying structure through which resources, value, identity, and collective imaginaries are organized. The series therefore shifts its attention from the changes brought about by technology to the ways technological systems continually rename, repackage, and circulate their own contradictions through ever-evolving narratives.The series consists of five video installations: Crypto No Mercy 2026, MetaVoodoo 2026, VIBE3 2026, Cloud Command 2026, and Acting Intelligence 2026. Together, they approach technology as a cultural system composed of material infrastructure, commercial language, mechanisms of belief, and affective mobilization. Energy consumption can be reframed as ecological circulation; failed futures can return under new names; and the sensations of movement, direction, and progress can be manufactured in advance through narrative. Technology does not eliminate the contradictions embedded in reality. Instead, it continually provides them with new interfaces and more acceptable forms.
Here, the “data center” refers both to a physical node connecting energy, computation, capital, and labor, and to a model for understanding contemporary life. “Fire” no longer describes an external conflict between the real and the virtual, but an ongoing process of conversion, interference, and occupation between resources and value, promises and residues, intelligence and performance. We no longer stand outside the data center, observing how technology transforms the world; we already inhabit the reality it organizes. Rather than judging the success or failure of any particular technology, the series examines a recurring cultural mechanism: technology continually renews its names, images, and promotional languages, while the belief that “the next technology will finally deliver the future” is repeatedly reactivated.
Here, the “data center” refers both to a physical node connecting energy, computation, capital, and labor, and to a model for understanding contemporary life. “Fire” no longer describes an external conflict between the real and the virtual, but an ongoing process of conversion, interference, and occupation between resources and value, promises and residues, intelligence and performance. We no longer stand outside the data center, observing how technology transforms the world; we already inhabit the reality it organizes. Rather than judging the success or failure of any particular technology, the series examines a recurring cultural mechanism: technology continually renews its names, images, and promotional languages, while the belief that “the next technology will finally deliver the future” is repeatedly reactivated.
TECHDIUMMORY : FIRE@DATA CENTER 2026TECHDIUMMORY : FIRE@DATA CENTER 2026TECHDIUMMORY : FIRE@DATA CENTER 2026
MINE.BURN.BLOOM EVOLUTION IS THE OLDEST ALGORITHMMINE.BURN.BLOOM EVOLUTION IS THE OLDEST ALGORITHMMINE.BURN.BLOOM EVOLUTION IS THE OLDEST ALGORITHM
The Girl
Fresh Air
SUSHI
SHE
MINE, BURN, BLOOM
猛男 RAMBO SET
猛男 RAMBO SET
MetaVoodoo 2026
The Jack Tower
The Jack Tower
Theory of Evolution
Crypto No Mercy 2026
Robbery
Car No.2
Green Freak
Drunk&Sober
The Girl
Thug Love
Fresh Air
Sushi
Car No.1
LOVE
Thug Love
A World Web Wrapper series
2022-NOW
Variable Size
Aluminum Alloy Light Box
World Web Wrappers is an ongoing series of AI-generated film posters that transforms desire, lowbrow taste, and internet culture into fictional cinematic worlds. Using the minimal structure of an image and a title, the series draws on shared visual memories to evoke films that have never existed. Rather than asking whether images are real, it explores how they can trigger emotion, desire, and narrative before any actual story begins.
INFO
The World Web Wrappers series takes AI-generated film posters as its primary form, treating hormones, lowbrow taste, and intuition as methods of image production. Beginning with emotional archetypes repeatedly found in popular imagery—desire, violence, romance, heroism, disaster—the works construct a visual narrative suspended between familiarity and absurdity through nonsensical titles, excessive dramatization, and culturally dislocated symbols. Here, “lowbrow taste” is not simply an aesthetic preference, but a deliberate way of bypassing hierarchies of taste, rational judgment, and established cultural order, allowing images to return to impulse, pleasure, and forms of imagination that have yet to be disciplined.The series treats “an image and a title” as the minimal unit of cinematic narrative: the films themselves are never actually made, yet can be rapidly completed within the viewer’s own experience. The accumulated visual memory of genre cinema, advertising, games, social media, and internet memes allows viewers, from only a few fragmented cues, to imagine characters, plots, conflicts, and even entire worlds that do not exist. In these works, artificial intelligence is not the sole subject, but rather an image interface that amplifies intuition, rapidly compressing dispersed desires, cultural fragments, and linguistic associations into surfaces charged with narrative seduction.
World Web Wrappers is therefore less concerned with whether an image is real than with how an image can activate emotion and trigger desire before a complete content has even been formed—allowing the imagined film to take place before the film itself.
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Scenery Supplier series
2024-NOW
Variable Size
UV Printing on PVC Foam Board
Scenery Supplier series examines packaging boxes as more than containers: they function as surfaces through which commodities, images, and ideas are designed, labelled, and circulated. By compressing elements from the artist’s other works onto these boxes, the series transforms them into portable conceptual forms that can be transported, stacked, and reconfigured.
INFO
The Scenery Supplier series approaches packaging boxes and shopping boxes as composite forms that operate simultaneously as commodity containers, logistical interfaces, and informational surfaces. The “scenery” in the series does not refer to a natural landscape, but to a perceptual environment jointly produced by consumer systems, technological narratives, brand language, and mechanisms of display. The “supplier,” meanwhile, points to the underlying logic through which such scenery is produced: it is designed, labelled, packaged, and introduced into circulation in standardized form. Trademarks, warning labels, promotional slogans, and fragments of imagery printed across the boxes continually imply the presence of certain contents; yet the packaging has already displaced what it supposedly contains, becoming a material interface through which commodities, artworks, and their modes of circulation are constituted.Drawing on the concept of “immutable mobiles,” according to which complex objects can enter broader systems of circulation and organization only after being transformed into portable, legible, and combinable forms, “compression” in the *Scenery Supplier* series signifies both flattening and condensation. The artist flattens the spatial, material, temporal, and narrative layers of his other works onto the surfaces of the boxes, while condensing their figures, images, slogans, and central ideas into a finite field of visual information. Detached from their original media and scales, these works are placed on the same plane as commodity labels, logistical symbols, and brand language. The boxes are neither archives nor miniaturized replicas of the original works; rather, they are conceptual condensations produced through a process of recoding, allowing the works to be transported, stacked, and unfolded anew within different configurations.
WORLD WEB WRAPPER 2022-NOW SCENERY SUPPLIER 2024-NOWWORLD WEB WRAPPER 2022-NOW SCENERY SUPPLIER 2024-NOWWORLD WEB WRAPPER 2022-NOW SCENERY SUPPLIER 2024-NOW
TRASH VISION TODAY-LIMITED EDITION NATURAL SELECTIONTRASH VISION TODAY-LIMITED EDITION NATURAL SELECTIONTRASH VISION TODAY-LIMITED EDITION NATURAL SELECTION