Group Exhibition ShanghART WB Central, Shanghai
In contemporary conditions of migration and circulation, language functions not only as a medium of communication but also as a regulatory structure, shaping access, belonging, and exclusion. While often regarded as a key to understanding the world, language simultaneously produces invisible boundaries. Within this framework, memory, perception, and moving images operate as alternative systems of transmission, opening pathways beyond linguistic regulation.
Moonlight Without Visa Screening Program is conceived as a screening program that positions moving images as a sensory and affective medium. Bypassing textual narration and grammatical structures, the works engage viewers through light, sound, and rhythm, activating perception and memory directly. Viewing is approached as a process in which cognition and emotion are continuously shaped and recalibrated.
The screening space functions as a collective experimental site. Through darkness, projection, and sound, spectators encounter images as temporal and perceptual sequences rather than linear narratives. Watching becomes a situated experience unfolding within conditions of movement and displacement.
On the night of Lichun (the Beginning of Spring), works by Zhang Beichen and Li Yantong—The Untethered Ashes and Elegy of the Tides—employ transoceanic fictional narratives to trace overlooked life histories of early Chinese laborers. Zhong Huizhen’s Variations on a Branching Sea adopts a semi-fictional approach to examine migration and survival among labor communities in the Pearl River Delta. Across the three works, fiction operates as a method for articulating experiences shaped by labor, distance, and erasure.
Rather than proposing a unified narrative, Moonlight Without Visa frames viewing as a process of attunement—an encounter with what cannot be fully articulated, yet remains collectively sensed.
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