Eco-Lab. Qiu Zhijie

In the spaces of Galleria Continua in Beijing, at the art district 798, from 23 May to 6 October 2024, it is possible to visit Eco-Lab, a solo exhibition by Qiu Zhijie (Fujian, 1969) and a forge of ongoing experiments conducted in collaboration with scientists and technicians from various disciplines.

Transformation, drying, radiation and morphology constitute the thematic nuclei around which the exhibition unfolds. Conceived as an artistic and scientific laboratory, where the generative processuality of art and organic matter come together, the exhibition proposes a Taoist vision of nature.

Laozi’s philosophy is echoed in installations that highlight the interconnectedness and natural flow of all things and living beings. Indeed, the works create a visual narrative that reflects the universal harmony and balance between all forms of existence, also exploring their interactions with inorganic matter. For example, in the installation We Are Insects, the title of which recalls the resilience of the human species as described in the novel and famous TV series The Three Body Problem, polystyrene is decomposed by living larvae. Based on a 2015 study titled Biodegradation and Mineralization of Polystyrene by Plastic-Eating Mealworms, conducted by an international team of researchers, which shows that larvae are able to chew and metabolise polystyrene in less than 24 hours, the artist presents a vitrine containing larvae that transform plastic waste into lipids, proposing a performance of bioconversion.

Similarly, one can observe the maturing and fermentation process of a lemon-based alcoholic beverage, or the drying and dehydration in the work Nothing New under the Sun. The latter takes the form of a bamboo structure similar to a clothesline, on which hang clothes, dried fish, hams and sausages. The transforming matter throughout the exhibition space creates an olfactory journey that culminates on the upper floor of the gallery, where, in a separate space, there is a meditative room consisting of tea bricks on which eyes are engraved that, through the melting of salt crystals, appear to tear.

In addition to manifestations of organic changes, the workshop aims to capture the invisible passages of matter. For example, in the work The Cosmic Ray Igloo: A Tribute to Mario Merz, a structure resembling an igloo in the style of Mario Merz is presented with a screen installed for the transmission of cosmic rays detected by chips. Or the work, Treasure Trove Column Turns into Radio, which exploits the semi-conduction capabilities of minerals to convert stones such as amethyst, emerald and quartz into instruments for receiving radio signals.

Eco-Lab is therefore an artistic and educational experience that adopts a holistic approach to the natural sciences. As in the workshops, the products are catalogued by descriptive cards that offer theoretical scientific support, enriching the visual experience with explanations of the scientific dynamics underlying each work-experiment. This artistic-scientific operation highlights Qiu Zhijie’s recent interest in scientific disciplines, which he addresses as an artist and populariser, restoring and reinterpreting laboratory life through his artistic language.