Six questions for
Jun Zhang

How do you describe your own art practice?

I describe my art practice as Imaginal Ethno-Cosmology. It lies at the intersection of comparative anthropology, speculative ethnography, and cosmological reimagination. Heavily influenced by Federico Campagna’s theory of “Magic Cosmogony”, I critically explore alternative worldviews that challenge the “Technic Cosmogony”. My work exists in the liminal space between reality and imagination, where speculative worlds and fictional cosmologies can emerge.

Beginning with in-depth research into local folklore, myths, and customs, I engage with the ethnographic study of specific regions. I reimagine these cultural practices and beliefs, fabricating new mythologies, creatures, and rituals that are both grounded in historical research and freely expanded through imagination.

Which question or theme is central in your work?

My central question lies: how can artistic practice reinterpret indigenous cosmologies and alternative knowledge systems marginalized by colonial activities and capitalist modernization, in order to challenge dominant “Technic Cosmogony” and to propose alternative, imaginative frameworks for our societies.

What was your first experience with art?

My first experience with art was a simple, scribbly drawing I made during a drawing class in primary school. It was the first time I felt the excitement and joy of constructing a narrative or structure using images and visual language. That small, playful experience awakened my initial awareness of my interests and eventually influenced my decision to pursue further studies in art school.

What is your greatest source of inspiration?

My greatest source of inspiration comes from rigorous archival research—particularly from historical, anthropological, and archeological studies. Before embarking on a new project, I spend considerable time delving into archival materials, scholarly monographs, and manuscripts, often tracing obscure histories, folklore, and cultural traditions through detailed texts and historical accounts. Such academic reading not only provides a solid foundation for my artistic reimaginings, but also sparks my imagination by revealing fascinating intersections between historical reality and mythical narratives.

In my leisure time, I enjoy browsing through antique bookshops in search of special natural-history writings and rare manuscripts to read. The imaginative richness found in these works interacts with rigorous scholarly research, offering me a profound source of inspiration. In addition to reading, I also enjoy ruins or visionary architecture exploration and finding unique spatial experiences.

What do you need in order to create your work?

Space. My artistic practice consistently positions “space” as both a crucial medium and a discursive field. The space I mentioned here is not a neutral physical container, but a cognitive device that carries historical layers. I actively seek out unconventional yet contextually resonant exhibition spaces for my work, from former shell lime kilns, abandoned churches, to former reservoir spaces, etc. By combining my works and the space to create an immersive atmosphere, I try to transform the space from a display background to a symbiotic body of the meaning of the works, thereby guiding the audience to experience the hidden or marginalized knowledge revealed behind the works in an immersive way.

What work or artist has most recently surprised you?

Recently, I’m impressed with artists such as Candice Lin, whose works employ speculative storytelling and material experimentation to critique systems of power caused by colonial history and propose alternative narratives.