Xinghao Liang

Moment (2024) Some documentations of Residency project Moment is a large-scale installation transforming the staircase that connects the upper and lower galleries into an inhabitable architectural structure — 11 meters long, 5 meters high, occupying half of the exhibition hall. As visitors ascend the stairs, they emerge from within this vast, unknown ‘container.’ A sound element draws them into narrow side corridors. At the end, the ‘cinema”’space has been rendered inaccessible — a compressed interior that can only be glimpsed through small holes in the wall. In that moment, viewers seem to find themselves inside the screen itself, exposed to an unseen gaze. From some of our notes before the work began: ‘The importance of internal structure lies not only in its material and functional emphasis, but in extending the duration of entry — suspended at the very instant of peering inside…’ ‘Drawing on Jean-Louis Baudry’s writing on the cinematic apparatus, the cinema here becomes both a material structure that produces passive spectatorship and a spatial device capable of holding three-dimensional illusion. Within the installation, it transforms into the material condition of looking itself…’ Exhibited in 2024 at XLY MoMA, Chengdu. Created by Momo Luo @modalism12138 & Xinghao Liang @kxldocument . Curatorial support: Tu Jingkang @alfredokang42 & Li Yiwei @liliko1022 Photo: Zhao Chengyu, Tim Architectural & sound support: @my.xstudio Xia Mingyang, Sien, Chen Hao

Elsewhere, 2025-2026, Studio shots by @modalism12138

Mono,2025

‘Hunter’Xinghao Liang,60 × 80 cm,2025

Illusion (2023) This is a temporary spatial work. From this point onward, I gradually stopped treating artworks as independent objects and began to consider the room—and the building itself—as a carrier and a testing ground. The scene becomes the canvas, and illusion is produced through the viewer’s movement within the space. The aluminium lighting grid originally installed in the ceiling was completely dismantled and deliberately reinstalled, in an ordered manner, onto the floor. Through this displacement, the space undergoes a structural inversion. Light is fragmented through reflection and refraction, and the perception of direction, orientation, and scale begins to destabilise. Within the space, an image of myself appears, alongside a projector displaying “no signal,” casting a small blue image onto the metal grid. This gesture suggests an interruption within a technological system and points toward the threshold between the visible and the invisible: the image continues to be generated, yet has lost a clear source and destination. The work was installed at Pudium Millbank Tower in London, a historical design site of Bentham’s Panopticon. The exhibition, titled Window, was improvised in nature, with each artist responding to a self-selected office space within the building. Xinghao Liang, Illusion, 2023

A work from 2023. “I entered the exhibition space wearing a suit. The space was arranged as my everyday working environment: a desk, a chair, and a tabletop filled with familiar yet cluttered objects — books, medicine bottles, food, a desk lamp, a laptop, and a VR device connected to a large monitor. I sat at the desk, took off all my clothes, and neatly placed them into a drawer. I then put on the VR headset and, inside the game, changed the avatar’s appearance from naked to an exaggerated outfit. I began playing a game called VR Fishing. The game transported me to a beach in South Korea. In less than twenty minutes, watched by the audience, I caught six fish. Afterwards, I changed the virtual character back into a suit, exited the game, put my clothes back on in the physical space, and left the exhibition. Yet I have never had the chance to visit South Korea, and I have never successfully caught a real fish.” — Xinghao Liang, I Can’t Fish, but I’m a Good Fisherman Live performance, 2023 Duration: 25 minutes This work was made in 2023. In a later interview with art critic Maya @mrkafpa @madeinbedmag , I spoke about the necessity of the body. In earlier works, I often anthropomorphised industrial objects to create metaphorical relationships between artificial systems, the human body, and the viewer. In this performance, I deliberately avoided such ‘clever’ metaphors, allowing two contradictory conditions to confront each other directly in the space. #performanceart #xinghaoliang

Reduction (?)* Xinghao Liang, Misalignment, 2023 Mixed media, 62 × 92 cm + 80 × 140 cm Xinghao Liang, A Monologue of the Times, 2022 Mixed media, 62 × 92 cm Xinghao Liang, Visual Weightlessness, 2023 Mixed media, 62 × 92 cm * It didn’t fit in the end, so it had to stay beside it :( #xinghaoliang

Tempo: 60 bpm, 2023 Installation, 2-minute loop Variable dimensions An old practice. At a rate of 60 frames per minute, the movement of my own eyeball is displayed. At the same time, a slide projector — operating at the same rhythm — clicks through its slides, producing a mechanical “clack, clack.” The rotating eye becomes the second hand of a clock: orderly, clockwise, and mechanical. Through the glass face of the clock, this movement is projected onto the wall. Clocks are orderly. Bodies are not. As the rotation reaches the 120th frame, fatigue and dryness cause the eye to tear. The image slips, and the loop begins again. By using the slide projector, the position of looking is reversed. The body and the medium confront each other, locked in a mutual gaze. Xinghao Liang, Tempo: 60 bpm, 2023 #installationart #xinghaoliang #mediaart

Things and People

A work from 2023. Two robotic vacuum cleaners attempt to play table tennis. Due to their limited capabilities, they fail to hit the ball most of the time. Xinghao Liang, Duel of Zero-Basic Athletes, 2023 Installation, 150 × 80 × 150 cm #xinghaoliang

Cooking Class, 2022 Installation set Xinghao Liang An old piece. The two ovens confront each other in a powerhouse stance. The count down and the roaring sound of fighter jets that surround them are amplified throughout the space, as if a tense game seems imminent. At this moment, all the spotlights are shone into the tinymechanical box. The “glass screen” (the microwave oven) suggests the imminence of destruction—the missile being cooked—while the clustered microphones and stool legs evoke media and power structures that concentrate and amplify discourse. The heating systems of the ovens are removed and replaced by two neon tubes reading “hustle” and “will.” They no longer produce heat, but signal a state of constant readiness — a suspended impulse that never fully materialises. The ever-present threat of escalating tension, the cyclical return to the same focal point (marked by the microwave’s timer and its abrupt “ding!”), and the inert object that confronts all this within such an environment—all coalesce into a disquieting tableau.

Liang Xinghao’s practice explores the relationship between time, space, and objects, focusing on how time is experienced in specific situations. His works often present scenes and materials in a suspended state, as if something has just happened or is about to happen. In this way, the act of viewing becomes part of how time unfolds. Time no longer sits quietly in the background, but appears as a visible condition within the space—fragmented, layered, and open. Past traces and present perception overlap, creating a sense of presence that sits between stillness and movement. Xinghao LIANG, Dear, 2025, Oil on canvas, 80 × 130 cm Xinghao LIANG, The Mute, 2025, Oil on canvas, 150 × 200 cm Xinghao LIANG, The Rift, 2024, Oil on wood panel, 60 × 46 cm ————————— ‘Lingering Presence’ Artist: Cheng Chang Feng Lingjun Li Yinuo Liang Xinghao @kxldocument Liu Yishuo Luo Kailun Zhang Rongyuan On view from December 27, 2025 to anuary 25, 2026, explore further at the link in our bio. #BONIANSPACE #groupexhibition #groupshow #gallery #contemporaryart @youming_jin @youmingjin