Chen Xiaoyun, Drag, Video, Color, Sound, 4’11”, 2006

Rain was filmed during the flooding that occurred in Beijing on July 21, 2012, one of the worst in living memory and one of many that occurred throughout China during that year. There is a chronic shortage of water in Beijing but in just a few hours, the city received six to seven inches of rain, and nearby mountain regions experienced flash flooding and landslides, leading to mass evacuations and numerous deaths. Wanting to be more than a bystander, Zhao Zhao found an inflatable mattress, which he used as an improvised vessel to float around under the Guangqumen Overpass, which saw some of the most drastic flooding. He also documented the flooded city with a video camera.

在门的正面锁孔处安装电视机一台，电视机播放的画面为正在锁孔中窥探的脸部特写。
这个脸由59个不同种族的五官构成，不同的五官每秒5秒交替出现。
在门的背面，观众通过锁孔观看影像内容。

Eternal Rays of the Sun series were works Geng Jianyi has prepared specifically for the 1993 Venice Biennale. The work may seem to embody the “political pop” style, when in fact the artist’s emphasis was not to highlight the red, bright and glorious background of the Cultural Revolution and its representation of the farmers, worker, and soldiers class. Instead, it concealed a visual game where the center of each painting consists of the shifting foci of the group photograph on the backside of the 5 yuan bill. As if these paintings are five fixed frames of an animation, the radiant background could thus be taken out of the political myth and be restored to its initial impetus in visual design. In this sense, this work was meant to disenchant, rather than creating a myth to demystify, it confronted the experiences of a time through an individual’s everyday sentiments, this was the ingenuity Geng Jianyi has preserved throughout his lifetime.