Alone, Together /  Locals, Everywhere
essay, Nick Yizhuo Li essay, Nick Yizhuo Li

Alone, Together /  Locals, Everywhere

In 2023, the exhibition title of the Venice Biennial seemed to perfectly encompass our socio political environment: Foreigners Everywhere.

It was elegant, political, and true: a pejorative transformed into a rallying cry from a fractured global present.

Like Just Do It, it was also symptomatic in its power to compel, to cultivate likes and shares.

It could have been the tagline for a drop on Instagram, Twitter, or TikTok Shop… catching our short attention span in a world of hyper-connectivity, click-commerce and hyper-isolation. Here we are foreign in our own homes (are they even ours any more?) and are strangers on infinite scroll… flooded with images of disposable elsewheres and others, alien even to ourselves.

l’enfer, c’est les autres

Nobody wants this anymore. We have reached a critical mass of despair with the false promise of mass “reach” and hyper-connectivity.

Locals Everywhere is not a denial of this reality.
It is a response to this despair, and a proposal for both an exit and a path forward…

Away from our self-imposed terms of estrangement.

To be local is not a matter of origin.
It’s a matter of attention,
Of intention,
Of how we choose to show up.

To be local is to participate, to be in relation, to stay proximate, whether digitally or physically, through care and affinity, rather than claim.

Locals Everywhere names an interior exodus.
A movement away from the algorithmic public square, away from mass dissemination as goal, and toward something quieter, more intimate. To crave and respect limits. To see and integrate with technology as an extension of intimacy, instead of “using” “it” as a tool for hacking our attention span.

A distributed intimacy.
A post-geographic kinship.
A refusal to define ourselves by displacement, and an invitation to begin again through presence and connection.

This is not utopia. It is something more fragile, and more possible.
A politics of coherence.
A small, glowing warmth.
A shared finitude.

To live here, on this fifth shore, is to relinquish mastery in favor of mutuality. It is to recognize the instability and porousness of identity, not as crisis, but as condition.

To speak with voices that are not ours alone.

Here, authorship dissolves into relation.
Voice becomes encounter.
Intimacy is not proximity… but coherence.

We are alone, together.
We are local, everywhere.
We are not finished.

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Imaginary of an Image: On Tanmu’s Recent Paintings
essay, Yizhuo Yizhuo Li essay, Yizhuo Yizhuo Li

Imaginary of an Image: On Tanmu’s Recent Paintings

At one moment I couldn’t help but stare at Tanmu’s Dolly the sheep. Among her intricately executed work, neither the composition nor the technique of Dolly was particularly remarkable, except that unlike most others, it gazes back.

It was then that I started examining the affective and epistemic formations in Tanmu’s work; my insensitivity was not because I knew little about her practice—from painting and drawing to printmaking and multimedia installations—or artistic approach, but that I had always felt genuinely close to the images, despite their objective guise.

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