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Paris Internationale
Ang Ziqi Zhang, Erwan Sene
21.10 – 26.10.2025
Belief is a Drug | Non-Linear Time
The dimensions of Ang Ziqi Zhang's small to mid-sized paintings evoke ideas of modularity and the unit—portable and commodity-scaled, like “a shoebox, a box containing your laptop, or a flatscreen TV”—designed to circulate with ease. The paintings’ size responds directly to Zhang’s lived conditions: how she lives, moves, and operates. Some works are arranged as singles, diptychs, or triptychs as a natural extension of the modular concept. These multi-panel works may have been rotated or flipped in their making, underlining their internal logic and relational structure. There is an inherent connectivity: a visual tether between segments of the same whole. The grid becomes a score. Panels may invert or reassemble, but often, a line threads through like a seam in fabric. They are an organism greater than the sum of its parts.
Her palette is distinctly synthetic, informed by traffic signage, highway pavement, fluorescent safety gear, metallics—the vibrational affect of “high-visibility.” These colours speak at once to the idea of wading through the world day-to-day, and to rave culture’s charged artificiality. As a student, she would fill her homework pages with deranged parabolas—forms that in their decontextualization refused linear logic, spilling into the margins like unsanctioned performance. Later, while studying economics, she rendered graphs and curves with mechanical precision.
Erwan Sene’s installation unfolds as a dense sculptural field, made of an intricate layering of sound, material, and movement where no element takes precedence. Found objects like streetlamp casings, metal grates, and PVC piping are embedded alongside cast resin, hand-cut wood, or fabricated hardware, with no visible distinction between what has been salvaged and what has been made. This collapse of hierarchy is central to his practice: an insistence that nothing—no part, no gesture—is more “authored” than another. His materials form a relational assemblage, drawing the viewer into a multi-sensory encounter. To enter the space is to be enfolded, metabolized into its circuitry.
This erasure of stratification extends into Sene’s sound practice. His compositions, like his sculptures, are thick with texture and refusal: metallic clatter folds into drone, field recordings glitch against percussive bursts. There is no foreground or background. Only planes of intensity that press against one another.
The DJ set becomes an extension of this sculptural logic: a temporal collage where beats and atmospheres layer, rupture, and entangle. Both Sene and Zhang are active participants in nightlife, a context that informs not just their aesthetics but their politics. Rave culture—with its synthetic palettes, bodily (re)arrangements, dissolution of linear time—offers a living model for resistance to the temporal economy, allowing new conditions of relation and connectivity to take shape.