'world_S E Q U E N C E S'
‘world _ S E Q U E N C E S’ is a participatory, evolving global art project, exhibited in various phases and documented on the project website.
Created by R.J. and developed in collaboration with the KP (Korea Photographers) Gallery in Seoul, the Busan International Photo Festival, and the German Japan Museum / Museum of Contemporary Art ‘Schloss Mitsuko‘, it connects diverse artistic, cultural and intercultural contexts.
In the age of AI, the significant cultural and humanistic value of knowledge exchange between ‘human to human‘ will be largely lost. Therefore, this project is deliberately conceived as a ’storytelling project‘, since knowledge is based on sensory experiences.
The first exhibition opens on June 20, 2026, at ‘Schloss Mitsuko‘, followed by further developments in Korea. Dynamic, contextual updates will follow.
Background ‚world _ S E Q U E N C E S‘ (click to view/download)
Participants:
These are the current participants; future participating artists will be listed systematically in the order they join. Simply click on the artists name to find more details. No link means the project has not been added yet.
XIANGIJE PENG
ZIYI LE 樂子毅
JIA PENG
HENRIK STRÖMBERGg
MONA CHARAF – EDDINE
KYUNGHEE LEE
MIRYEON KIM
SON YOUNGDEUK
JIWON PARK
YANA KONONOVA
VALENTINA LARI
PAOLA JIMÉNEZ QUISPE
WUTTIN CHANSATABOOT
SILVIA MINNI
YING YUN CHEN
AMI YOON
MINI TAMANG
Peng Xiangjie began practicing photography in 1990, focusing on documenting subcultures, non-mainstream communities, and conceptual photography. Has held roles including photographer at Document CHINA photo agency, academic and artistic advisor at Gucang Contemporary Image Gallery (Gucang Contemporary Art Institution), project coordinator for the Hou Dengke Documentary Photography Award, academic committee member of the Dali International Photography Festival, recommender for the Asian Pioneer Photographers Program (Dali International Photography Festival), and academic host for the Zhongnan Mountain Art Residency Project (Xi’an Original Image Gallery).
- Temple Gallery, New York, USA (Group Exhibition, 2024)
- Magreen Gallery, Genoa, Italy (Solo Exhibition, 2023)
- Merlino Galleria, Florence, Italy (Group Exhibition, 2003)
- Temple Gallery, New York, USA (Group Exhibition, 2023)
- CAM Casoria Contemporary Art Museum, Naples, Italy (Group Exhibition, 2022)
- EKalokam Trust for Photography (ETP), India (Group Exhibition, 2020)
- Damyang International Photo Festival, South Korea (Group Exhibition, 2020)
- Paris Photo, Paris, France (Group Exhibition, 2019)
- Vallette Gallery, Kuala Lumpur, Malaysia (Solo Exhibition, 2019-2020)
- Drag Queens, HUNTart, Shanghai (Solo Exhibition, 2019)
- Incheon Art Platform Gallery B, South Korea (Group Exhibition, 2019)
- Delmar Gallery, Sydney, Australia (Solo Exhibition, 2018)
- Doozo Galleria, Rome, Italy (Solo Exhibition, 2017)
- ArteFiera Art Fair, Bologna, Italy (2017)
- Two-Dimensional Realm, Pingyao International Photography Festival (Solo Exhibition, 2017)
- In Arco Galleria, Turin, Italy (Four-Person Group Exhibition, 2016)
- Artissima Art Fair, Turin, Italy (2016)
- From Grain to Pixel: Photography in China, Monash Gallery of Art (MGA), Australia (Group Exhibition, 2015)
- Chinese Photography: Since the 20th Century, Three Shadows Photography Art Centre, Beijing (Group Exhibition, 2015)
- Touching Classics: Original Works of Chinese Contemporary Photography, Cipa Gallery, Beijing (Group Exhibition, 2015)
- 1st Changjiang International Photography Biennale, Chongqing (Group Exhibition,2015)
- Illusion & Reality: Reconstructing a Narrative, Xi’an Art Museum (Group Exhibition, 2015)
- Face-to-Face, VHS-Photogalerie Stuttgart, Germany (Group Exhibition, 2014)
- Outsider, Chengdu Image Art Center (Solo Exhibition, 2014)
Ziyi Le, born in 1993 in Fujian, China, is a photographer based in Hangzhou. He graduated from Minnan Institute of Technology with a degree in Fashion Design and later shifted his focus to long-term photographic projects. His work explores migration, boundaries, belonging, and the conditions of individuals in heterogeneous spaces.
Le’s practice often employs visual storytelling to examine the psychological states of urban newcomers and marginalized individuals. Through environmental portraiture and spatial cues, he captures the ways in which people seek positioning and self-healing in unfamiliar environments. His major works, New Comer and The Other Shore, focus on the mobility of people and the ambiguity of space, reflecting the fluidity between reality and the inner world.
In 2023, Le received the Leica Oskar Barnack Newcomer Award. The following year, his photobook New Comer was published by Imageless. He has held solo exhibitions including New Comer at Place M, Tokyo (2024), and Changshou Well at Banshan Gallery, Tokyo (2019).
His work has been featured in exhibitions such as the Leica China Centennial Exhibition (2025), Wiesbadener Fototage (Germany, 2025), the solo exhibition New Comer at One Way Space (2025), the group exhibition When the Wind Blows Here at the 5th Changsha International Local Imaging Art Festival (2025), Re-illumination: Writing Through Photography (2024), Redefining Contemporary Portraiture (2024), the Leica Oskar Barnack Award Exhibition at Leica Gallery Taipei (2024), and Light and Shadow: Leica Oskar Barnack Award Exhibition at Three Shadows Photography Art Centre, Xiamen (2023).
He was selected for the Young Portfolio at the Kiyosato Museum of Photographic Arts, Japan (2022), and shortlisted for the Bar Tur Photography Award, UK (2021). In 2022, his work was also included in the Jimei x Arles International Photo Festival, China.
His work has been featured in media outlets such as kulturaustausch, Leica LFI, Radii, arttaca, Politiken, Vogue, and Jia Zazhi.
Peng Jia, born in 1989 in Xi’an, obtained an engineering degree in 2012 and began her photography practice in 2020. Her works have been selected for the Three Shadows Photography Award, the Singapore International Photography Awards, and the „Kunpeng Award“ at the PingYao International Photography Festival.
Peng Jia’s exhibitions have taken place in various venues, including Three Shadows Photography Art Centre in Beijing, Fuji X-Space in Shanghai, PingYao International Photography Festival in Shanxi, JinGangBei Art Center in Chongqing, Singapore, as well as at art book fairs in Beijing, Hong Kong，Chengdu, and Shanghai (abc).
At age 4, my parents divorced. My mother left with a strange man on his motorcycle. Since then, It has been hard to call out “Mom”; instead, I directly call her by her name—Li Aijun. Afterwards, I lived with my father and seldom saw her. The last time we met was in my senior year of college, when she was in the late stages of cancer. She passed away just two months later.
In 2017, I experienced persistent insomnia, leading to two years of psychological counseling. The main focus of the counseling was my relationship with my birth mother. It was during that time that I realized that she was an unavoidable presence, despite my attempts to distance myself.
In 2021, I began working on a project related to my mother. During this time, I organized her belongings, delved into her past, scanned numerous photos she left behind, and frequently visited her grave to take pictures. The resulting work combines old and newly taken photos with text, following the chronological order of my mother’s life.
Although titled “mama,” the project goes beyond the mother-daughter relationship. It also encompasses the story of my mother—a woman with limited educational background, who sacrificed a stable job for love and found herself repeatedly left behind by the times. She lived through the era of family planning, the entrepreneurship boom, and the southward labor migration. She was once extravagant, poor, and ultimately passed away from cancer at the age of 47. She was a ‚consumable‘ of her time but also lived a vibrant and passionate life. The project also explores the emotional and cognitive changes I underwent while re-reading and reinterpreting her life, her, reflecting my evolving view of our mother-daughter relationship.
Everyone has their own mother, and mother-daughter relationships often share common themes of devotion and greatness. Through this project, I aim to provide a unique example: a life story of a woman who broke free from traditional female shackles and societal expectations to live for herself. While I abstain from passing judgment on my mother’s choices, I, as a woman, understand and share.
