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In this essay, Huang Du, s Beijing-based critic and curator, argues that the work "Impermanence" (1996) represents the instability Zhu Jinshi experiences as a Chinese artist working in Berlin in the late 1980s. Huang focuses on the materiality of the work to pull his critical analysis. According to the critic, the use of Chinese traditional rice paper in the work evokes a relationship between "systematic cyclicity, textuality, material installation, and a return to nature". Finally, he draws his argument back to the artist claiming that Zhu Jinshi subverts the expectations of contemporary art, reinvesting in history and spirituality in a way that elevates meaning in his multicultural identity. Both English and Chinese texts are available. Huang published this essay in a catalogue called "Impermanence" that included work by the artist, analytical essays, and the artist's resume. (Nicole Wang '26)
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