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Titled Thucydides Fever Dream, the show proposes that we sublimate the longstanding adversity between the US and China into more complex and chaotic social forms. In Wu Ziyang’s two-channel videowork New Silk Frequencies (2026), we encounter a 3D-animated retro-futuristic universe where TV stands for ‘Totemic Vessel’, and movies are known as ‘Parallel Realities’. Through headphones, we hear audio derived from fragments of a real-life documentary about a satellite project that, beginning in 2015, saw China attempting to close the digital divide in Africa by installing solar-powered television infrastructure across the continent.
One interviewee, a villager and widow whose animated avatar (the artist’s interpretation of her) wears gold rings and bracelets, small gold satellite dishes on her head and pastel-coloured wires like goggles around her eyes, reports finding security and comfort in TV: her kids don’t “run around anymore” now that they wear metal viewing devices around their heads. Another villager reports feeling invisible to the world, and yet another, a bespectacled office worker, says, “It’s only StarTimes” – the Chinese media company – “that is seeing us.”



