“The final image that comes up with the AI machine looks super like van Gogh’s painting. And it is kind of basically the same that popped up in his dream, like a super fantastic but sad image in his dream. Every time he thinks about his dream in that after that Spring festival, he may cry a little bit.”









































“We look back again, maybe that some experience, I don't wanna use the word, a ‘treasure,’ but it's something that could be saved in our memory for a whole time. So maybe other people, they see this image, it will just bring up some other memory that is ironic, but it is still a treasure for their memory in the pandemic.” 





































“Some people lose their families. Some people lose their job. Some lose their health-they are still going through some syndromes because of COVID-19. That is something sad, but worth sharing with other people. They want us to keep our memory of the COVID-19. We cannot just forget what we've been through in that specific period, although we have been living so happily now. But that memory, we just cannot forget.”

How will the future generation comprehend the era of COVID we traversed? What responsibility do artists bear in crafting art as a legacy to preserve our times?

In answering these questions, Zihao Yang, the Design Lead of Parklife, conceived an artwork to resurrect pandemic memories. His captivating "Diary of Happening" (2023) emerged as a centerpiece for the on-campus exhibit "Cyberpark: We Used to Have One; We Will Have One" at the Chinese University of Hong Kong, Shenzhen (CUHK-Shenzhen) campus. This marks the third annual exhibit hosted by Parklife, an organization dedicated to fostering community cohesion within the school.


Identifying himself as an unprofessional Graphic Designer and storyteller, Yang gathered pandemic stories from young adults all over China. He then distilled the very essence of diverse narratives into thoughtful one-sentence creative descriptions. This refined narrative subsequently acted as the input for the generation of AI graphics, creating the visuals that eventually adorn the exhibit.


Imagine the pandemic's multifaceted narrative distilled not into a mundane summary but into a single, potent creative sentence that acts as the input for the AI brushstrokes. The result was not only unpredictable but also poetic, reflecting the kaleidoscopic nature of personal narratives woven during the isolated and turbulent pandemic era that we collectively endured.


For example, he shared one of the stories he collected: “It is a tradition for everyone to visit the graves of those who passed away in the previous lunar year before the Spring Festival. In Wuhan that year, all the chrysanthemums in the city were sold out. What struck him the most was that despite the complete sell-out of chrysanthemums, on his way home, the entire road was lined with these flowers. Row after row, chrysanthemums were placed side by side, covering both sides of the road. “




Yang's expertise lies not just in storytelling but in the artful curation of experiences, where each narrative thread intricately weaves into a visual tapestry that captivates and resonates with the audience. These captivating graphics came to life on the entire glass-top corridor of the CUHK campus, transforming it into an immersive gallery. As the audience strolls by, they are beckoned into a visual journey, where each graphic whispers a tale worth exploring. The strategic placement invites passersby to pause, immerse themselves, and perhaps linger a while, absorbing the stories intricately woven into the vibrant visuals.


The narratives he collected encapsulate the defining features of the pandemic era, familiar to those accustomed to the routines shaped by the pandemic. However, these stories serve as a potential legacy for future audiences who may lack an understanding of how we navigated our lives during these challenging years, offering them a glimpse into our era. For instance, he recounted a moment in the Guangzhou metro involving two girls bidding farewell. They were captured in an image, kissing through their masks. In the current context, kissing without masks is commonplace, but during that time, this unique experience held special significance. It carries a sense of irony—an aspect of our shared journey that we truly lived through.




“Diary of Happening” transcends the conventional boundaries of an exhibition; it emerges as a compelling invitation, beckoning viewers to immerse themselves in an exploration of shared human experiences amid the pandemic. This artful creation isn't merely a static display but rather a dynamic portal, inviting active engagement, thoughtful reflection, and a deep dive into the collective narrative that binds us during these challenging times. In essence, "Diary of Happening" extends an enduring invitation to connect, empathize, and play a vital role in shaping the legacy that will define how future audiences understand and appreciate the complexities of our lived experiences during this unprecedented time.
 

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Memory Piece I

In the pre-pandemic years, Zihao’s small town along the Dongjiang River reveled in the cherished tradition of the Dragon Boat Festival. For the children of southern China, dragon boat racing wasn't just a sport; it was a cultural cornerstone embedded in their upbringing.

Hosting the annual dragon boat contest elevated Zihao's town, transforming the Dongjiang River into a stage for spirited competition. The festival united the community, turning the town into a vibrant sea of people lining the riverbanks. Lasting three glorious days, the festival provided a rare break from daily routines—a time of pure jubilation and festivity. However, the pandemic disrupted this annual spectacle. Social distancing measures and governmental caution led to the cancellation of the festival, extinguishing the infectious laughter and cheers that once echoed across the water. The Dragon Boat Festival, a binding force in the community, became a casualty of the pandemic.

In the stringent year 2022, the dragon boats were locked in warehouses and forbidden to ride the waves. These vessels, symbolic of unity and tradition, remained confined and untouched for over a year. The disappointment was palpable for Zihao, serving as a stark reminder of the profound changes the pandemic had wrought upon their lives.

As the dragon boats were locked away from people, Zihao eagerly anticipated the day when the festival could be revived. In 2023, it did resume, but the atmosphere had shifted. There were fewer people, and the patterns had changed. The once-unwavering celebration of the festival every year had waned. It seemed as if the townsfolk no longer paid as much attention to the Dragon Boat Festival. The vibrant traditions that once bound the community together were now tinged with a subtle sense of indifference. The festival had lost some of its former glory, and the once-enthusiastic participants seemed to have moved on to new patterns and priorities. Although the Dragon Boat Festival was back on the calendar, it was no longer the same cherished event, marking a significant change in the fabric of Zihao's town.

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Memory Piece II

In Zihao's hometown stands a quaint temple, a place his grandfather dedicated years to. Over the past three years, a noticeable shift occurred as fewer people frequented its halls, casting a temporary pall over the once vibrant religious atmosphere.

Zihao's grandfather, the temple's devoted caretaker, expressed concern, noting a decline in visitors and a sense of sadness emanating from the Buddhas, who missed the regular attention.