"Peach Blossom Society :: 这里没有桃花" (“there are no peach blossoms here”) maps a promise and its collapse as a system: how states shift and become otherwise. Operating across landscape, literature and legend, the title marks a latent space where meaning remains fluid. “Peach Blossoms” shift between two cosmologies: the utopia in Taohuayuanji (“Peach Blossom Spring”), entered by chance and irretrievable once left, and Taohua Dao (“Peach Blossom Island”) in the Zhoushan Archipelago, named not for living blooms but for fossil traces. Recast in Jin Yong’s wuxia, the island becomes double-coded: a paradise that is at once an impenetrable labyrinth. Across these systems, “peach blossoms” oscillate between utopia and exclusion, promise and enclosure.

The exhibition unfolds as an unstable translation environment structured through misaligned encoding systems, in which language is continually displaced and de-naturalised. A translingual four-line poem is encoded and synthesised into DNA molecules; genetic notation is rearticulated through I Ching hexagrams; signal flags are translated via Morse code and colour wavelengths. Translation here isn’t a process for preserving meaning, but for materialising instability. Each act of translation tests what persists, and what mutates when meaning is forced to move across non-equivalent systems. Language operates as a physical medium of encoded states, its shifting phases determining its form, legibility and access.

In diaspora, instability is lived. Language moves across systems that do not share a common ground, producing discontinuities, opacity, and drift. Illegibility, often framed as loss, emerges as a generative condition. Meaning does not return to an origin; it is continuously reconfigured through mutation, interference and resistance.