consists of the archive created by Zhang Dali after seven years of researching and cataloging. It is made of 133 panels, each comparing images as published with different manipulations and/or their original negative. Image manipulation was born with photography itself. All over the world images are manipulated, in China such practices have been particularly pervasive since the foundation of the People's Republic and is exposed in this work in its political and aesthetical significance. World's Shadows The cyanotype is a type of photogram, a photo produced without a camera. It was invented by John Herschel in 1842 and quickly abandoned in favor of other more sophisticated photographic techniques. The characteristics of the cyanotype attract Zhang Dali for two reasons: it can not be altered or manipulated; it captures the image in a specific instant and it cannot be reproduced. The object and its shadow constitute an intrinsically bound couple and only in a precise instant. Zhang Dali has experimented with large size cyanotypes covering subjects such as natural landscapes, vegetations, and human bodies. This is one of the techniques the artist is still expanding and combining other materials. " Shadows are very intriguing and differ greatly in form. Besides shadows’ ability to prove existence of material objects, shadows also carry their own intrinsic value and existence, not only as a reproduction or copy of the world of material things, but also as a type of “anti-matter” marking the space material objects occupy under the sun. The material world shapes and controls our nervous system, and can make us feel agitated and troubled. When we keep calm and quiet we realize that the world under our control is only a small part of the universe, certainly not the whole. The shadows I document exist only for a very short time but through the photogram technique I capture them, so they can exist for a much longer time, in front of our eyes, and under our gaze. " Zhang Dali, World’s Shadows, Artist’s Statement, 2011 Permanence These sculptures in white marble (hanbaiyu) created in 2015 and 2016, represent a new stage of research and elaboration on the relevance of the human body as representative of a society and its dominant ideology. Bodies of common people, migrant laborers are shown to the public as classical statues made of marble, material associated to deities and heroes of the past. In this new form, they