randian | 燃点

(中文) 高远策划的“基底”展览或许是个提醒，无论它的成与败，都在提醒我们应把更复杂的社会现实作为基底，在此之上思考艺术与创造，我们必须主动卷入艺术史与现实纠缠的漩涡中， 而非仅仅陷于形式的自恋与作茧自缚中。

Internet and smart phone technologies have led to sweeping change in society in our lifetime, forcing us to wrestle with new modes of thinking about and experiencing time, space, and speed, whereby our intellectual and emotional responses to past, present, and future are constantly shifting.

Don’t be taken in by the fancy terms though. Rehberger always wants you to look for the errors and the dissonances that allow us to ‘hack’ the system, to get inside. The glitches are revealing, if only you look.

In the process, you go somewhere and somelsewhere elastically, even a tiny bit. While inhabiting a ritual, one lives in and through time, via an odd interval sliced open and stitched back together.

The last two decades of precipitous change have provided much grist for recent exhibitions, artist talks, and essays. The pre-eminence of digital technologies in society, the unpredictable advances in biotechnology and Artificial Intelligence, and irreversible environmental degradation encapsulated under the banner of the Anthropocene all speak to a certain disquiet towards unproblematic notions of progress.

Stepping into the exhibition, what I first noticed were two Chinese characters about a person’s height, printed in red, jumping out from the white background of the gallery. These characters provide the most distinctive visual cues in Zeng Hong’s solo exhibition “Quaderni Rossi”.

(中文) 倘若今天还能探讨美学效果而不被人嗤之以鼻，我们应从何种角度去思考艺术家的创作或创造？康德很久以前就提示过我们，任何艺术都不如一场战争或一场自然灾害那样令人震撼。战争作为人类各种暴力的集中爆发，而自然灾害是超越人类尺度的狂暴力量，两者都会造成人类难以承受的肉体和精神创伤。

Desire and the visual have forever been intertwined. You cannot desire what you already have, so the object of desire is something spatially removed from oneself – a distance that can only be bridged by our sense of vision. All other senses, touch, smell, taste and even sound require a much closer proximity than sight. […]