非常廟藝文空間與千高原藝術空間即將共同推出展覽《宏大的事》。這是兩家機構首次合作，呈現陳秋林、陳蕭伊、馮冰伊等三位大陸新銳實驗藝術家的作品。展覽將於2019年12月14日在非常廟藝文空間開幕。

《宏大的事》映射了三位藝術家的創作所貫穿的歷史與現實背景，及其與她們個人化的，極富想像力的講述方式之間，所構成的詩意與張力。對這次展覽來說，《宏大的事》並非任何作品的主題，它更像是被作品所凝視的對象。在當下的世界裏，宏大的事情每天都在發生，它有時很近，有時很遠，它常常帶來迷茫和憂鬱。面對這樣的現實，當代藝術家除了直白的介入，還能否發掘出藝術之於現實的獨特力量？能否在審美深度，現實介入，歷史態度，以及自我審視之間，找到以藝術語言為基礎的橋梁，或者發現它們之間更加本質的結構性關聯？

陳秋林的作品《如影隨形》以視頻的形式呈現了一齣現代舞劇。在特殊的場景裏，相互制約的肢體語言映射出人與人的真實關係。隨著溝通的扁平化，人際關係時常反映出更加廣義的歷史和政治背景。那麼，「他人即地獄」，是一種哲學描述，抑或一種發現更加複雜的社會關係的開始？《城市管理者》則是同一問題的另一種呈現，它再現了城市變遷中的不同人群，用荒誕和戲謔重組了其中的衝突。形而上的關係具象為形而下的故事。

陳蕭伊的《我們相遇的地方》（Where We Met） 以月亮的形象為主體，因為那是世界上唯一一處匯聚著所有人目光的地方：不僅是今天的人，還有歷史中的所有人。月亮所承載的思緒和感情，或許超過了人類歷史中的其他任何事物。漫長的時空與歷史被凝聚在習以為常的一瞥當中，反而讓各種被忽略的瞬間重新在內心展現。與月亮相對的，這些瞬間呈現出歷史的另一個緯度：在這裏，人們似乎更容易回想起自由的生命狀態。

馮冰伊的《愚者黃金》來自一則寓言：人們面對眼前的現實，如何確認自己是否「愚蠢」？藝術家的文字說：「我不會後退，我不需要妳告訴我發生了什麽。」，「幼稚」與「強大」只有一線之隔。而在後現代的語境裏，即便是理智而真誠的思想或信念，又該如何被感知？她的《宏大的事》以及《天涯芳草》等影像作品，則構成了對宏大時空的凝視。這些作品是柔軟的，容易講述的，由此在歷史的框架下，連接起每個人內心的真實。

《宏大的事》並不宏大，而是源自細微之處的真實。三位藝術家的共同之處，便在於她們都以內斂而不乏勇氣的方式，直面這些真實，用各自充滿洞察與慰藉的創造，來穿透眼前的迷障，與更加寬廣的時空建立起個人化的，同時又具備啟發意義的聯繫。這種聯繫，或許是當代美學一處值得發現的能量源泉。

Taipei VT Artsalon and A Thousand Plateaus Art Space will launch exhibition “The Gala”. This is the first collaboration between the two institutions, showing experimental artworks by three artists from mainland China - Chen Qiulin, Chen Xiaoyi and Feng Bingyi. The exhibition will open on December 14th, 2019 at Taipei VT Artsalon.

“The Gala” reflects historical and realistic backgrounds behind the creation processes of three artists and the artistic conception and tensity between their personalized and imaginative ways of narration. In this exhibition, “The Gala” is more like an object revealed by the artworks rather than a theme of a certain work. 

At this moment of the world, great events happen every day. They are sometimes very close, sometimes very far away, and often bring with confusion and melancholy. In front of the reality, whether the contemporary artists could discover the unique power between art and reality, apart from the straightforward intervention? Could they find the bridge based on artistic language among the aesthetic depth, realistic intervention, historical attitude, and self-examination, or find a more fundamental structural connection among them?

Chen Qiulin’s “Following You Like a Shadow” presents a modern dance drama in the form of video. In such special scene, the inter-waved body movement maps a true relationship between people. Following the flattening of communication, the interpersonal relationships often reflects a more general historical and political context. Therefore, is “Hell is other people” a philosophic description or a beginning to discover a more complex social relationship? “City Manager” is another representation of the same question. The confrontations between different groups during the process of urban expansion are presented by absurdities and sarcasm, in the form of concrete stories.

Chen Xiaoyi’s “Where We Met” is based on the image of the moon, because it is the only place in the world where all people’s eyes are gathered: not only the living people, but all humans in history. The thought and emotion carried by the moon might exceed anything else in human history. Her another piece of work “An Infinitesimal Wink”, opposite to the moon, shows a variety of neglected moments. Those moments represent another dimension of history: in here, people are easier to recall the freedom of life. 

The “Fool's Gold” of Feng Bingyi comes from a fable: how could people confirm whether they are “stupid” when they face the reality? The artist writes that "I won't go back. I don't need you to tell me what happened." There is often a flimsiest veil between the“Naivety” and “Strong”. In the context of post-modernity, not even rational or sincere thoughts or beliefs can be felt. Her other video works like “The Gala” and “Plenty of Fish in The Sea andSplendor in The Grass” shape a concentration to the galactic time and space. These works are soft and easy to narrate, thus connecting the realities of each person's heart in the framework of history.

“The Gala” is not a grand but a reality from small details. What the three artists have in common is that they all face realities in a restrained but courageous way and and use their creations full of insight and comfort to penetrate the obstacles in front of them, establishing a personal and inspiring connection with a broader time and space. Such connection is perhaps the source of energy that contemporary aesthetics is worth discovering.