蛾蝶
/
再见
/
世界所有的重量
2025/12/27 - 2026/04/05
A Thousand Plateaus Art Space
Chen Xiaoyi 陈萧伊
Poster design:
Yinhe 音和 / P for Pinecone
Exhibition Support:
DONGLAI ART 东来艺术
Address：South Square, Tiexiang Temple Riverfront, Chengdu, Sichuan
四川省成都市高新区盛邦街，铁像寺水街南广场
Moth
/
Good-bye
/
of all things the weight
「我会像蛾蝶飞过那样，飞过你。」
在某天的梦醒后，我记下了这句话。
创作往往指向，未曾显影的时间。正如去年六月，躺在党结真拉峰之下，曾确认过的那样，在生命的这一侧里，我确实爱着这只充满砾石的世界，灰度、粗砺、漫无边际。所有的存在，其可悲恸性，以及“何种生命值得哀悼”的疑问，都在这样的时刻里回应。
过去的七年间，往返于横断山脉的漫游，构成了我大部分的日常，在看似与艺术无关的在场时刻，往往被卷入一种深刻的境地。一切静止或消逝的物质景象，实则不断流动与转化，而冰川、岩石、湖泊保存了所有关于毁灭与生成的记忆。现实场域的开放及无常，所构成的愉悦、震动，沉积于不可翻译的自然语言，犹如真实本身对生命结构的冲击，无可抗拒，却也搅动了情动中，不得不做出回应的实践意义。
居住在一感一应，相互依存的世界里，我想以灰烬的语法，为那些冷峻的，粗砺的，看似静止不动的山岩，寻找一种饱含其动势的词汇。为重新理解，关于如何在巨大、静默、无情、古老的世界中继续存在。
*展览名称改写自奈莉·萨克斯（Nelly Sachs）的诗句 “Schmetterling / aller Wesen gute Nacht! / Die Gewichte von Leben und Tod”（蝴蝶 / 众生晚安！ / 生与死的重量）。
"I will fly over you, as a moth flies."
I wrote this sentence down after waking from a dream.
Creation often gestures toward time that is yet to be developed. Just as I confirmed in June of last year, lying beneath the peak of Dangjie Zhenla—on this side of life, I do truly love this gravelly world: grey, gritty, and boundless. All existence, its grievability, and the question of "which lives are worthy of mourning," resonate in such moments.
Over the past seven years, wandering back and forth in the Hengduan Mountains has formed the substance of my daily life. In those moments of presence that seem unrelated to art, I am often swept into a profound depth. Everything that appears still or vanishing is, in fact, constantly flowing and transforming; while glaciers, rocks, and lakes preserve all memories of destruction and generation. The openness and impermanence of this unfiltered reality compose a specific pleasure and tremor, sedimented within an untranslatable natural language. It is like the impact of reality itself on the structure of life—irresistible, yet it also stirs within the affect a compelled imperative of practice.
Living in a world of mutual sensing and interdependence, I seek to use the syntax of ashes to find a vocabulary charged with momentum for those stones that appear stern, coarse, and still. To re-understand how to continue existing in a world that is vast, silent, indifferent, and ancient.
*Title adapted from Nelly Sachs's verse: "Schmetterling / aller Wesen gute Nacht! / Die Gewichte von Leben und Tod" (Butterfly / good night of all beings! / The weights of life and death).
/
Good-bye
/
of all things the weight
「我会像蛾蝶飞过那样，飞过你。」
在某天的梦醒后，我记下了这句话。
创作往往指向，未曾显影的时间。正如去年六月，躺在党结真拉峰之下，曾确认过的那样，在生命的这一侧里，我确实爱着这只充满砾石的世界，灰度、粗砺、漫无边际。所有的存在，其可悲恸性，以及“何种生命值得哀悼”的疑问，都在这样的时刻里回应。
过去的七年间，往返于横断山脉的漫游，构成了我大部分的日常，在看似与艺术无关的在场时刻，往往被卷入一种深刻的境地。一切静止或消逝的物质景象，实则不断流动与转化，而冰川、岩石、湖泊保存了所有关于毁灭与生成的记忆。现实场域的开放及无常，所构成的愉悦、震动，沉积于不可翻译的自然语言，犹如真实本身对生命结构的冲击，无可抗拒，却也搅动了情动中，不得不做出回应的实践意义。
居住在一感一应，相互依存的世界里，我想以灰烬的语法，为那些冷峻的，粗砺的，看似静止不动的山岩，寻找一种饱含其动势的词汇。为重新理解，关于如何在巨大、静默、无情、古老的世界中继续存在。
文/陈萧伊
*展览名称改写自奈莉·萨克斯（Nelly Sachs）的诗句 “Schmetterling / aller Wesen gute Nacht! / Die Gewichte von Leben und Tod”（蝴蝶 / 众生晚安！ / 生与死的重量）。
"I will fly over you, as a moth flies."
I wrote this sentence down after waking from a dream.
Creation often gestures toward time that is yet to be developed. Just as I confirmed in June of last year, lying beneath the peak of Dangjie Zhenla—on this side of life, I do truly love this gravelly world: grey, gritty, and boundless. All existence, its grievability, and the question of "which lives are worthy of mourning," resonate in such moments.
Over the past seven years, wandering back and forth in the Hengduan Mountains has formed the substance of my daily life. In those moments of presence that seem unrelated to art, I am often swept into a profound depth. Everything that appears still or vanishing is, in fact, constantly flowing and transforming; while glaciers, rocks, and lakes preserve all memories of destruction and generation. The openness and impermanence of this unfiltered reality compose a specific pleasure and tremor, sedimented within an untranslatable natural language. It is like the impact of reality itself on the structure of life—irresistible, yet it also stirs within the affect a compelled imperative of practice.
Living in a world of mutual sensing and interdependence, I seek to use the syntax of ashes to find a vocabulary charged with momentum for those stones that appear stern, coarse, and still. To re-understand how to continue existing in a world that is vast, silent, indifferent, and ancient.
Text / Chen Xiaoyi
*Title adapted from Nelly Sachs's verse: "Schmetterling / aller Wesen gute Nacht! / Die Gewichte von Leben und Tod" (Butterfly / good night of all beings! / The weights of life and death).
All images and texts copyrights © 2013-2026 Xiaoyi Chen