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争执
STREIT
争执
STREIT
(2019-2020)
“All that is solid melts into air”. Instead of being an abrupt episode in this moment, it is tucked away in the past we used to be convinced of. Like the conviction of the world, the material in experience serves its solid existence, while the grasp of materialistic meaning stems from language, which seems to rule the interpretation of everything’s attributes. Language interchanges with the world until it exhausts its own meaning. Chen Xiaoyi is obsessed with the wandering and critical state of material, which, beyond the realm of language, keeps wandering everywhere. When the possibility of interpretation and metrics loosens, "dispute" arises.
"Dispute" is not the hostility of language, but the overflow state of material itself. Chen Xiaoyi constructs a kind of non-routine state- a gradual, covert and transient state of suspension. In such space transcending our daily experience, ores, circle of illumination, water and ice, foam... Concrete matters will escape from the meaning of their own definition and be re-exposed in time. Having turned into fragments and stardust of individuals reconnecting to the world, they reconstruct the relationship between the body and the space at present. Deriving from the doubt to "reproduce the world”, these images disintegrate existing convictions from a solidified state, which, if any, is also probably a projection of fervent belief as we have never been in a world that can be justified as "solid".
At this moment, standing in the fragmented scene again, the only sincerity is but a gaze at the suspended matters rather than handing them over for interpretation. When images are stripped off, material graphics have constructed an ambiguous space which presents the critical state. It opens up and awaits the overflow to happen.
Text/ Lanxin Rui
“一切坚固的东西都烟消云散了”，这并非突发于当下，而是长久地藏匿于我们曾确信的过往之中。如同对世界的坚信，经验中的物质是及其稳固的存在，对物质意义的把握来源于语言，它似乎掌握了阐释的事物属性的决定权，语言与世界相互交换，直到它耗尽自身的意义。陈萧伊着迷于物质的游移与临界状态，它无法被语言所把握，并持续地游移于动态之中。当阐释与度量的可能被松动，“争执”就此产生。
“争执”并非语言的敌对，而是物质本身的溢出状态。陈萧伊建构了一种非日常状态——某种处于渐变的，隐匿的，稍纵即逝的悬浮状态。在这种日常经验之外构成的空间中，矿石，晨昏线，水与冰，泡沫..具象物质将从定义自身的意义中逃逸，在时间里重新曝光，它们变成了个体重新连接世界的碎片与星尘，重构了当下身体与空间的关系。这些图像来自于对“再现世界”的怀疑，那些坚信之存在从一种固化状态中瓦解出来。如果曾有过坚固之物，或许那也是来自于热切信念的投射，我们从未处于能称得上“坚固”的世界之中。
此刻，重新站在支离破碎的场景里，唯一的真诚不过是去凝视那些悬浮之物，而非将它们交付给阐释。当形象被剥离，物质图像建构了呈现“临界”状态的暧昧空间。它们敞开，并等待还能够被溢出的发生。
文/芮兰馨
“争执”并非语言的敌对，而是物质本身的溢出状态。陈萧伊建构了一种非日常状态——某种处于渐变的，隐匿的，稍纵即逝的悬浮状态。在这种日常经验之外构成的空间中，矿石，晨昏线，水与冰，泡沫..具象物质将从定义自身的意义中逃逸，在时间里重新曝光，它们变成了个体重新连接世界的碎片与星尘，重构了当下身体与空间的关系。这些图像来自于对“再现世界”的怀疑，那些坚信之存在从一种固化状态中瓦解出来。如果曾有过坚固之物，或许那也是来自于热切信念的投射，我们从未处于能称得上“坚固”的世界之中。
此刻，重新站在支离破碎的场景里，唯一的真诚不过是去凝视那些悬浮之物，而非将它们交付给阐释。当形象被剥离，物质图像建构了呈现“临界”状态的暧昧空间。它们敞开，并等待还能够被溢出的发生。
文/芮兰馨
“All that is solid melts into air”. Instead of being an abrupt episode in this moment, it is tucked away in the past we used to be convinced of. Like the conviction of the world, the material in experience serves its solid existence, while the grasp of materialistic meaning stems from language, which seems to rule the interpretation of everything’s attributes. Language interchanges with the world until it exhausts its own meaning. Chen Xiaoyi is obsessed with the wandering and critical state of material, which, beyond the realm of language, keeps wandering everywhere. When the possibility of interpretation and metrics loosens, "dispute" arises.
"Dispute" is not the hostility of language, but the overflow state of material itself. Chen Xiaoyi constructs a kind of non-routine state- a gradual, covert and transient state of suspension. In such space transcending our daily experience, ores, circle of illumination, water and ice, foam... Concrete matters will escape from the meaning of their own definition and be re-exposed in time. Having turned into fragments and stardust of individuals reconnecting to the world, they reconstruct the relationship between the body and the space at present. Deriving from the doubt to "reproduce the world”, these images disintegrate existing convictions from a solidified state, which, if any, is also probably a projection of fervent belief as we have never been in a world that can be justified as "solid".
At this moment, standing in the fragmented scene again, the only sincerity is but a gaze at the suspended matters rather than handing them over for interpretation. When images are stripped off, material graphics have constructed an ambiguous space which presents the critical state. It opens up and awaits the overflow to happen.
Text/ Lanxin Rui
*燃烬——陈萧伊「争执」展评 （文/芮兰馨）
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