“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)