Time Bifurcates Forever and Leads to Countless Future
时间永远分岔，通往无数的将来
Curatorial Exhibition,
Lanting Primary School, Huzhou, Zhejiang
27 Jan. - 27 Mar. 2024
溯洄意识中模糊的灰尘和锈迹，坍塌又重组搭建。寻找某一个片段中的惯性动作，串联起通向未来的叙事。记忆与当下，中间隔了无法取代的时间。
场景作为记忆的载体，通过图像、声音和知觉在脑海中复现。巫鸿在“丘与墟：消逝与缅怀”文中写道，在典型的欧洲浪漫主义视野中，废墟同时象征着转瞬即逝和对时间之流的执着——正是这两个互补的维度一起定义了废墟的物质性。因此固然往昔随时间流逝，却同时表达了哀伤与生命力的可能性。任时间流动，旧砖瓦堆砌成新高楼，旧语言演化出新语言，也许我们终将遗忘，但返回熟悉场景所衍生的关联感，仍然能够抵达梦境，挑拨一根往事重现的神经。如今，这些记忆的痕迹形成基于废墟生发的想象，我们走过场景的留痕之处，从而思考对未来的构筑。
本次展览以一座废弃小学的旧址作为入口，穿越铁皮大门，路过校园内的空旷草地与石子路、平房，从旋转楼梯来到室外走廊、教室、楼顶天台等空间，将不同媒介的十二件艺术作品穿插其中，形成一个特殊场域的观展动线。我们邀请艺术家对过去、现在、未来的联结与传承进行在地创作重构，上演跨越时空的对话，探讨时间塑造的可能性，以个体经验反映时代与群体的记忆与情感。这个场景承载着一代人的童年记忆，与学校的情感联结，也是废墟之地重建的桥梁。
有些事物曾经存在，有些事物消逝了，有些事物犹存。
Trace the blurred dust and rust of consciousness, collapsing and reassembling to build. Searching for the inertia of action in a particular fragment, linking up a narrative that leads to the future. Memory and the present are separated by irreplaceable time.
Scenes are vehicles of memory, reproduced in the mind through images, sounds and perceptions. In "Mounds and Ruins: Elapse and Remembrance", Wu Hong writes that ruins symbolize both transience and an obsession with the flow of time - it is these two complementary dimensions that together define the materiality of ruins. Thus while the past elapses with time, it simultaneously expresses the symbiosis of grief and vitality. As time flows, old bricks and mortar are piled up to form new buildings, old languages evolve into new ones, and we perhaps forget them eventually, but the sense of connection derived from returning to a familiar scene can still reach the dream world and provoke a nerve of reappearance of the past. Nowadays, these traces of memory form an imagination based on the ruins, and we walk through the traces of the scene to think about the construction of the future.
The exhibition takes the former site of an abandoned primary school as its entrance, passing through the tin gate, the open grass, stone roads and bungalows of the campus, and from the rotating staircase to the outdoor corridors, classrooms and roof-top rooftops, interspersing twelve works of art in different mediums, forming a special venue for viewing the exhibition movement line. We invite artists to reconstruct the connection and inheritance of the past, present and future, to stage a dialogue across time and space, to explore the possibilities of time shaping, and to reflect the memories and emotions of the times and groups with individual experiences. This scene carries the childhood memories of a generation, the emotional connection with the school, and is also a bridge to rebuild the ruins.
Some things once existed, some things have faded away, and some things still exist.
场景作为记忆的载体，通过图像、声音和知觉在脑海中复现。巫鸿在“丘与墟：消逝与缅怀”文中写道，在典型的欧洲浪漫主义视野中，废墟同时象征着转瞬即逝和对时间之流的执着——正是这两个互补的维度一起定义了废墟的物质性。因此固然往昔随时间流逝，却同时表达了哀伤与生命力的可能性。任时间流动，旧砖瓦堆砌成新高楼，旧语言演化出新语言，也许我们终将遗忘，但返回熟悉场景所衍生的关联感，仍然能够抵达梦境，挑拨一根往事重现的神经。如今，这些记忆的痕迹形成基于废墟生发的想象，我们走过场景的留痕之处，从而思考对未来的构筑。
本次展览以一座废弃小学的旧址作为入口，穿越铁皮大门，路过校园内的空旷草地与石子路、平房，从旋转楼梯来到室外走廊、教室、楼顶天台等空间，将不同媒介的十二件艺术作品穿插其中，形成一个特殊场域的观展动线。我们邀请艺术家对过去、现在、未来的联结与传承进行在地创作重构，上演跨越时空的对话，探讨时间塑造的可能性，以个体经验反映时代与群体的记忆与情感。这个场景承载着一代人的童年记忆，与学校的情感联结，也是废墟之地重建的桥梁。
有些事物曾经存在，有些事物消逝了，有些事物犹存。
Trace the blurred dust and rust of consciousness, collapsing and reassembling to build. Searching for the inertia of action in a particular fragment, linking up a narrative that leads to the future. Memory and the present are separated by irreplaceable time.
Scenes are vehicles of memory, reproduced in the mind through images, sounds and perceptions. In "Mounds and Ruins: Elapse and Remembrance", Wu Hong writes that ruins symbolize both transience and an obsession with the flow of time - it is these two complementary dimensions that together define the materiality of ruins. Thus while the past elapses with time, it simultaneously expresses the symbiosis of grief and vitality. As time flows, old bricks and mortar are piled up to form new buildings, old languages evolve into new ones, and we perhaps forget them eventually, but the sense of connection derived from returning to a familiar scene can still reach the dream world and provoke a nerve of reappearance of the past. Nowadays, these traces of memory form an imagination based on the ruins, and we walk through the traces of the scene to think about the construction of the future.
The exhibition takes the former site of an abandoned primary school as its entrance, passing through the tin gate, the open grass, stone roads and bungalows of the campus, and from the rotating staircase to the outdoor corridors, classrooms and roof-top rooftops, interspersing twelve works of art in different mediums, forming a special venue for viewing the exhibition movement line. We invite artists to reconstruct the connection and inheritance of the past, present and future, to stage a dialogue across time and space, to explore the possibilities of time shaping, and to reflect the memories and emotions of the times and groups with individual experiences. This scene carries the childhood memories of a generation, the emotional connection with the school, and is also a bridge to rebuild the ruins.
Some things once existed, some things have faded away, and some things still exist.
24–09–2024