Whether adopting the basis of historical narrative, socialstudies, art practice, discursive positions or other approaches to artisticpractice, as one moves forward and matures following one’s own trajectory, asmall piece of information, a terminology, a site or other arbitrary detailscould stimulate and steer one’s practice towards new “directions”, or let oneto regurgitate on the existing ones. Likewise, the course of art making can bean infinite loop of the artist’s continuous consideration, stimulation and repetition. Notably,the points at which changes are pivoted offer critical significance. This cycleof this working system is often based on reality.

In the field of systemic aesthetics,the artistic modes we have to confront with today are not necessarilyphenomenal appropriations or new approaches to space, but a rudimentary way ofthinking, where the subject is none other than reality itself. Morse Peckhamstated in Man’s Rage forChaos, “Art is a type of rehearsal, that prepares usfor the real scenarios. Under these circumstances, in order to survive, we haveto endure certain cognitive tension as we reject the comforting acknowledgementfrom emotional consensus. Because the critical relationship this involves isoften severe, so that the emotional consensus becomes inappropriate…”

Here, the artist is prescient forsetting a goal, boundaries and principles, who, equally moves forward andbackwards in reality.

With the presentation of eachartist’s work in thisgroup exhibition, a site of “rehearsal” is built. Looking beyond the cues, narratives and individualposition of discourse, each work reveals a reality. One that can be taken awayby others, and the reality one perceives is the only one there is.