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展览预告|E调格言

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展览预告|E调格言

EPIGRAM IN E

E调格言

VENUE | 展馆

46 Ashfield Street, London E1 2AJ

OPENING NIGHT | 开幕酒会

28/02/2026, 18:00 - 21:00

OPEN TO THE PUBLIC | 公众开放日

28/02 - 08/03/2026, 11:00 - 17:00

PRESENTING ARTISTS

参展艺术家

孙博轩 (Bo Sun)

霍晨龙 (Huo Chenlong)

莉比·霍芬伯格 (Libby Hoffenberg)

姜南羽 (J Jiang)

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CURATORIAL STATEMENT

展览前言

“What we observe is not nature itself, but nature exposed to our method of questioning.”

- Werner Heisenberg

Structural Inquiry - The Mechanics of the Everyday

Art should operate as inquiry. The exhibition focuses on structures that govern everyday perception: bodily habit, the distinction between natural and artificial production, the authority of visual information, and the persistence of institutional systems. Rather than themes, they are operational conditions that shape how reality is organised and understood

The conditions at stake are not abstract ideas but the everyday mechanisms that operate before deliberation: the habits we no longer register, the conventions absorbed through repetition, the categories we apply without recognising their histories. These impulses appear benign, yet they structure how the world presents itself to us. We grant images a credibility we withhold from text; we trust unverified footage because it resembles truth; we equate the handmade with authenticity and the industrial with distance; we assume scale signifies importance; we defer to authority before our own discernment; we misread silence as assent; we gravitate toward the majority because it feels secure. Such orientations are not inherent. They are produced by culture, institutions, technologies, and the narratives through which we learn to perceive. They shape what becomes visible and what remains unnoticed, what feels intuitive and what feels predetermined. When these orientations operate without interrogation, they obscure their own construction and dull the impulse to question. In their ease, we risk relinquishing the very faculties that enable us to recognise, interpret, and imagine otherwise

Epigram in E - Method and Modulation

Epigram in E takes its name from the logic of the epigram: a form that does not elaborate but speaks through precision. These works do not unfold in narrative; they hold a position

For this reason, material, scale, composition, and modes of presentation are not aesthetic afterthoughts but integral to the argument. Form is not decorative - it is a method. Each work becomes an instrument for testing how meaning is produced, how authority is secured, and how seeing becomes a site where logic takes shape. E Major carries four sharps. A minor elevation is enough to recalibrate the field of sound; a subtle shift alters perception. Epigram in E adopts this principle as a structural metaphor. The artists introduce calibrated deviations - adjustments so precise they operate less as rupture than as tuning. Through these deviations, they examine how orders are maintained and where their elasticity lies

The works turn toward the mechanisms embedded within the everyday: the boundary between natural and artificial production, the authority attached to visual information, and the endurance of institutional frameworks. These mechanisms appear slight, yet they structure how the world becomes legible. By altering form, reassigning meaning, simulating organic growth with industrial matter, or dismantling diagrammatic systems, the artists make these mechanisms visible. The deviations they introduce are not embellishments - they draw out the implicit rules we follow without thinking, revealing that the self-evident may not be inevitable

Understanding these everyday mechanisms is not a theoretical exercise but a practical one. Systems rely on repetition and unexamined acceptance to sustain their stability. Once their construction becomes visible, inevitability loosens. Through precise adjustments, the artworks reveal the assumptions that hold coherence in place. Visibility makes understanding possible; understanding forms the basis of judgment. Only when we see how an order is built can we assess its legitimacy - and imagine alternatives. Change is not inherently better, but the capacity for change is the condition under which any form of progress can occur

“I would rather have questions that can’t be answered than answers that can’t be questioned.”

- Richard Feynman

“我们观察到的并非自然本身，而是我们提问方式所揭示的自然。”

- 维尔纳·海森堡

隐形的规则

在当代艺术语境中，作品不只呈现形式之美，它同样可以成为探问现实的方式，指向那些因过度熟悉而被视为理所当然的事物

此处的规则并非抽象观念，而是组成日常生活的具体机制：那些在意识之前便已开始运作的习惯、规则与分类方式。许多判断看似无伤大雅，却在不知不觉间塑造了我们理解世界的方式：新闻中的图像比文字更容易被信任；未经证实的影像因为看起来真实而被当成事实；手工被视为真实、工业被视为冷漠；看到大尺度作品就默认它更重要；习惯依赖权威而非自身判断；把沉默误读为同意，在群体中默认跟随多数意见。这些机制不是自然生成，而是文化、制度、技术和历史共同塑造的结果。它们规定了哪些事物被看见、哪些被忽略，哪些被视为自然、哪些被当作必然。不假思索的接受理所应当的规则，让我们忽略来源、停止提问、放弃判断

E调格言 - 方法与变调

展览取名E调格言，因作品如箴言般，没有铺陈，而仅以最精练的视觉承载判断 - 作品是诘问的呈现，因此媒介、尺寸、构图与呈现方式并非仅是审美选择，而是论述的一部分。同时，如同E大调中微妙的升调，极小的音高偏差，便能重新校准听觉的秩序。艺术家引入偏差以校准现实，检视秩序的维系方式及其可变性。形式不是装饰，而是一种方法论；作品来检验意义如何被生产、权威如何被建立，以及观看如何成为逻辑生成的现场

作品关注的正是这些深嵌于生活中的机制：自然与人工的界线、视觉信息的权威、以及制度系统的持久稳定。它们看似轻微，却规定了我们理解世界的方式。艺术家通过制造与现实之间微小而精准的偏差，使日常结构显露其构成方式：或改变物体的形态与语义，或以工业材料模拟有机生长，或拆解图示系统，或重新构建既定秩序, 引导我们发现日常选择后的隐形规则 - 所谓的理所当然或许并非绝对。当下的认知环境被过度的信息不断重塑，判断与注意力在高频更新中被重新分配。辨识因而成为一种必要 - 辨识差异、辨识前提、辨识那些被伪装成自然的规则。隐藏的机制无处不在，它们让我们误以为世界只能如此。而对原因与意义的追问，是重新获得判断力与主动性的前提

系统依靠重复与习惯运行，并通过不加思索的接受获得稳定。理解机制，是一种现实层面的必要。当建构逻辑被暴露，所谓的自然而然便不再牢固。作品通过细微而精确的偏移，呈现出维系秩序的前提。可见性为理解创造条件，而理解构成判断的基础。只有当我们理解一种秩序如何被建立，我们才可能判断它是否合理，也才能想象其它可能。改变并非必然更好，但具备改变的能力，却是任何进步发生的条件

“我可以接受无法回答的问题，而非无法质疑的答案。”

- 理查德 ·费曼

PREVIEW OF SELECTED EXHIBITS

部分参展作品预览