清影

The “2020 Spring Festival Group Exhibition” is the first of a “Holiday Project” initiated by the Inna Art Space. 

Spring Festival is also referred to as New Spring, the crowning of a New Year. Jettisoning the old to welcome in the new, Spring Festival is the grandest of all holidays for Chinese communities, with 2020 being the year of the rat, a geng-zi year in the lunar calendar. 

As the New Spring draws near, we have orchestrated the present group exhibition to take place at the Inna Art Space’s New York premises, inviting artists, our friends to welcome in this year’s Spring Festival together by way of an exhibition.

Time is a fluid continuum, supple, smooth and as elegant as it is alien. Humans in their efforts to quantify, segment and recollect it, thus resort to all manner of unitary measurements: their search for understanding breaking mystique down into monotony, similar to how in the parable from the 「Shan Hai Jing」“The seven cranial openings were chiselled out of Di Jiang (Jiang being the pictograph for “river”, a deistic manifestation if time)”. Still, it is by such means alone that humankind can civilise itself.

Time passes, in autumn we harvest, come winter we store, everything more or less accruing and stagnating irretrievably, hence it is that at the terminus, the final node,  we burn it all to a cinder, enacting of a whole new, joyous celebration. 

The “2020 Spring Festival Group Exhibition” is the first of a “Holiday Project” initiated by the Inna Art Space. 

Spring Festival is also referred to as New Spring, the crowning of a New Year. Jettisoning the old to welcome in the new, Spring Festival is the grandest of all holidays for Chinese communities, with 2020 being the year of the rat, a geng-zi year in the lunar calendar. 

As the New Spring draws near, we have orchestrated the present group exhibition to take place at the Inna Art Space’s New York premises, inviting artists, our friends to welcome in this year’s Spring Festival together by way of an exhibition.

Time is a fluid continuum, supple, smooth and as elegant as it is alien. Humans in their efforts to quantify, segment and recollect it, thus resort to all manner of unitary measurements: their search for understanding breaking mystique down into monotony, similar to how in the parable from the 「Shan Hai Jing」“The seven cranial openings were chiselled out of Di Jiang (Jiang being the pictograph for “river”, a deistic manifestation if time)”. Still, it is by such means alone that humankind can civilise itself.

Time passes, in autumn we harvest, come winter we store, everything more or less accruing and stagnating irretrievably, hence it is that at the terminus, the final node,  we burn it all to a cinder, enacting of a whole new, joyous celebration. 

At the turn of this lunar New Year, the Inna Art Space’s Hangzhou premises have invited fourteen practitioners to each present a single work and at a New Year’s gathering discuss their respective “practical node”. Each work presented more or less to addresses such a “node”, something often connected with the logical transitions of an individual practice, that or some not entirely successful experiment, an abandoned project— Regardless of what, such nodes are always connected to an idea that tugs the heart strings—At this level, when compared to the quality of an “art work”, such a node is rather more a thing of density, standing silently before the maker.