In today's deeply globalized world, the ideological state apparatus has long since changed, and art is no longer a spiritual being in the eyes of most people, much less one that can teach and capture the masses like a medieval religion. The contemporary world has become so instrumentalized and scientific. Art's territoriality and subjectivity are facing a trinity of interculturalism, intercontextuality and interdisciplinarity. "Multiculturalism" is no longer limited to regional demands and the results of digital globalization. Worldwide cultural fluxes tend to deconstruct the Western-centric discourse on the cultural other, and regional cultural connectivity strengthens the significance of Chinese art as a component of global art forms. This also includes the need for young Chinese artists to transform their cultural identity and personal self-worth in this context. The rise of mass media has obliterated the spiritual light of art and religion (AURA) in mass culture, like a pearl in the sea.
It seems that there is no other way to rebuild the sublime nature of artworks than the method of worshipping and attaching gold at the auction houses, and it is perhaps a possibility to find the sublime ideological value that can be constructed in the consumption and viewing value and establish another meaning of worship, in order to revive the spiritual "worship". In the midst of technological development and looking back at Benjamin as the star figure of the Frankfurt School, I would like to borrow his concept of AURA (translated as spiritual rhythm, aura, etc. in Chinese) as the theme of the exhibition.
It has always been said that contemporary art is unconventional in China, I hope to get rid of this self-orientation, to be more like Adorno who is alert to the so-called regional cultural antagonism, and to add the memory that belongs to us, starting from this exhibition.