Peiyue Wu

For Chen, ‘sanctuary’ evokes ecclesiastic traditions of housing that displaced civilians. Taking Sanctuary as the title of his first institutional exhibition in New York, Chen aimed to engage with people from different cultural backgrounds and test the idea of whether art can provide familiar space for the unlikeliest of encounters. However, in the rapidly escalating COVID-19 pandemic, a more prophetic meaning of the exhibition began to emerge: a community can only be recognized against a context from which it differentiates itself and that ground would be post-COVID-19 New York.

为什么挪用艺术的方式还会在今天的美术馆被追捧？物件依次排开，通过文字标语来呈现其背后历史意义的展览方式，和历史博物馆所使用的策展方式有何区别？在处理这些复杂的社会问题时（本来应该是学院、政治、媒体经常辩论的话题），艺术家的功用何在？

One might find Taher Jaoui introverted the moment meeting him. It might be less about an aloof temperament commonly found in an artist than a reserved and prudent character often associated with a science person.

然而在这半年的田野经验里，我发现底层的中国人所携带着的这种热烈的活着的欲望和生命冲动，其本质是一种非常精神性的东西。

Unlike Salgado’s mourning for those who died along their immigration journey, Han decides to focus on those who manage to reach their destination but suffer from the invisible violence tied to their dislocation.

在海外观看有关中国的纪录片的时候，我会较多关注片中写实的部分。而当我回到了中国，当那些本被我当做远程了解国情的影像素材，成为了裹挟了我的现实，我忽然能够更敏锐地觉察到导演对现实进行加工时用到的戏剧手法。

“The Invisible Hand,” a widely-known economics term describing market self-regulation, symbolizes a top-down, godly perspective for me. When I think of this term, I picture the allure of wealth, the aggressive and competitive nature of humanity, and the vast economy that places a price everything. Yet, I never linked it to the faceless heroes — cleaners, gardeners, and migrants — who uphold such economies.

The romantic anecdotes of a collaborative couple are often more evocative than general stories about an artist’s inner growth.

The color of yellow is a symbol of a forbidden religion in China.