被记忆是发生在传媒时代的新境况。

　　当你把电视机搬回家，家里的座椅或沙发都朝向它摆放的时候，你的传媒时代就开始了。在这种新的境况中，它带给你关于世界的信息和解释，你或者消极地顺从，或者在思想中与他们相分离，都无可选择地会以它为蓝本形成一种公共记忆，甚至个人记忆也会加入其中添加细节，但这些细节是否能对这种记忆形成一种主动或异质的双向塑造，其实并非易事，因为在众多私人生活空间中，电视如圣物一般被摆放在祭台位置上，倾泻着永无休止的信息。

　　陈曦的作品在翔实地绘制出一些被记忆的影像刻度时，安置这些影像的圣物-电视机的材质、型号，祭台-桌子的款式，以及伴随性的手边物件，被她有意而谨慎地与那些影像建立起理所当然被忽视的世俗联系。尽管有了这个联系，这些物件显然是附属性质的，它们在那些被记忆的银屏光影下，黯淡，落寞，易损。尽管是附属性质的，它们似乎谦卑地获得了起死回生的片刻机缘，在这个机缘中，凝固的影像交付给了更潜在的、缺少确定性的经验记忆，模拟了一个个记忆形成的现场。

　　通过一连18个记忆片刻的模拟，作品释放出一种异质于电视信息的、丰盈的消息，这消息无关记忆，也无关现实，而是激起了一种未完成感。这种未完成感不仅具有结晶体般的功效，使被记忆的影像在每个不同的视角下、不同的时间里都将展现不同的光影，也因此使凝固的记忆转化为模糊而活跃的心理现象，将我们从传媒所界定的记忆中唤起感知的动力，重新投入没有被定论的、向未来敞开的生活世界。

　　未完成感是区别于传媒信息的生活时态。传媒使用的时态总是完成时的，即使是现场直播，到达我们的心里时也是现在完成时的，它总是确定的，权威的，判断的，而历史永远是未完成的，现实永远是未完成的，关于生命的消息也是未完成的，充满了偶然、差异和变化。传媒时代埋没了未完成感这种伟大而古老的心理能力和生存感。

　　因此，陈曦的“被记忆”展览是祈祷式的，无论其中有多少分离或和解，有多少屈从或背离，有多少匮乏或欣喜，它通过对仪式化影像记忆的世俗化模拟，让有声有光的记忆，安置在无声无光的未完成之物上，透露出未完成的历史肌理。这是一场抗拒完成时态，解放记忆障碍的祈祷。

2011

Those Remembered

SHU Kewen

　　"Those Remembered" (also the theme name for this exhibition, in Chinese Bei Ji Yi 被记忆) , was branded by the mark of media age under the new context.

　　When you take the television home, and place the couch and chair facing it, you start your relationships with the media age when you were exposed to information of the world and its interpretation. No matter you accept it passively or try to alienate yourself from it, a collective memory is forged based on it without any other alternatives. Though sometimes, even your personal memory will come into this collective memory and add some details to it, the two can hardly interact with each other through both assimilation and dissimilation. Since for most people, television are seen as something holy (it was usually placed on the home shrine), and the on-going information coming out of it ceaselessly does not seems to be in need of a keen critical eye.

　　When depicting images of those remembered, Chen Xi creates a connection between the image and the surrounding objects by carefully portraying the material and type of the television, the style of shrine that holds the television as well as casual ornaments that goes with it. These objects, being subordinate attachment, suffer from wear and tear under the shadow of the shining screen with images of those remembered. However, they somehow, in the work of Chen Xi, revive in a moment when the images become frozen and its interpretation is decided by varying personal experience which lurks below consciousness.

　　Through simulations of 18 fragments of memory, this series of work delivers information to the fullest and in a way very different from television information and may not be easily interpreted with past or present, stirring up a sense of unfinishedness. With such feelings, images of those remembered have different colors and shades from different perspectives and timeframes, just like the case when we look through a crystal from different directions. In this process, the frozen memory transforms into vibrant psychological activities, vogue as it may be. It inspires the power of active perception, and opens the door to future, which holds infinite possibilities.

　　The sense of unfinishedness can be seen as a tense of life different from that of media and information age in which it's always about perfect tense, even for the case of a live show. Since when the show reach us and it is already done with certain authoritative judgments. But history keeps moving forward, so does the present and the on-going information about life which is featured with accidents, dissimilation and changes. In the media age, the sense of unfinishedness seems to be submerged and along with it, mental energy and feeling of living a life which was demonstrated in man kind from ancient time.

　　In this sense, the artist expressed hope and prayer through this exhibition themed "Those Remembered", no matter how much it is about alienation and conciliation, compromise and betray or deprivation and delight. It reveals the unfinishedness of the fabric of history through simulation of ritualized memory of images. In this process, the memory with sound and light is finally landed on something that is unfinished, that is deprived of sound and light. It is saying a prayer for fighting against the perfect tense and liberating people from the barriers of memory.