绘画的过程本身就是一个永恒的去故从新的过程：以艺术家自身的独特感受、倾向与选择为主导的个性表达；不循规所谓观念流派的顺序方向和新旧误区；超越单纯视觉的观察方式，以绘画过程的即兴性、直接性，色彩运用的简约性、松驰感，注重陌生化、非常规的、非描述性绘画主张与创作革新。

The process of painting itself is an eternal process of removing the old from the new: the expression of individuality dominated by the artist's own unique feelings, tendencies and choices; not following the sequential direction of the so-called conceptual genres and the old and new misconceptions; transcending the purely visual way of observation, and focusing on the improvisation and directness of the painting process, the simplicity of the use of color, the sense of looseness, the unfamiliar, unconventional, non-descriptive painting propositions and creative innovations.

「与之相处」当代艺术群展将目光引向「绘画中的独立意识与自我认知」、「空间与绘画＆裝置的相互关系」等议题。群展的策展，旨在探索心性內外的新视野、新方法，以此更新对喧嚣不安的外部世界的整体判断和价值取向。同时界于信息是需要自我筛选和被个体进行考量的：碎片化、重置、包裹、还原、明暗搭配、日常废弃的物尽其用……无论明显的还是隐藏的，我们鼓励观者以深度思考和新鮮目光看待周遭日常，在混乱中产生秩序、发掘寻找物之本质、物体间的临界关系、物与空间的关系等等。

The exhibition focuses on the issues of "Independence and Self-Awareness in Painting" and "Interrelationship between Space, Painting and Installation”.The curatorial aim of the group exhibition is to explore new perspectives and methods of mindfulness, in order to update the overall judgment and value orientation towards the noisy and disturbing external world. At the same time, information needs to be filtered and considered by individuals: fragmentation, resetting, wrapping, restoration, matching light and dark, and making the best use of daily waste....Whether obvious or hidden, we encourage the viewer to think deeply and look freshly at the everyday world around them, to create order out of chaos, to discover the essence of things, the critical relationships between objects, the relationship between objects and space, etc.

「山泉绕屋知深浅」对于屏蔽艺术家自身差异性、强化艺术家的商品属性、画面高度程式化的平滑顺畅与取悦魅惑，则需小心谨慎与之保持距离；见所未见的，看似不夠成熟的眼高手生，却足以令人耳目一新的稚拙生趣，反而可以从中汲取充足养份；我们体悟到实验性的材料过程有时甚至比观念构成更为重要，概念作为变量可以解释，而材料本身即反应着事实。装置艺术的较高阶段几乎都是平易中蕴含无限意义，且致力找回正在失去的那种朴素感性本质的生命力。

“The mountain spring surrounds the house, knowing the depth” For the shielding of the artist's own differences, the strengthening of the artist's commodity attributes, the smoothness of the highly programmed picture and the charm of pleasing, it is necessary to carefully keep a distance from it; to see the unseen, the seemingly immature, but refreshingly childish interest, on the contrary, it is possible to draw sufficient sustenance from it; We realize that the experimental material process is sometimes even more important than the conceptual composition, where the concept is interpretable as a variable and the material itself reflects the truth. The higher stages of installation art almost always contain infinite meanings in their simplicity, and strive to recover the vitality of the simple sensual nature that is being lost.

有无相生，气韵高格的东西往往是微妙的，如水流般安静而自然，面貌样式纯粹且洗练，既是內容与境界的相辅相成，也是精神与美学的相得益彰。正如德勒茲所言「时间是意识的延绵」，期待本次群展的余友涵、菅木志雄、何赛邦、冯良鸿、黃渊青、张恩利、屠宏涛、廖国核等12位參展艺术家的探索，能引发耐人寻味的沉思、带来真正恒久的满足与深远意义。

Existance and non-existance lies upon each other, things that are chiaroscuro are often subtle.As quiet and natural as the water flow, the style of the appearance is pure and refined, complementing both the content and the realm, as well as the spirit and the aesthetics. As Deleuze said, "Time is the prolongation of consciousness", we expect that the explorations of the twelve participating artists in this group exhibition, including Yu Youhan, Kishio Suga, He SaiPang, Feng Lianghong, Huang Yuanqing, Zhang Enli, Tu Hongtao, and Liao Guohe, will lead to intriguing contemplations, and will bring about real and lasting fulfillment and far-reaching significance.