世界迫于我们的创造在改变，人类的智慧自持为上帝之手的延伸，自然图纸经由人的立法而呈现为新的图像，在新的图像中我们得到我们的审美满足。世间万物成为文 明盆景中的道具，古诗中的千山万壑与小桥流水蜕变为消费形态下的摆设，升级版的审美要求如操作手册般指导着我们对周身环境的捏造。

本次展览以“很美的地方”为题，一语双关：“很美”即是通过被再造的世界和意识所组装起来的审美判断，“很美的地方”是属于这个时代的二手现实，而真实之美有如长大成人后对儿时腮腺炎的愁绪，在不经意间已决绝而去，“很美的地方”或将成为人类梦魇中永远的乌托邦。

此次展览汇集了10位艺术家不同媒介的作品，年龄横跨60-80年代，在他们的作品中，我们兴许能感尝些微的乡愁和呢喃，或对文化、对传统，或是朝着令人眷恋的儿时般的想象世界。在伟大理性所确立的父法世界中，我们不妨跟随艺术家的作品做一次潜行，重返我们意识懵懂的混沌之地，再次汇聚起对“很美”的幻想。

The world is changing as man creates; man claims to have acquired God’s wisdom, and transforms the blueprint of nature into new images, from which he gains endless aesthetic satisfaction. Everything in nature is thus reduced to a prop in the miniature garden of civilization. The mountains, gullies, bridges and rivers in ancient poems are now settings for a consumer culture. Man manipulates things around according to the upgraded aesthetic demand serving as an instruction handbook.

Entitled Far Away Beauty Lingers, this exhibition has two connotations: beauty here refers to an aesthetic judgment built under the guidance of reshaped world view and ideology, it is a second-hand reality characteristic of this age. The real beauty, on the other hand, is like memories of childhood parotitis, has become part of the remote past. “Far Away Beauty Lingers” in this context serves as a forever utopia among nightmares of man.

This exhibition features works of different medium from ten artists who were born between 1960 and 1990. In their works they express nostalgia and longing for culture and tradition, or for the imagined childhood world. In a patriarchal world established with man’s great reason, we may want to dive with the artists into the chaos of our sub-consciousness, and rebuild our fantasy of “far away beauty”.