两位艺术家：于吉，克丽蒂娜施米吉尔。两个时代：一位艺术家怀着缠绵细腻的上海本土童年记忆，另一位则是从一个外国来访者的角度把握上海的时代变革。一个空间：上午艺术空间所处的建筑载有其浓厚的历史回忆。共同关注的问题：记忆是如何在创造中被表现，有些事物承载着历史却并没有深陷其中；怎样通过缓慢的劳动与工作解读时间与过去；被陈列在空间内的艺术作品作品如何与观众沟通。两个工作室：通过流动的观者，在收集，材料，丢弃，工作等形式中彼此转换关系。在展览的过程中：展厅扮演了工作室的角色，艺术家作品相互的参与、与空间的参与，在反复臆想中作品随之发生改变。此次展览的构想受到德国哲学家瓦尔特·本雅明的影响和启发，雅明在《柏林童年》中按照“古代记忆激活法”构建一种特异的回忆，这种自然记忆与“有意识回忆”的方法把事与物放在一个更宽泛的时间与空间里，变得有意思，用本雅明的话说，“是向回忆活动的深层内里进行逐一挺进”。

Two artists: Yu Ji, Christina Shmigel. Two generations: One with the lingering local memory of a Shanghai childhood, the other with a foreigner’s grasping for a sense of place in a time of change. One gallery: am space, containing discreet mementos of its historical past. Shared concerns: How can memory be manifested in the creation of something new, something that carries its history but is not mired in it; how does the slow creation of work by craft and accretion allow memory to inhabit it; how can the installation of the work in space contain the viewer. Two studios: The fluid nature of what is to be seen on consecutive visits, changing relationships between objects, collections, materials, discards, tracks of work efforts, of re-purposing. The exhibition idea, inspired by German philosopher Walter Benjamin’s notion of activating the “ atavistic memory ” : to incorporate the work of the two individual artists into the gallery in the way of the ever-evolving studios, thoughts in progress, responding to the particularities of the space, placing events and objects in a wider context of time and space. Over the course of the exhibition: The gallery acts as studio, the artists’ engagement with the space and with each other’ s work continually re-imagining the initial installation. In the end: A viewing that carries the memory of the show’ s original form but is inextricably altered by time’ s passage. In Benjamin's own words, " it is in the profound activity of recollection that one advances step by step."