空间站将于2012年5月5日举办“格力其”——陈杰个展,此展览集中了陈杰近年来的代表性绘画作品，体现了他近年来对绘画创作上关于形式、风格、图像以及传达审美意识的反思。展览打乱了线性的审美经验，而呈现出作品作为物，图像，符号，审美形式多重角色交叉转换的现场。单个作品不在停留在一个单向的所指上，是作为一个连接剧场与现实的通道，投射出一个真实而又混乱的个体意识。

关于这个展览，先提及一种出现于上世纪九十年代末名为格力其（glitch）的音乐类型。格力其（glitch）一词从字面上的意思是指电脑或硬件设备出的小毛病，当音乐人利用电脑或者其他硬件设备把那些本来属于故障或是技术失误而产生的噪音融合在一起时，却合成了一种特别的音乐。仔细探讨这种可以称为失误美学“aesthetic of failure”的音乐类型，可以看到其与现代性审美意识之间一种有趣的关系，其变化归咎于无止境的在审美学上的变异。

在格力其（glitch）没有成为一种明确的音乐类型以前，对于抽象的音乐来说，故障显得更加抽象，是突如其来的闯入审美意识中的一个盲点，其使抽象的音乐突显为具体的审美状态。而正是这个审美意识的盲点，同时又成为一个接通物理现实的具象之物，从而使完整的审美状态遭遇一种现实意外。而格力其（glitch）音乐的出现，却使故障从审美无意识到有意识，同时故障被现代性审美意识吞噬进它庞大的系统。当格力其（glitch）成为一种有趣的明确的音乐类型时，现代性的“城市规划”便给这些故障等 “意外失误”签办了新移民的户口本。

引入格力其（glitch）这个概念，并不是妄想要对现代性的意识结构做一个个案解剖，而是一种提醒。在视觉艺术创作过程中，类似于格力其的意识运动随时都存在，抽象与具象，记忆与筹划，现实图景与影像生产，意识形态建构与现实遭遇，不断的相互转换，干扰，而同时带着古典主义和现代主义这两个遗传病，个体意识被拖入巨大的现代性搅拌机里。在这里，似乎出现了一种类似离坚白与合同异的相互辩证。

Space Station will hold "Glitch", a solo exhibition by Chen Jie on May 5th, 2012. The exhibition will present Chen Jie's outstanding painting artwork from recent years, which delivers the painter's creation concepts about art form, style, image and the conduction of aesthetics. This exhibition will break the linear aesthetic experience, and the artwork will be exhibited as multiple roles like objects, images, symbols and aesthetic forms. Instead of staying on a one-way direction, single artwork has become a channel to connect the theatre and the reality, casting a real but chaotic individual consciousness.

First of all, the music style "Glitch"that emerged in the mid to late 1990s has to be introduced here about this exhibition. A"glitch" is literally a short-lived fault in a system, which is particularly common in the computing and electronics industries. When musicians mix the sounds generated from the malfunctioning or abused audio recording devices or digital technology, a special music style has been created. If we expand a further discussion on this so called "aesthetic of failure" music style, we will find an interesting connection between "glitch" and contemporary aesthetic sense, which is resulted from the infinite mutation in aesthetics.

Errors in abstract music seemed more theoretical before "glitch" became a particular music genre. The errors intrude into the aesthetic sense as a blind spot, which converts the abstract music into a concrete aesthetic status. This blind spot in aesthetic sense has also become a tangible object that connects with the physical world, so that the complete aesthetic status will encounter with the realistic accident. The music style "Glitch" has made errors from unconsciousness to consciousness , in the mean while, the errors will be swallowed by the enormous system of contemporary aesthetics. When "glitch" becomes a particular interesting music genre, modern "city planning" will then "accidentally" issue residential certificates to errors, the newly immigrants.

The reason to introduce "glitch" here is not intended to have a case study on the contemporary conscious structure. it's a reminder instead. The conscious movements like "glitch" happen all the time during the whole creation process of vision artwork. Abstract and concrete, memories and planning, actual scenes and image production, conscious construction and reality encounter, all these are transforming and intervening with each other. Individual consciousness is simultaneously dragged into this huge contemporary blender, with two genetic diseases of classicism and modernism. Then the dialectical relationship between Li JianBai and He TongYi seems to arise...