The concept of "Emptiness of the Four Elements" is derived from the four classical elements—Earth, Water, Wind, and Fire—reflecting the trajectory of human existence. This exhibition utilizes the works of various artists as a medium to explore the intricate relationship between nature, culture, time, and space, while examining the disjunction between the self, the environment, and society, as well as the tension between emotion and thought. Within the contemporary political and cultural context, the "awkwardness" of art may be understood as a natural manifestation of the cyclical movements inherent in social order—much like the ongoing dislocation between human nature and societal reality that has always been a constant in the course of history.

The exhibition begins with Olaf Hajek’s poetic interpretation of plant symbiosis, leading to Xia Peng’s deconstruction of cultural symbols. Through the thematic thread of "Earth, Water, Wind, Fire," a fluid and open narrative is woven, inviting us to reconsider and reposition several key questions: the loss and pursuit of our true essence. As Christopher S. Nwodo notes, the dilemma of art philosophy arises when "aesthetic power" is reduced to a competitive metric, sidelining the deeper inquiry into the essence of art itself. In response, the artists address this issue through their individual practices—Kuan Yun employs playful ink techniques to engage with the materiality of nature, while Ulrike Theusner offers a psychedelic reverence for the natural world, both seeking to re-anchor the alienated human essence. True aesthetic experience can only be attained through reflection and experience grounded in one’s innermost being.

This exhibition aims to reveal that the potential for creation often resides in "dislocation," much like the interplay between Earth, Water, Wind, and Fire, which exist in a state of both opposition and generation. Sergey Melnitchenko’s desire-based symbols in photography and Silin Liu’s historical identity collages both transform cultural conflict into a new space for meaning-making. These works resonate and engage with other artistic practices across different media and themes, expanding the contemporary artistic landscape through the medium of collage. As Matthew Lipman asserts, art philosophy must situate art within the broader panorama of human activity, and thus, the "awkwardness" of contemporary art becomes a proof of its critical existence. Lan ZhaoXing’s historical landscapes, in their non-instrumental stance, resist the reduction of meaning through rationality.

Through the materiality and symbolism of the four elements—Earth, Water, Wind, and Fire—the exhibition seeks to construct a speculative space, inviting viewers to engage with the most fundamental question while navigating the vines in Hajek’s work, the ink strokes of Kuan Yun, and the collaged imagery of Silin Liu: Where does the heart truly belong, and which eternal truth does it merge with? This inquiry, in and of itself, represents a small yet significant effort to resist the nihilism of meaning.

Participating Artists: Olaf Hajek, Sergey Melnitchenko, Ulrike Theusner, Kuan Yun, Lan ZhaoXing, Xia Peng, Silin Liu
Opening: May 2, 7:00 PM
Exhibition Venue: Migratory Bird Space, Koppenplatz 5, 10115 Berlin