前言

历史感是一种很好的创作资源，但是它对于艺术创作的意义更落实为在过去和未来之间的现实态度，也就是说所谓的历史观只有转化为当下的文化立场才能更具价值。

孙晓晨为我们设置了这样的迷局，让我们在看似真实其实却荒诞无比的场景作品中，去激发对逝去之物的好奇，更去反思从我们身后喷涌而过的未来和当下，因为那些成排拱列的相机总是不断地向我们释放出这样的信息：追问包括历史在内的一切事物的真相，是每个人的权力。而历史的真相究竟是什么？那些原有的机械属性和记录功能被抽离和销蚀的瓷质相机，已经告诉我们试图去揭示历史真相的徒然。艺术家要让相机以视觉作品的方式存在，而只有相机以视觉作品的方式出现，整个作品才显得异常的吊诡——一大片从来就没有而且也无法记录历史事件和景象的瓷制相机，与那些代表着传统社会权力、欲望、信仰和公平的器物同处一室，被艺术家赋予了记录和鉴证历史上人的精神意识、社会的法制制度与宗教信仰的功能！从更深得层面上加以阐释，孙晓晨的这种场景化的“互视”结构更类似于中国古代诗文中的“互文”的修辞方法，即所谓的“参互成文，含而见文”。而现成品的挪用在体现其与生活之间原有关系的同时，突显了艺术家选择的意义和动机，更有意思的是它们还与“相机”之间形成复杂而难以剥离的关联，产生某种难辨赝伪的真相迷失, 从而激发了观者的互动性和现场感。事实上正如孙晓晨以“洞鉴”为名，艺术家以今溯古，冷静剖析着的是人类自身的陋习劣根和顽冥不化。

面对置身于艺术家为我们创作的空间之中，以往约定俗成和司空见惯的物理实存和心理定式都被重新拆散和组合，一切坚固的都烟消云散了，一切都是此在，一切都是当下。

As a good source of the creation, historic sense has the significance for art creation on mainly the realistic attitude between the past and the future, in other words, the so called “view to the history” can show its bigger value only if it has been converted into modern cultural position.

Sun Xiaochen has set up the puzzles for us. We are curious for the disappearing objects in the seemingly absurd, but very real scene works, and reflect on the future and the present spewing from behind us. Because those cameras constantly release the following information to us: questioning the truth of all things including history is everyone's power. What is the historical truth? Those ceramic cameras without usage have told us it’s vain to try to reveal the historical truth. This suggests that the artist’s camera works remain as visual works, thus such present way displays the whole works with extreme trickiness. The ceramic cameras which has never recorded and can not record historical events and scenes, and those objects representing the traditional social power, desire, faith and fairness stay in the same space, and even endowed with the functions of recording and witnessing the spiritual awareness, social and legal system as well as religious belief by the artist. At a higher level, Sun’s such scene-based “seeing each other” layout is more similar to a trope “Intertextuality” in ancient Chinese poems and assays, i.e., “different parts illustrate each other and form a complete meaning” . While the borrowing of the exiting works gives prominence to the meaning and the motive chosen by the artist while showing their existing relationship with life. What is more interesting is that, they also form a complicated close relationship with Sun’s “camera” with an unidentifiable lost truth so as to arouse the interactivity and scene sense of the audiences. In fact like Sun’s nomination for the works “Insights”, the artists compare the present to the past and also traces back to the past in the present, calmly analyzing the bad habits and stubborn attitude of human being.

We are in or face the space created by the artist, our past, conventional and common physical and psychological existence are re-set and combined while all solid things have vanished, everything refers to the place, everything is the present.