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Rhetoricians transform the things they need to remember into visual symbols, placing them within imagined edifices. As one navigates through these structures, the images encountered evoke corresponding memories; this is the essence of the memory palace. Here, space is no longer a static physical environment but rather a dynamic existence continually shaped by human actions and activities. As Michel de Certeau asserts, the body itself is a fragment of space; it not only “uses” space but also “generates” meaning within it. The interplay between bodily actions and space is inseparable, collectively constructing the appearance and significance of the environment.

This exhibition invites 14 artists to explore how humans perceive, imagine, and define space through various mediums such as sculpture, video, performance, and sound. Within this context, the Molyneux problem prompts us to ponder: If a person born blind learns to recognise shapes through touch, can they, upon gaining sight, distinguish those objects visually? This question highlights that perception and imagination are often constrained by established experiences and standards, akin to our inability to depict a “square circle” because our cognition has already been confined by the frameworks of experience.

Likewise, in the realm of imagined space, a memory palace cannot be physically experienced like the streets of a city. The perception of space operates similarly; akin to the blind men and the elephant, we can only grasp its entirety through fragmented perspectives. Whether through historical records, witness testimonies, or the physical remnants within a space, each segment seems to claim a complete narrative, yet we can only piece these fragments together to construct a holistic understanding of the space. In this process, we realise that space is not merely an objective existence but rather a continually perceived and imagined domain. Although these assembled fragments may bear elements of fiction, they compel us to focus on the mechanisms that generate such content—revealing that in the process of perceiving space, the lies themselves may not be significant, but the techniques of deception may conceal some truth.

Standing within the exhibition hall, as you survey your surroundings, you will observe the meaningful architectural elements—columns, walls, ceilings, ventilation systems, exposed wires, doors, and windows that connect the interior with the exterior. These elements embody the initial human interventions in space, defining our position within the world and reminding us of the delicate balance between humanity and the cosmos. Perhaps, as Michel Guerin suggests, artworks create a non-existent space through their implementation process, thus achieving self-sufficiency through production. Each creation of space encompasses a dual significance: the act of creating space and the inherent creation of space itself.

— text by ( Jiayi Wang )