This exhibition takes “Space” as its narrative point of departure, bringing together the distinct yet resonant practices of Marius Steiger, Feng Chen, and Tan Yingjie.

Through an interplay of painting, installation, sound, and moving image, the exhibition explores how contemporary space is continually dismantled and reconstructed under the intertwined forces of bodily experience, urban architecture, and technological mediation. Here, space is no longer conceived as a silent or neutral container; rather, it emerges as an active agent—shaping subjectivity, regulating perception, and producing social relations. Within this shifting field, memory, agency, and identity remain in a constant state of negotiation and reconfiguration.

In We Enter, and the Space Enters Us, Steiger intervenes directly in the gallery’s architecture by blocking its reception desk with wooden planks, transforming the “office” into a structure reminiscent of cottages or rural farmhouses. This gesture signals a movement away from the aesthetics of elitist refinement toward the ethos of labor and craftsmanship. By subverting the seemingly fixed and regulated spatial order shaped by institutional conventions, Steiger deftly stages a dialogue between image-making and painting-making: from the front, the architecture is humorously reimagined through cartoon-like renderings of planks; while inside, viewers encounter the reverse sides of the works—their wooden frames and structural supports. Within the gallery, he further constructs an immersive,
quasi-domestic environment composed of “Case” paintings populated with human visages, orchids, dice, binders, cigarettes, and posters. These abstracted forms function as cultural emblems charged with memory, ambition, and desire. What remains after repetition? What lingers in the residue of gesture and action?