The featured artists, trained in Western art academies, wrestle with the dual challenge of honoring their cultural and religious heritage while adapting it for a global audience. As they infuse traditional motifs into their work, I feel there is a risk that the profound depth of these elements may be diluted, often in efforts to engage with pressing contemporary issues such as identity politics and environmental concerns.

As the struggles of decolonization unfold at the level of nation-states, stories about the colonial past are often told from a perspective of a victim. Such flattening narratives deprive individuals the agency to form an autonomous view of their history, leading to a reduced sensibility of geographical, psychological, and cultural complexities, even cultivating a polarising nationalism.

当艺术家成为一个被消费品不断刺激欲望而被拖得疲惫不堪的被动个体，很容易把自己定义成一个试图超越消费文化的内容生产者。但这又何尝不是来自于他们因无法见证可触可感的基础制造业生产环节，只能与键盘、屏幕相处全天而产生的空虚呢？与艺术家们对于观念的过度依赖并存的，其实是对消费品本身的物质性的敌意。然而消费品的生产过程，真的必须被置于一个道德低点吗？