Aleksandar Bursac
Fernando M. Romero
Grace Ren
Jihoon Cho
Lucas Bullens
Luo Xiaohan
Maximilian Stanley
Sachiyo Nishimura
Shavonne Yang
Yang Yang
Zhang Kaixiang

The world as it exists in itself is not identical to the world as it is lived. At its most fundamental scale, the world does not simply present itself as stable, discrete, or self-evident. Modern physics has unsettled that assumption. At the quantum level, matter may be described in terms of probability rather than fixed position, and observation is not always separable from outcome. What appears solid and resolved in ordinary experience is, at another scale, contingent, relational, and not fully determined.

The universe inspires awe. It is vast, formidable, and still profoundly unresolved. We accept its complexity, its uncertainty, and the limits of our knowledge. Precisely on that basis, we recognise the importance of reality as it is lived, sensed, and made tangible through experience. We depend all the more on those immediate, concrete, perceptible things through which we locate ourselves in relation to the world. Human experience is grounded in the senses, and reality enters experience through things and through media: the weight of an object, the texture of a material, the shift of light, the persistence of sound, the afterimage of a moving image. These are the conditions through which reality is felt, recognised, and remembered.

We live in a world of touch, sound, image, texture, distance, rhythm, and form. We encounter reality not first as abstraction, but as experience. Across painting, sculpture, installation, moving image, text, sound, and hybrid forms, this exhibition considers how the world becomes available through the senses. What connects these works is not medium alone, but method: a shared attention to perception as a way of knowing, and to the ways reality is felt, seen, heard, and made legible in experience. In these works, the medium is never a neutral support for form; it is one of the conditions through which meaning becomes possible. By rearranging the relations between material, object, and image, the artists release things from their familiar uses and inherited contexts, allowing them to appear otherwise. A pink balloon pierced by a razor blade enfolds threat in softness; a parcel in transit bears distance, delay, and anticipation; wires passing overhead become scores stretched across the sky, tracing the measure of travel and quietly suggesting its end.

Objects no longer remain confined to their prescribed uses, and materials no longer serve merely as formal support. Together, they generate meaning: they do not simply present the world, but shape how it is seen, sensed, and understood. The title names not the world in total, nor the world in its final physical description, but the world as it is encountered: tangible, sensory, proximate, and shared.