自2016年以来，刘雨佳多次前往新疆一带，完成了一系列相关主题的影像作品。从最早的《黑色海洋》（2016）到后来的《远山淡景》（2018），直至最近的《寻宝》（2021）、《手的沉默》（2021），一如既往，刘雨佳将镜头对准一直以来被我们所忽略的那些人物、事件和地景，在历史与现实的交织和不动声色的碰撞中，在史诗般的长镜头与朴素的纪实之间的来回切换中，她用平静而不乏诗意的影像语言，书写了一部部极具个人美学风格的西北行纪。这不是人文主义的喟叹，也不是自然主义的畅想，她真正关心的是人的欲望、历史的欲望以及意识形态的欲望是如何渗透到这块土地及其原始的生存结构中的。

此次展览中，刘雨佳邀请了李丹、马海伦、叶无忌三位艺术家一同参与，他们通过影像、摄影、装置等不同媒介，从各自不同的视角呈现了一组关于新疆以及中亚一带的观察、记录和思考，展览蕴藉着他们与这块土地的情感，也见证了他们与作品中人物以及他们四个人之间的友谊。展览标题“沙漠玫瑰”来自李丹的同名作品，在这里，它是一种情念和意志的隐喻。正是这样一种情念和意志，促使他们一次次前往这块“神圣之地”，也构成了他们艺术实践的动能。

Since 2016, Yujia has made several visits to Xinjiang and completed a series of moving image works on related themes. From the very first Black Ocean (2016) to the later The Pale View of Hills (2018), to the recent Treasure Hunt (2021) and The Silence of Hands (2021), Yujia always turns her camera to the people, events and landscapes that have been away from the spotlight. In the intertwining and sedate collision between history and reality, under the switching between the epic long shot and the modest documentary lenses, she wrote down a travelogue of the voyage to the Northwest with her distinctive aesthetic style through the composed and poetic image language. This is not a humanistic intoning, nor a naturalistic imagination; what she is truly concerned about is how human desire, historical desire and ideological desire infiltrate into this land and the original existential structure of it.

Liu Yujia invited Li Dan, Ma Hailun and Ye Wuji to participate in the exhibition. Through different media such as moving images, photography and installation, they present a collection of observation, documentation and thinking about Xinjiang and Central Asia from various perspectives. The exhibition brims with their emotional attachment to this region, witnesses the connection between them and the characters in their works and demonstrates the friendship of these four artists. “Infiltrate Slowly”, the title of this exhibition, derives from Li Dan’s work of the same name; here, it functions as a metaphor for sentiment and will. It is this kind of sentiment and will that impels them to visit this “sacred land” constantly and recurrently and also forms as the driving forces of their artistic practice.