二楼的空间里临时搭建起来的20平米房间是真正的展室,“组织”中的四人各自占用一面墙,展示着近段时间不约而同做起的“木工活”。这里的故事是徐喆修补提琴、照骏园以木桌改制木椅,都正好需要陶轶雕刻佛像时产生的木屑,李牧时常自省与身为木匠的父亲之间的关系,于是就有了这样一个默契的展览。一把看似很有年头的低音提琴在“白盒子”里分外惹眼,一旁的墙上是徐喆修补这把琴的一段影像。他在二手乐器店买到这把民国早期的低音提琴,打开琴箱后发现了三次修补痕迹,他惊讶于越早期的修补越精细和规范,于是决定自己动手继续修复和微调,以身体力行的方式延续对于手工技艺的尊 The 20-square-meter room temporarily built up on the second floor is a real exhibition room. Each of the four people in the “organization” occupies a wall, displaying the “woodworking” that spontaneously starts from recently. The story here is Xu Zhe patch violin, according to Chun Garden wooden table to remodel wooden chair, both just need Tao Yi carving Buddhist statues produced wood chips, Li Mu often self-examination and carpenter’s father’s relationship, so there is such A tacit exhibition. A seemingly old bass in the “White Box” exceptionally eye-catching, on the side of the wall is Xu Zhe patch this piano a video. He bought the early bass in the Republic of China at a second-hand musical instrument store. After opening the case, he found three signs of repair. He was surprised that the earlier the more detailed and standardized the repair, he decided to continue to repair and fine-tune himself. Continuation of respect for craftsmanship