Core Points - The article discusses the themes of "infinity" and existential despair in the works of Laszlo Krasznahorkai, particularly in his novel "Satan's Tango" and the short story "Throwing Off Elmer Bogdanovich" [3][12][17] - It draws parallels between Krasznahorkai's writing style and that of Kafka, emphasizing the sense of being trapped in a cyclical, meaningless existence [15][17] - The narrative often reflects on the futility of human actions against the backdrop of an indifferent universe, symbolized by relentless rain and decay [4][9][17] Summary by Sections Themes of Infinity - Krasznahorkai's works are characterized by a fascination with the concept of "infinity," which permeates his narratives and evokes a sense of melancholy [3][4] - The characters often find themselves in a state of existential limbo, reflecting on their relationships and the futility of their actions [3][12] Writing Style - The author employs long, unbroken sentences that create a dense atmosphere, mirroring the oppressive nature of the rain in "Satan's Tango" [8][9] - This stylistic choice serves to compress the characters' experiences and emotions, emphasizing their shared sense of despair [8][9] Symbolism of Rain - Rain serves as a central symbol in Krasznahorkai's narratives, representing stagnation and the inevitability of decay [9][12] - The characters are often depicted as being trapped in a cycle of waiting for the rain to stop, which never happens, reflecting their broader existential plight [9][12] Kafka's Influence - The article highlights the influence of Kafka on Krasznahorkai, particularly in their shared exploration of fate and the human condition [15][17] - Both authors depict characters who are caught in a web of societal and existential constraints, unable to escape their predetermined paths [15][17] Societal Commentary - Krasznahorkai's works are seen as a commentary on the disintegration of society, particularly in the context of Hungary's socio-political landscape during the 1980s [9][17] - The narratives evoke a sense of impending doom, likening the characters' experiences to the biblical flood, suggesting a collective awareness of their precarious existence [9][17]

Core Viewpoint - The UCCA Center for Contemporary Art in Beijing is hosting two solo exhibitions featuring artists Chen Ke and Liao Fei, focusing on the reinterpretation of historical art movements and the contributions of marginalized creators [1][2]. Group 1: Chen Ke's Exhibition - The exhibition "Chen Ke: Nameless Bauhaus" showcases over 60 works created since 2020, particularly the "Bauhaus Girl" series, emphasizing the contributions of female artists from the Bauhaus school [1][2]. - Chen Ke, born in 1978 in Sichuan, is recognized for her impactful visual expressions that explore the complexities of individual emotions within social and historical contexts [1][2]. - The exhibition highlights the often-overlooked artistic contributions of women in the weaving workshop of the Bauhaus, showcasing their significant influence on textile art [1][2]. Group 2: Liao Fei's Exhibition - The exhibition "Liao Fei: As If One Has Eyes" represents Liao Fei's most systematic solo exhibition since he began his artistic career in 2006, focusing on five core concepts: material, field, extension, infinity, and deduction [2]. - The exhibition includes Liao Fei's early works that explore the relationships and tensions between materials, as well as new pieces from his "Handwriting Space" series and "Unidirectional Sculpture" [2]. - Liao Fei's works aim to challenge traditional sculpture's limitations by merging logical thinking with artistic expression, transforming abstract concepts into tangible visual experiences [2].