When I first handed over the four words' fireworks index 'to Chengdu Art Museum, I felt a bit discouraged. Fireworks? Index? One is so emotional, the other is so rational. When these two words are put together, will it make people feel like we curators are playing a word game? However, this city full of smoke and fire gave me confidence. During the just passed Spring Festival holiday, the "Fireworks Index Chengdu Biennale" received 140000 visitors. Although some friends online say 'some works cannot be understood', the audience voting with their feet makes us feel that the biennial exhibition and art museum have already spoken 'Mandarin'. The "Fireworks Index Chengdu Biennale" juxtaposes the emotional warmth of the common people with rational observations of the times, providing us with a yardstick for measuring the relationship between Chinese art and the public. In the current era where contemporary art biennials are becoming increasingly international and constantly embedded in urban cultural tourism, there are still cognitive barriers, expression barriers, and lack of participation between art works and the public. The theme of "Fireworks Index" is an effort to break the binary opposition between art and life, attempting to break out of the "elite narrative" and make smoke and fire - the most vivid daily life, the most simple emotions, and the most vivid cultural memories of this city - the core of artistic creation and exhibition expression. Art is not a concept suspended in the air, but has a warm feeling rooted in the streets and alleys, becoming a catalyst for fireworks life and urban space. From outdoor exhibitions in Tianfu Art Park to dynamic performances in Tao Body Theater, from installation works that echo the urban texture to interactive expressions that focus on the living conditions of ordinary people, the exhibition uses "fireworks" as a link to generate "overflow" energy in art and bring it closer to the public. In major cities in China, the main audience for biennials is young people. The so-called local thinking is not only about culture, but also about paying attention to people. This exhibition has made bold attempts in both concept generation and section division. The core reason stems from a set of numbers previously read: according to the seventh national census data, the population of Chengdu aged 14 to 45 exceeds 9.6 million. What concept? Nearly half of the cities are 'vitality factors'. But data is data, life is life. Which young person nowadays doesn't live in an 'index'? Like counts, rankings, KPIs... We are defined by various external data, and even anxiety is quantified as the "Depression Index" and "Stress Index". But can these numbers tell you what kind of wine should be paired with tonight's hotpot? Can you calculate the leisurely level of a cup of tea in the People's Park? The 'Fireworks Index' aims to make a difference in this gap. In the economic field, indices are data, but in biennial exhibitions, they can be emotions, love, a sense of vitality, and the search for artistic value among young people. What we need to do is to implant emotional artistic pulses into the rational urban texture, allowing aesthetic education to penetrate into the blood of young people and expand to all age groups, achieving artistic family happiness, just like Qi Baishi's calligraphy work in this exhibition - from the masses to the masses. Therefore, for this biennial exhibition, we simply chose "Outdoor First" as the resounding opening. Nine large installations were directly "thrown" into the commercial district of Tianfu Art Park, without walls, tickets, or "please keep quiet" signs. The indoor exhibition, which opened on February 8th, featured 328 pieces/groups of works from 251 artists from 29 countries and regions. The themes of each section were to tell you "where is worth it", how to "return to life", and how to spend your "twenty-four hours"... Artist Xu Bing once said: Sketching training can transform you from a rough person to a refined one, someone who knows how to observe the relationship between the whole and the part. This is the profound meaning of aesthetic education, which is specific and difficult. It is not an immediate educational achievement, but rather the cultivation of the public's ability to "get along" with art through continuous immersion. The generation of this ability requires not only the audience, but also the ability of art museums as public cultural service facilities to elegantly speak Mandarin. All efforts to travel in both directions stem from the unique magnetic charm of art. (New Society)