张思扬
This piece begins with research into a murder case from three centuries ago. Taking "writing" as its entry point, it experiments with self-referential narrative nesting from the perspective of a writer traversing layers of narrative. Original records of the 300-year-old murder case, fragments of notes found at a roadside corner, a strip-like sculpture, inscribed with writing, as if the limbs of time extended into the room, small x-ray films hinting at dismemberment and exposure over time, and a novelistic story, a product of this writing, seemingly offering clues to the puzzle's solution, yet shrouded in ambiguity—fragments of different tenses are juxtaposed, referencing each other and forming a field of puzzle and narrative. Adopting "failed writing" as a core methodology, I place the narrative itself in a state of deconstruction and re-examination, delving into the impossibility of narrative. It's as if completed across time by different hands, yet verging on collapse just as it approaches the formation of a comprehensible narrative—the collapse itself becomes the narrative.
我以前肯定见过这部小说... 你只有这个开头，然后是在找剩下的部分，对吧？ 不幸的是，过去的小说都喜欢这样开头。 曾经有个人独自走在路上，注意到有什么东西吸引了他。 那东西似乎隐藏着什么秘密，或者可能是在对他暗示着什么。 然后他就试图寻找解释，结果就被告知了一个很长的故事……
这件作品开始于对三百年前发生的一场谋杀案的研究，我以“写作”为切入点，用一位在故事层级之间穿梭的写作者的视角对自我指涉的叙事嵌套展开实验。三百年前对谋杀案的原件记载，出现在一条道路角落的几段笔记，一个被书写的，仿佛时间的肢体伸入房间中的条状雕塑，暗示着肢解的，在时光中曝光的小型x光胶片，还有一个作为写作产物似乎为谜题答案提供线索，但又迷雾重重的小说故事，不同时态的碎片并置，它们互相指涉，构成了谜题和故事的场域。我以“失败的写作”为核心方法，将叙事本身置于解构与重审的境地，探入叙事的不可能性。它像是跨越时间被不同的人完成，又在即将构成可以理解的故事的时候陷入崩解的境地——崩解本身就是故事。