AT SEA

Through scene reconstruction, the artist tries to reveal a universal picture of the predicament faced by young women in seeking social identity, and how they influenced by, consciously or not, unjust evaluation system of the feminine value in the context of Chinese society. Here, Shen attempts to examine in action the irrepressible tension between self-cultivation, judgment and morality and human nature. The whole set of photographs demonstrates the discipline of young women as individuals in patriarchal society as the object of male gaze and the inevitability of the ultimate tragedy of this behavior.

The work also tries to explore such a question – what is love? What is the shape of the self? Under Lacan’s argument, all gazes are returning, all gazes are just the reverse lens in the mobile phone, and all the gazes finally can only see themselves. And when the moral and ethical judgment standard given by the world we stare at is a strong and indisputable existence, does staring merely seeing ourselves? Or seeing the so-called real humanity embodied by the one who has the right to speak? And in this case, the group that can stand up against it with flesh and blood, are they just like what we fear, the “lunatics” who broke Lacan’s “mirror”? And this is also true human nature.

通过场景重构,艺术家试图揭示年轻女性在寻求社会身份认同时所面临的困境的普遍情况,以及他们如何受到中国社会背景下沉重的女性价值观的有意识或无意识的不公正评价体系的影响。在此,艺术家试图用行动的方式考察了自我养成,判断力和道德观念与人性之间所的产生的不可抑制的张力。整组照片演绎了作为个体的年轻女性在父权制社会中作为男性凝视对象对自身所进行的规训及该行为最终悲剧的必然。

该作品还试图去探讨这样一个问题 —— 爱是什么?自我的存在是什么形状?在拉康的论述下,所有凝视都是回返的,所有凝视都只是手机当中的反向镜头,所有的看,最后都只看到了自己。而当我们凝视的这个世界所给予我们的道德伦理判定标准是一个强势且不容置疑的存在的时候,凝视,又是否仅仅只是看到了自己?还是说,看到了掌握话语权一方所体现出的所谓真实人性?而在这种情况下还能站出来用血肉之躯与之进行抗争的群体,他们是否正如我们所畏惧的模样,是打破了拉康“镜子”的“疯子”?而这,恰恰也是真实的人性。