广东时代美术馆
2024年3月23日-2024年6月23日
郭锦泓、何颖宜、马秋莎、玛吉·蒙科、潘律&王博、彭可、潘凤田&弗里德·哈勒、彭祖强、陶辉、徐皓霖、叶慧&瞿畅、袁中天、张如怡、周思维
1989年春晚的一次翻唱之后，由台湾歌手苏芮原唱的《跟着感觉走》成为90年代至今广为流传的金曲。原唱MV中，苏芮一袭摩登扮相，穿行于都市及公路之间，讲述在“感觉”的引领下，愈发自由轻快的个体。在动感的迪斯科节拍下，彼时中国的社会亦快速地变换着节奏。
于是，那个在五四运动时期便被“自由”与“恋爱”召唤显身的现代中国个体，在世纪末的社会转型下再次以充盈的感觉和情绪定义了自身的现代性。然而正如《跟着感觉走》的歌词所示，“感觉”似乎并不是内在的于个人的、“天然”的内涌；而是一种外在的、牵引我们前行的力量。展览“跟着感觉走”所试图勾勒的正是改革开放至今持续召唤我们出走和前行的“感觉”，以及它围绕着情感与发展、亲密性与商品经济的交缠话语。沿着时代美术馆狭长的、“公路”般的空间结构，展览摸索着“感觉”的生产；而美术馆下层的居民单位则作为“公路”的“地层”，提示着私人生活与公共建设的交缠关联。
Guangdong Times Museum
March 23-June 23, 2024
Avita Jinhong Guo, Rania Ho, Qiusha Ma, Marge Monko, Pan Lu & Bo Wang, Peng Ke, Peng Zuqiang, Phung-Tien Phan & Frieder Haller, Tao Hui, Hou Lam Tsui, Hui Ye & Qu Chang, Chris Zhongtian Yuan, Zhang Ruyi, Zhou Siwei
The song Follow the Feeling, originally sung by Taiwanese singer Julie Sue, became an instant hit in Mainland China after a cover at the 1989 Chinese state television’s Spring Festival Gala. In Sue’s music video, she is dressed in the latest fashion, jaunting between urban vistas and open highways, describing the increasingly carefree, vivacious individuals, compelled by nothing but the “feeling”. It was over upbeat earworm soundtracks like this that the Mainland Chinese society at the time underwent a momentous gearshift.
The “modern individual” in China, conjured up by the ideas of freedom and love since the 1919 May Fourth, has rediscovered their modernity with exuberant feelings and affection during the societal transformation near the century’s end. However, as the lyrics depict, that “feeling” was as if not an internal, natural, self-initiated energy, a push; but an external, synthetic one, a pull. The exhibition Follow the Feeling thus attempts to examine the “feeling” in reform and post-reform China, around which the discourse of intimacy and love revolve. The exhibition explores the production of “feeling” alongside Times Museum’s long, narrow space, which resembles the highway. Meanwhile, it outlines the often neglected “foundation” of the “highway” by gazing into the residential units underneath the museum, delineating the entanglement between private life and state construction.