骑士，还乡 Der Ritter

与其将这个作品单纯地看作装置，我更倾向于将它定义为一种编舞，或是一种雕塑剧场。尽管演员缺席，但其自身依旧具备某种姿势性。就像包豪斯剧场所认为：人这个古怪的东西自身不足，使得他必须对形式和运动进行精确的组织和整体控制，以便形成一个动态的包含着反差的综合体，此乃“机械怪人”。只是这次我连这个”怪人“也摒弃了。作品萌芽于我对现代社会加速主义批判的冲动，正如骑士在当今社会消失了，但以身份性作为典范骑士精神却以某种形式在现代资本主义社会得以保留，它们化为了“公民”，一种去政治化的民主狂欢，充满了没有结果的意见表达，制造了一种所谓的缺乏缺口和解释学亲密社会。

Rather than viewing this work as an installation, I prefer to define it as a kind of choreography or a kind of sculptural theater. Despite the absence of the actors, it still has a certain posture of its own. As the Bauhaus theatre argued: man is a strange thing whose own shortcomings make it necessary
for him to carry out precise organization and overall control of form and movement in order to form a dynamic complex of contrasts, this is the "mechanical weirdo". Only this time I dropped the "weirdo" too.The work was born out of my impulse to criticize accelerationism in modern society, just as chivalry has disappeared in modern society, but chivalry with identity as the model has somehow
survived in modern capitalist society, they have become "citizens," a kind of depoliticized democratic carnival, full of fruitless expressions of opinion, Creating a so-called lack of gap and hermeneutic intimacy society.

就像作品中的的木马，其目光和所见之物混杂在一起，无距离摧毁了切近，社会加速使世界失去形态固定的符号坐标，自我坐落于世界的方式遭致扭曲，世界变开始狂乱地原地踏步，缺乏否定性的社交媒体带来无方向的表面化加速掩盖了文化与结构的惰性，叙事终结了也是福山所言的“历史的终结”。尽管木马被放置丝滑的速度轨道上，但也无发保持始终加速向前的姿态，原地踏步才是现代社会的表征。作品透过仪式化的场景设计，呼唤一个共同经历他者和自我，构筑怀旧乌托邦的瞬间。木马与其形象的队列成为视觉符号，通过戏剧性审视，呼号非异化、美好生活的可能性。社会在追逐刺激的同时，深层情感被忽略。观众仿佛置身于一场虚妄的情色狂欢，这并非真正的满足，而是一种表面的加速，正如原地踏步的木马。观众或许只能透过自身镜像戏剧性中，勉强瞥见那虚幻的美好生活。

Just like the Trojan horse in the work, its vision and what it sees are mixed together, the lack of distance destroys the near, the acceleration of society makes the world lose the symbolic
coordinates of the fixed form, the way of self located in the world is distorted, and the world starts to move frantically in place, and the directionless superficial acceleration brought by the lack of negative social media covers the inertia of culture and structure. The end of the narrative is what Fukuyama calls "the end of history." Although the horse is placed on a silky speed track, it does not maintain a posture of always accelerating forward, and it is a symbol of modern society.

Through the ritualized scene design, the work calls for a moment of shared experience of the other and the self to build a nostalgic utopia. The Trojan horse and its image queue become visual symbols that, through dramatic scrutiny, cry out for nonalienation, the possibility of a better life. In the pursuit of excitement, deep emotions are ignored. The audience seems to be in a false erotic carnival, which is not real satisfaction, but a superficial acceleration, like a horse in place. The audience may only catch a glimpse of the illusory good life through its own mirror drama.