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弥金画廊即将推出群展“遥杳”，联合艺术家冯至炫、李钰、陶伊共同呈现，展期自2026年3月17日至2026年5月17日。
杳镇有一栋房子。
S就住在那儿。至少，镇上的人都这么说。
它与别处并没有什么不同。
若真有不同，我想，或许只是那扇始终紧闭的门。
镇上的人经过那里，会习惯地停一下，朝里看一眼，又继续往前走。
没有谁说过那里不许靠近，也没有谁真的站出来解释过什么。
只是久而久之，所有人都默认：门前可以驻足，可以谈论，可以张望——只要不进去。
那栋房子似乎本就该矗在那个地址。
那些沿着墙根、窗缘、潮痕和阴处慢慢附生出来的东西，
似乎也本就该伏在那一处。
我几乎又要怀疑它了。
可那层轮廓还在。还在那里。在的。
它总是比我以为的更晚一点被看见，更早一点被靠近。
冯至炫 Feng Zhixuan, 星辰許愿阵-愿望残片 01 Starwishenge, 160 x 90 cm,环氧树脂、玻璃纤维、钢材、水晶、中药材、宋代古币、游戏币 Epoxy resin, fiberglass, steel, crystal, traditional Chinese medicinal herbs, ancient Song dynasty coins, and game tokenss, 2024
“去的时候，S已经拿走了报纸。他在家。……报筒有锁。”
我苛责她。苛责这种没有完全接触到，就断定S存在的观点。一个物件的位置变化，怎么能证明一个人的存在呢？
“在的。他当然住在那儿。他的物业费每年都准时打来。”
“你们见过他本人吗？物业费需要本人来这里缴纳吗？”
“那倒没有。我们物业费网上缴纳就好了。”
“那你们怎么能确定S这个人存在呢？
怎么能确定他就在那里，而不是——”
“S就在那座房子里。
你因为没见过S，而质问我，认为他不存在；
那么，你也没有见过S，怎么能确定他不在那里呢？
至少我的办公室里，还有他当时签下的合同以及各种票据，
足以证明——
在我的视角中，他存在。他就在那座房子里。”
尖锐而赤裸。
可即便如此，我也无法把S拽出来，也不能凭此把S抹去。
它们不是证据，至少不是那种能把事情一下说死的证据。
可偏偏不是空的，也偏偏不肯停。
牵连，替代，默认。
它们把一个始终说不清的人，
连同那句始终说不清的话，
一起吊在那里。
李钰 Li Yu, 楼上圆桌 Upper Table, 150 x 150 x 100 cm, 半透明树脂、不锈钢、液体乳胶、人造皮草 Translucent resin, stainless steel, liquid latex, faux fur, 2026
陶伊 Yi To, Pelvis, 50.7 x 25.5 cm, 木板油画 Oil on wood, 2025
There is a house in Yao Town.
S lives there. At least, that is what people say.
It is no different from any other house.
If there is any difference, perhaps it lies only in the door, always shut. People pass by, pause, glance in, and move on. No one has said the place is forbidden. No one has really stepped forward to explain anything. Yet over time a rule has settled in: one may linger at the door, talk there, look there—so long as one does not enter.
That house seemed always to have stood at that address.
The things slowly accreting along the foot of the walls, the window ledges, the tidemarks, the damp and shadowed places, seemed always to have belonged there too.
I was almost beginning to doubt it again.
But the outline was still there. Still there. There. It is always seen later than I expect, and approached earlier than I expect.
冯至炫 Feng Zhixuan, 星辰許愿阵-愿望残片 01 Starwishenge, 160 x 90 cm,环氧树脂、玻璃纤维、钢材、水晶、中药材、宋代古币、游戏币 Epoxy resin, fiberglass, steel, crystal, traditional Chinese medicinal herbs, ancient Song dynasty coins, and game tokenss, 2024
“When I went there, S had already taken the newspaper. He was home. … The mailbox was locked.”
I reproached her. How could the displacement of a single object prove the existence of a person?
“He’s there. Of course he lives there. His property fees arrive on time every year.”
“Have any of you seen him in person? Does he have to come here himself to pay them?”
“Not really. The payments are made online.”
“Then how can you be sure S exists at all? How can you be sure he is there, and not—”
“S is in that house. You question me because you haven’t seen him, and so you think he doesn’t exist. But you haven’t seen him either—how can you be sure he isn’t there? At the very least, in my office, there are contracts he signed, along with receipts and records enough to prove that, from where I stand, he exists. He is in that house.”
I cannot drag S out into the open, nor can I erase him by that alone. These are not evidence—at least not the kind that settles anything once and for all.
And yet they are not nothing. And yet they do not stop.
Entanglement, substitution, default.
There they suspend a man no one can clearly speak of, together with the sentence no one can clearly speak, hanging there.
李钰 Li Yu, 楼上圆桌 Upper Table, 150 x 150 x 100 cm,半透明树脂、不锈钢、液体乳胶、人造皮草 Translucent resin, stainless steel, liquid latex, faux fur, 2026
“Even if you have never witnessed the milking itself, you still know milk comes from a cow. The things associated with the cow have already confirmed it. It is the same with S. Everyone in town knows him.”
Tacit permission. I repeated the phrase silently to myself.
“Have any of you actually seen him? There are records of him everywhere, yes—but who has seen him? During community visits, census checks, anything at all—when you knocked on that door, did anyone ever open it and let you in?”
“No.”
“Would an email address count?”
“How much would you take to sell me his contact information?”
“Sorry.”
“How can I get in touch with him?”
“Sir, are you looking to rent a house, or to buy one?”
陶伊 Yi To, Pelvis, 50.7 x 25.5 cm, 木板油画 Oil on wood, 2025
All traces remain separated by a layer:
by a brightness that never quite aligns,
by a grayness that never quite recedes,
by the drift in people’s voices as they speak.
They refuse to hand S over, and refuse cleanly to return him either, shifting toward the place he has just risen from—clinging, seeping, briefly occupying it in his stead.
No one can say that it is him.
No one can say that it is not.
Yes, in the end I signed the purchase contract.
It is not that I am excessively preoccupied with S.
I simply need a long, sustained observation.
Water, always flowing—
we move against one another along two channels.
Water, always converging—
and so I feel the urgent need to buy a boat,
a boat that is mine alone, so that I may move freely, for a long time, upon the living river, exploring with a lamp lit. Continuing, continuing.
Sure enough, I was not the only one who smelled the beef he cooked last night.
Yiwen Tang
2026.3.14
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