YTH ART 我·她意识的转变 ｜ 窥镜 Speculum

“窥镜”原意指的是妇科专业上，用于检查女性腔内疾病的具有凹凸镜面结构的医疗器械，后亦被引申为从事物的细微之处或视野不易察觉的部分进行观看与检视。此处援引的概念，来自于法国女性主义理论家、心理分析学家露西·伊利格瑞（Luce Irigaray, 1931-）发表于1974年的著作《窥镜，作为他者的女人》 （Speculum of the Other Woman，2013)。在这篇论著中，她以雅克·拉康(Jacques Lacan，1901-1981)的“镜像理论”作为参照系，重新检阅并梳理了自柏拉图以来西方哲学传统中关于秩序的建构，并从生理性别角度，质疑西方文明在默认的主流价值观之下，对女性功能、女性存在和女性权力的蓄意忽视甚至阉割。

基于这个语境，以“窥镜”自细微处反观的概念，从作为“女性主体”的角度，对我们所处的文化系统、社会环境与价值观认知作镜像观照，我们看到了什么，发现了什么？这种窥观的背后，究竟是一种被迫的自我觉察，抑或是一种逃离文明束缚的自救？女性在这样的环境下，听从还是坚守，实际是在对谁交付答案？而在被赋予与被选择之间，女性又能够通过怎样的方式消弭抑或重构分化的权利以及反向凝视？

这是自20世纪至今，全球女性所面对的命题，不论是自主觉知抑或被动抉择。故而在进入这个章节之前，以艺术家郭盈光的装置作品《你说你喜欢白》进行衔接——那高悬着，巨型的，由白色肥皂串联而起的“肥皂灯”，既从结构关系上将展览前章的叙事引至一种主体自观与抉择的精神象征。选择成为自己，抑或放逐权利成为附庸，其本身都是一种关于“自我”的价值观建构。亦因此，“肥皂灯”也从叙事与空间关系上为展览的续章承启，引出展览中三位女性艺术家从自我经历、性别与身份出发对现代主义背景下的女性生活与生存状态的思考及回应。

于此同时，“窥镜”作为展览的中章，我们试图以一种倒叙的结构，将艺术家郭盈光创作于2022年的“你说你喜欢白”系列、创作于2021年的“螺丝在拧紧”、创作于2016年的“顺从的幸福”系列以及创作于2022年的“38俱乐部”在一个窄长遮蔽的空间里创建新的叙事关联，借由“窥镜”的概念结构以及艺术家个人经验里的自我挣扎、审视和凝望，在自我身份、存在和认知以及经验的确证中所展开的一次次深入的剖解与再确立，回溯当代女性在现实成长中，在“作为女性”与“成为自我”之间所面临的困境与契机。

章节的最后，以雕塑艺术家蔡雅玲的观念装置《BITCHES》与艺术家郭盈光的个人实践形成对应。“BITCHES”是一种污名、贬抑、制压与伤害；是一种欲望投射的对象，但同时也是当代文化语境之下一种另类的女性自信， 以及抛却性别差异的，对当下的社会事情的态度反应，它既指向对象的主体，亦被主体性对象。就如其呈现效果中，作品与影子之间的关系——对影自观，照镜如是。

The term “speculum” originally referred to a medical instrument with a concave-convex mirror structure used in gynecology to examine female intracavitary diseases, but has since been extended to mean to look at and examine something from a subtle point or a part of the field of vision that is not easily perceived. The concept is derived from the 1974 book Speculum of the Other Woman by French feminist theorist and psychoanalyst Luce Irigaray (1931-). In this work, she takes Jacques Lacan's (1901-1981) “mirror theory” as a frame of reference, and in Beauvoir's “woman as the other” thesis, she re-examines and reorganizes the patriarchal view of women in the Western philosophical tradition since Plato. And from the perspective of biological sex, she questioned the deliberate neglect and even emasculation of women's functioning, existence, and power in Western civilization under the prevailing value.

Based on this context, using “speculum” as the concept of looking back from the subtle point of view, and from the perspective of being a “female subject”, what will we see and find when we take a mirror view of the cultural system, the social environment and the cognition of values in which we live? Behind this kind of speculum observation, is it a kind of forced self-awareness, or is it a kind of self-help to escape from the constraints of civilization?

In such an environment, when women are faced with the choice to obey or persist, to whom are they ultimately answering? And between being assigned roles and making choices, how can women dissolve or reconstruct hierarchical power dynamics and reverse the gaze?

This is a question that has confronted women globally since the 20th century, whether through self-awareness or passive decision-making. Thus, before entering this chapter, we connect the narrative with artist Guo Yingguang’s installation You Say You Like It Pale. This work features a towering “soap lamp” made of white soap bars strung together, symbolizing a reflective and decisive spirit, bridging the exhibition’s earlier themes. It challenges us to consider whether to become one’s true self or let autonomy be surrendered—a construction of the values of “self.” This “soap lamp” also serves as a narrative and spatial link, leading into the next section of the exhibition, where three female artists respond to the conditions of modern womanhood through their lived experiences, gender, and identity within the context of modernism.

At the same time, in the exhibition’s mid-chapter, Speculum, we use a retrospective structure to create new narrative connections. Yingguang Guo’s works, such as You Say You Like It Pale (2022), The Turn of the Screw (2021), The Bliss of Conformity (2016), and 38 Club (2022), are displayed in a narrow, obscured space. This setting and the concept of “mirror” reflect the artist’s personal struggles, introspections, and gazes. Through deep dissection and re-establishment of self-identity, existence, and recognition, the works explore the dilemmas and opportunities women face between “being female” and “being herself.”

Finally, the chapter concludes with a dialogue between sculptor Yaling Cai’s conceptual installation BITCHES and Guo Yingguang’s practice. BITCHES embodies stigma, suppression, and harm; it is an object of projected desire yet simultaneously a manifestation of alternative female confidence in contemporary culture. It confronts societal issues with an attitude that transcends gender differences, reflecting the duality of being both the subject and the object. This dynamic is mirrored in the relationship between the artwork and its shadows—an introspective view of oneself, like gazing into a mirror.

郭盈光

郭盈光的艺术实践围绕公共性议题，将个人经验向公共性敞开，再将外部的反馈与冲击收束至个体反思和作品延展，渗透着公共性与私密性的互博状态。她擅于用跨媒介艺术实践，结合装置、摄影、雕塑、绘画、影像、行为等，与外部结构进行相互构建，并传达出细腻而丰富的现场情绪，常以细腻利落的视觉语言与具有争议性的创作主题于艺术世界和社会视野中引发思辨与讨论。

郭盈光，1983年生于中国辽宁，伦敦艺术大学传媒学院摄影硕士，中国传媒大学艺术摄影专业学士，现居住工作于北京与华欣。

郭盈光在艺术家生涯伊始即凭借《顺从的幸福》系列作品获得2017年集美·阿尔勒Madame Figaro女性摄影师奖，受到法国阿尔勒国际摄影节官方展览邀请及Sophie Calle（苏菲·卡尔）、Paul Graham（保罗·格雷厄姆）等国际艺术家的推荐。2019年，应Simon Baker（西蒙·贝克，原泰特首席摄影策展人；现巴黎欧洲摄影馆总监及策展人）之邀，郭盈光首个个展”郭盈光：顺从的幸福”于巴黎欧洲摄影馆（Maison Européenne de la Photographie）开幕，郭盈光也是首位在该艺术机构举办个展的中国女性艺术家。

经过持续数年的自反与创作推翻，以应对外部舆论冲击，2022年郭盈光带来第二个同名个展，以更为抽象、立体与机敏的创作形式，延续她与外部公共/社会结构进行双向批判性接纳与嵌合的艺术实践，个体身份与个人经验开始以新的立场出现。

我·“她意识”的现代性转变

The One Descending a Staircase

—— The modernity transformation of female?s consciousness

2024.12.08 — 2025.03.08

 艺术家 Artists 

蔡雅玲、郭盈光、黎雨诗、庞茂琨、谢立俭

 策展人 Curator 

张目蕾

 展期 Duration 

2024.12.08 - 2025.03.08

 展览地点 Address 

越婷惠美术馆 YTHART Museum

（上海市浦东新区北蔡镇陈春路109号一层）

「越婷惠美术馆·YTHART MUSEUM」由张目蕾女士于2023年创立，是国内第一家明确以“女性关注”作为立馆核心的公共艺术机构。共鸣于海德格尔“将艺术与存在关联，即艺术与生命之关联”的观点，秉持“Be Art，Even Life”为理念，YTHART MUSEUM将始终以“泛文化”的姿态，开展研究性、实验性和对话性的当代艺术实践，在生产与发生中创造历史，面对时代。

"YTHART MUSEUM" was founded by Ms. Zhang Mulei in 2023. It is the first public art institution in China that explicitly takes "women's concerns" as the core of its establishment.

Resonating with Heidegger's view of "associating art with existence, that is, the connection between art and life", adhering to the concept of "Be Art, Even Life", YTHART MUSEUM will always carry out research, experimental and dialogical contemporary art practices with a "pan-cultural" attitude, creating history in production and occurrence, and facing the times.

地址：上海市浦东新区陈春路109号

Address: 109 Chenchun Road, Pudong New Area, Shanghai

开放时间： 10:00-18:00 周二至周日（周一闭馆；周末及节假日延长至20:00）

Opening Hours: 10:00 AM - 6:00 PM, Tuesday to Sunday

联系方式：ythartmuseum@ythart.com

Contact：ythartmuseum@ythart.com