



“你们(男性)创造了那些你们长驱直入的世界,……以及我们的世界。在那狭窄的边界之内,只有空空如也的四面墙….我们只能在其中,做着分内之事。”——《一位女性的诗》(A Woman’s Poem,1859)
You (Man) make the worlds wherein you move , … Our world (alas, you make that, too!) is narrower, shut in four blank walls … Know you, or care, what light is there? What shadow falls? We feed our birds, we tend our flowers, (poor in-door things of sickly bloom,) or play the housewife in our gloves, and dust the room. ——A Woman’s Poem, 1859
这阙诗篇从另一个角度,也说明了在历史文明的续写中,掌握着“笔”的男性创作者对于其笔下的女性的描摹,往往并非根据她们实际上的样子,而是根据他们对“她”的梦想,或者从属需求的构想,犹如那“美杜莎的头盔”一般。于是,从“歇斯底里”(hysteric)——词源为希腊文的“子宫”(hystera)——被认知为女性天然的特质,到古希腊神话中被诅咒的卡桑德拉(Cassandra)、被冠以恶毒善妒之名的天后赫拉、被批判残忍疯癫的美狄亚(Medea),到中世纪被批判为“邪恶的色欲”与“魔鬼交易的女巫”的年轻妇人,再到15、16世纪,古典艺术中经典的“苏珊娜”、“达娜厄”,而后到17、18世纪的“麦克白夫人”、19世纪的“勃朗什”,最后到20世纪早期,《法国中尉的女人》里的莎拉……在整个西方传统文明的价值观认知与审美建构中,女性从来都是没有独立自主意识的客体,是“权威”(authority,其词根是“author”)教化之下的从属,甚至成为了传统家庭模式与权力机制的“帮凶”——典型的如《使女故事》中的“莉迪亚嬷嬷”,《倾城之恋》中白流苏的母亲。
这种局面,随着19世纪末现代主义的发生和发展,逐渐被女性写作者、艺术家,以及摆脱窠臼,富有自由意志男性创作者所改写——经典的作品如《第二性》(Le Deuxième Sexe,1949)《纵身一跳》(Die Liebe im Ernstfall,2019)《一间自己的房间》(A Room of One's Own,1929)《面纱》(The Painted Veil,1925)等。然而,从意识层面来说,这看似远去的宏大的”文化背景”,却依然在现实生活中、在意识形态上影响着当代人对自我、身份与社会关系的观看。诚如文学评论家盖尔·芬尼(Gail Finney)曾所评论的:20世纪,是女性创作者与男性创作者的一场不同思想的相互交锋;于是21世纪,则是女性与历史,与过去的“自我”之间的一场价值观的针砭。由此,从宏观的历史脉络中,认真看待曾经的女性和男性是如何理解自我在历史与社会进程中的角色与位置的演变,似乎在某种程度上成为了当下不仅文艺创作者,也是每一个具备独立思想的个体客观理解当下女性与现代性关系的普遍共识。
基于上述思考,我们以摄影艺术家黎雨诗的“重构艺术史系列”回应此章节之叙事,借由艺术家以“性别倒置”的方式解构艺术史的方式为切入点,令观者在看似“一反常态”的场景中,对固守的环境和价值观认知展开下意识的思辨及审视。不仅如此,从艺术家的创作中,亦引申出对现代主义背景下的创作者及当代女性,如何从历史的维度、所在环境与所处经验的角度,自主自由地对身体性别的社会性与文化性认知提出了质疑的同时,客观且智慧地处理着女性与历史、文化、社会、家庭和他者之间的关系。
This excerpt underscores how, throughout the course of history, male creators have often depicted women not based on their authentic selves, but rather as constructs of male desires, dreams, or subordinate roles—akin to the symbolic “Helmet of Medusa.” Consequently, women have frequently been framed through narratives dictated by male authority: from “hysteria” (etymologically derived from the Greek hystera, or womb) ascribed as an intrinsic female trait, to figures such as the cursed Cassandra in Greek mythology, the jealous Hera, the vengeful Medea, or the Middle Ages’ “witches.” Later representations, from classical archetypes like Susanna and Dana? to literary figures like Lady Macbeth, Blanche, or Sarah from The French Lieutenant’s Woman, perpetuated this objectification. Within these narratives, women were rarely granted independent self-awareness but were instead relegated to roles that reinforced patriarchal structures or served as accomplices within traditional family and power systems. Examples include characters like Aunt Lydia in The Handmaid’s Tale or Bai Liusu’s mother in Love in a Fallen City.
This paradigm began to shift with the emergence of modernism in the late 19th century. The works of female writers and artists, alongside progressive male creators, challenged these conventions. Iconic texts such as The Second Sex (1949), A Room of One’s Own (1929), The Painted Veil (1925), and Love in Case of Emergency (2019) exemplify this transformation. However, despite these advancements, the cultural legacies of historical gender constructs continue to influence contemporary perceptions of identity and selfhood. As literary critic Gail Finney aptly noted, the 20th century was defined by an intellectual exchange between male and female creators, while the 21st century has become a space for women to critically reassess their historical and cultural identities. Thus, revisiting historical narratives surrounding gender roles becomes essential for a nuanced understanding of the relationship between modernity and femininity.
In this context, photographer Li Yushi’s Reconstructing Art History series offers a profound response. By employing “gender inversion” to reinterpret art historical traditions, Li invites viewers to engage in subconscious reflection and critical examination of entrenched perceptions of environment and values within seemingly "unorthodox" visual contexts. Furthermore, her work extends a sophisticated discourse on how creators, particularly women operating within the framework of modernism, interrogate the social and cultural constructs surrounding bodily gender. From the vantage point of historical continuity, environmental influences, and personal lived experiences, Li Yushi navigates the intricate dynamics of women’s relationships with history, culture, society, family, and the "other," offering a nuanced and insightful critique.
黎雨诗
黎雨诗(Yushi Li),1991年出生于中国, 主要从事摄影创作,目前于英国皇家艺术学院(RCA)攻读艺术与人文博士学位。她的作品主要探讨了凝视和性别权力关系等课题,通过摄影挑战固有的性别刻板印象,探索新的非二元的性别关系。
她的大部分作品都在拍摄裸体的西方男性,来探索男性形象更多的可能性,创作她自己理解的关于欲望的图像,探讨女性表达欲望的方式。而在她出镜的作品中,身穿衣物的她与裸体的男性形成了强烈的对比,她会直视镜头,在场景中占据主导地位。通过扮演一个主动的、权力强大的角色,来质疑艺术史中一直广泛存在的男性主动和女性被动的二分法。


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







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