我 就 说记 续 。

“我就说继续。就是这样；我们并不知道。已经来过这⾥三次了。⼩⻦书记都会看到吗？⽐如 到了冬天，阳光会直接照在床上，⼗分舒服。讲讲杭州的事情，还有所有与蚕有关的内容。海 为⻰世界，天是鹤家乡。”

⾝在中国却不会说中⽂，反⽽成为⼀种最接近摄影经验的状态。在这⾥，⼏乎每时每刻，我都 必须对图像以及双眼所⻅的⼀切进⾏编码和解码，因为我⽆法理解⼈们⼝中说出的话。只有从 ⼝袋⾥拿出⼿机，使⽤某款可以将中⽂同步翻译成加泰罗尼亚语的应⽤，我才能从中提取出⼀ 些想法或⽚段。即时翻译仍然⽆法完全实现它所宣称的⽬的。应⽤给出的译⽂常常令我迷失⽅ 向，把我带离原本的对话。这让我想到照⽚之间产⽣的联想：它们常常因为概念或基本形式⽽ 彼此联系，但有时也会唤起记忆，引向漂移、逃逸、隔绝、未曾⾛过的道路与荒漠。

观看、想象与思考图像这⼀⾏为的复杂性。⽤语⾔命名图像之中那些不断展开、启动、暗示、激发、联结、质疑、指向、触动、惊叹、推测、反驳、游移、摧毁、迷狂并产⽣意义的事物，同样复杂。它也消解意义。它会思考吗？

这款应⽤常常让我想到的更像是⼀⾸⾸短诗， 不是翻译。我喜欢照⽚⽆法被翻译这⼀点。这 些天在杭州，我⼀直在读李清照千年前的词：

《怨王孙·湖上⻛来波浩渺》

湖上風來波浩渺
秋已暮  
紅稀香少  
水光山色與人親   
說不盡   
無窮好
  
蓮子已成荷葉老   
清露洗   
蘋花汀草   
眠沙鷗鷺不回頭   
似也恨   
人歸早

三个星期以来，我与⼀群⽐我年⻓许多的⼈共同⽣活，其中⼀些⼈的年龄是我的两倍。他们在 ⾃⼰的家中接纳我，让我参与他们的活动与⽇常⽣活。我也结识了⼏位朋友。写下这篇⽂字 时，我开始想念我们共同度过的时刻，以及彼此之间的交谈。尽管存在语⾔和⽂化上的阻隔， 他们仍让我成为其⽣活的⼀部分。

我⽆法写下这⼏个星期⾥经历或拍摄的⼀切，但这个地⽅与此时此刻，让我开始围绕共同⽣ 活、沉默、退隐、知识、等待、易逝、脆弱、有限性、准备与仪式性展开思考、观察和拍摄。

神秘。

也许，让这些词语和概念始终停留在近旁，会使图像获得更多意义——如果它们确实有所意指

的话。尽管这些照⽚远不能给出准确的答案，也不会真正作出什么结论，但它们或许能够如同

⻮轮⼀般，启动某些我可能曾经感受、思考或经历过的东⻄。

⼜或许并⾮如此。

也许真正让这⼀切发⽣的是你，⽽不是我。

我就说继续。

Jo només dic que continuï. És així; nosaltres no ho sabem. Ja ha vingut aquí tres vegades. El secretari dels ocellets ho veurà tot? A l’hivern, per exemple, el sol dona directament sobre el llit i és molt agradable. Explica això de Hangzhou i tot allò relacionat amb els cucs de seda. El mar és el món del drac; el cel és la terra natal de la grua.

Estar a la Xina i no parlar xinès és el més proper a l'experiència fotogràfica, on gairebé en tot moment haig de codificar i descodificar les imatges i tot allò que els meus ulls veuen, perquè el que les boques diuen no ho puc entendre. Només quan trec el telèfon de la butxaca per utilitzar alguna app de traducció simultània del xinès al català, puc extraure’n algunes idees o apunts. La traducció instantània encara no és del tot precisa amb el seu suposat propòsit. Sovint el que aquestes apps em suggereixen com a traducció em deixa desorientat, em desvia de la conversa, i això em recorda a les associacions que es produeixen amb les fotografies, on sovint s'associen per conceptes, formes bàsiques, però altres vegades activen records, suggereixen derives, fugues, aïllaments, camins no recorreguts, deserts.

La complexitat de l’acte de mirar, d’imaginar, de pensar les imatges. La complexitat d’anomenar amb paraules allò que en les imatges es desplega, s’activa, suggereix, provoca, associa, qüestiona, assenyala, emociona, exclama, especula, contradiu, divaga, destrueix, delira, significa. Insignifica. Pensa?

L’app sovint em fa pensar amb petits poemes més que no pas en traduccions. M’agrada que les fotografies no es puguin traduir. Aquests dies a Hangzhou estic llegint els poemes –mil·lenaris–de la Li Qingzhao:

sobre el lago
el viento empuja a las olas
hasta el fin del horizonte

el otoño ha terminado:
raras son las flores
y escasos sus perfumes

sobre las aguas amorosas
se refleja el color de las montañas

¡es tanta la belleza
que no puede describirse!

los frutos del loto han madurado
y sus hojas se marchitan

un nuevo rocío salpica
los helechos y arbustos de la orilla

dormidas en la arena
las gaviotas y las garzas
ni siquiera giran la cabeza

se diría que
también lamentan
tu temprana partida^*
                 
Durant tres setmanes he conviscut amb persones molt més grans que jo. Algunes em doblaven l'edat. M'han acollit a casa seva, m'han fet partícip de les seves activitats i rutines. He fet alguns amics. Mentre escric aquest text trobo a faltar moments conviscuts, converses mantingudes. M'han fet ser part de la seva vida, malgrat el topall lingüístic i cultural. Soc incapaç d’escriure el que he viscut o he fotografiat aquestes setmanes, però aquest lloc i aquest moment en el temps m’ha fet pensar, observar i fotografiar sobre allò comunitari, el silenci, el retir, el saber, l’espera, la fugacitat, la fragilitat, la finitud, la preparació i allò cerimoniós.

El misteri.

Potser tenir aquestes paraules i conceptes a prop fa que les imatges prenguin més significat, si és que signifiquen, tot i que lluny de donar una resposta precisa o concloure massa res, aquestes fotografies potser funcionen com a engranatge d’activació d’alguna cosa que bé puc haver sentit, pensat o experimentat.

O potser no.

Potser ets tu qui ho ha fet i no jo.

Jo només dic que continuï.

‘All I say is: let it continue. That is how it is; we do not know. They have been here three times already. Will the little birds’ secretary see everything? In winter, for example, the sun falls directly on the bed, and it is very pleasant. Tell me about Hangzhou and everything to do with silkworms. The sea is the dragon’s world; the sky is the crane’s homeland.’

Being in China without speaking Chinese comes closest to the experience of photography. Almost all the time, I have to encode and decode the images and everything my eyes see, because I cannot understand what the mouths are saying. Only when I take my phone out of my pocket and use an app to translate from Chinese into Catalan in real time can I glean a few ideas or notes.

Instant translation does not yet quite do what it claims to do. Often, what these apps offer me as a translation leaves me disoriented, pulls me away from the conversation. It reminds me of the associations that arise between photographs. Sometimes they connect through concepts or basic forms; at other times they stir memories, suggest drift, escape, isolation, paths not taken, deserts.

The complexity of looking, of imagining, of thinking about images. The complexity of naming in words what unfolds in images, what is activated, suggests, provokes, associates, questions, points, moves, exclaims, speculates, contradicts, wanders, destroys, raves, signifies. Unsignifies. Does it think?

The app often makes me think in little poems rather than translations. I like that photographs cannot be translated. These days in Hangzhou, I have been reading the thousand-year-old poems of Li Qingzhao:

over the lake
the wind drives the waves
to the edge of the horizon

autumn has ended:
flowers are rare
and their fragrances faint

upon the loving waters
the colours of the mountains are reflected

there is so much beauty
it cannot be described!

the lotus fruits have ripened
and their leaves are withering

fresh dew splashes
the ferns and bushes along the shore

asleep on the sand
the gulls and herons
do not even turn their heads

one might say
they too mourn
your early departure

For three weeks I lived alongside people much older than I am. Some were twice my age. They welcomed me into their homes and included me in their activities and routines. I made a few friends. As I write this, I miss the moments we shared, the conversations we had. They made me part of their lives despite the language and cultural barriers.

I cannot write down what I have lived or photographed during these weeks. But this place, and this moment in time, have led me to think, observe, and photograph the communal, silence, retreat, knowledge, waiting, transience, fragility, finitude, preparation, and the ceremonial.

Mystery.

Perhaps keeping these words and concepts close gives the images more meaning, if they mean anything at all. Far from offering a precise answer or reaching much of a conclusion, these photographs may serve as a mechanism that sets something in motion—something I may have felt, thought, or experienced.

Or perhaps not.

Perhaps it was you who did, and not me.

All I say is: let it continue.

Exhibition:

2026.10.25—2026.11.30
Taikang Art Museum, Beijing 
Curated by Shen Chen
Exhibition Design by Yuarchitects
Participating Artists Ryan Debolski, Du Yang, Huang Heshan, Aleksey Kondratyev, O Group (José Cárdenas, Pan Yihan), Taiyo Onorato, Diana Pfammatter, Aleix Plademunt, Yuan Xiaopeng, Zhang Xiao, Zhang Zhizhou, Zhu Mo

本次展览源于一项在多座城市展开的摄影驻留与创作计划。十二位（组）艺术家根据各自的兴趣与方法，进入泰康集团大厦与不同城市的泰康之家社区，与居民、照护者相处，在具体的生活现场中开展工作。每个社区都有自身的地理环境、建筑结构、居民构成和日常秩序。这些差异为创作提供了不同的起点，摄影在这里成为理解日常的一种方法。

中英文题目从空间与生活两个方向，概括了艺术家共同面对的现场。“明亮的房间”从空间与可见性出发：房间是生活得以展开的基本空间单位；“明亮”既来自光线，也关乎一个人的状态、愿望和经历能否被看见，并获得回应。“Life Takes Place”指向生活持续发生这一事实，也提示生活总在具体场所中展开，并在持续的使用中塑造其所在的空间。

这些社区将居住、医疗、照护、活动和交往等功能汇集在相互连接的空间中。建筑在这里通过使用显现其意义：一扇门的宽度、扶手的位置、家具之间的距离、房间通往花园的路径，影响身体如何移动；用餐与活动的时间、护理工作的安排、物品放置的方式，不断组织着生活的节奏。空间承接日常，也参与塑造日常本身。展览关注特定建筑空间如何进入生活，又如何被身体、劳动与照护关系不断重新定义。

年龄可以被统计，晚年生活却无法被归结为同一种经验。自主与依赖亦常常同时存在；一个人的行动能力，可以通过另一双手、一件工具、一段道路或一套空间与服务安排得到延续。照护由此成为一种分布在多种主体、设施与制度之间的协作，并回应身体的限制，也在安全、效率、尊严、选择和自主之间不断作出具体判断。它发生在人与人之间，也受到空间与制度的塑造。

艺术家进入驻留时带着各自的设想，现场的观察与持续接触也不断修正这些设想，改变他们原有的工作方法。居民与照护者通过讲述、行动、同意、拒绝和共同制作，参与了图像的生成。拍摄的许可、人与镜头的距离、图像的选择以及拍摄之后的反馈，都成为作品的一部分。摄影记录现场，也进入关系本身——谁观看、谁被观看、谁参与决定图像如何出现，都在这一过程中得到重新协商。

展览的六个章节——视野、接触、日常、讲述、承托与共在——由驻留现场逐步形成。“视野”从宏观视角与微观经验的对照出发，为进入具体的社区生活建立起观看的起点；其后的五章构成彼此交叠、各有侧重的观察尺度。尽管他们的方法彼此不同，却共同显示出生活的连续性有赖于许多细小而持续的协调。“明亮”在这里是一种需要持续生成和维护的条件。它来自光，也来自空间、劳动、制度与关系所提供的支持。当处于不同身体状态中的人仍能作出选择、保持联系并参与共同生活，房间便成为生活的所在。这样的状态没有固定形式，它存在于每天发生的调整、回应与协商之中。生活正是在这些细小的行动里发生，也由此获得它的位置。

展览也由此提出一个面向长寿时代的问题：当身体、记忆与能力的变化成为每个人生命经验的一部分，我们应如何重新理解自主、照护与共同生活？

This exhibition grew out of a programme of photographic residencies and artistic commissions across several cities. Working at Taikang Tower and in Taikang Community senior living residences, twelve artists and artist collectives followed their own interests and ways of working. They spent time with residents and caregivers, developing their work in the particular settings of everyday life. No two communities are alike. Their locations, architecture, residents and daily routines offered different points of departure, and photography became a way of understanding everyday life.

The Chinese and English exhibition titles summarise the shared conditions the artists encountered from two perspectives: space and life. The Chinese title, The Bright Room, begins with space and visibility. A room is the most immediate of spaces in which life is lived. Its ‘brightness’ refers to light, but also to the possibility of being seen: of having one’s circumstances, wishes and experiences recognised and met with a response. Life Takes Place suggests that life is always happening in particular places. The spaces we inhabit shape how we live and are shaped by everyday life in return.

These communities bring together housing, medical services, caregiving, activities and social interaction in interconnected spaces. Architecture acquires meaning through use. The width of a doorway, the position of a handrail, the distance between pieces of furniture, the path from a room to a garden: each makes a difference to how a body moves. So do the timing of meals and activities, the routines of care and the ways objects are placed within reach. In such details, the rhythms of daily life take shape. Space accommodates the everyday and helps shape it. The exhibition considers how particular architectural spaces become part of life, and how they are continually redefined by bodies, labour and caregiving relationships.

Age can be counted, but later life cannot be reduced to a single experience. Autonomy and dependence often coexist: a person’s capacity to act may be sustained by another pair of hands, a tool, a pathway, or an arrangement of spaces and services. Care therefore involves collaboration among people, facilities and institutions. It responds to changes in physical ability and requires ongoing decisions about safety, efficiency, dignity, choice and autonomy. It happens between people, within environments and under the conditions that institutions create.
The artists arrived with their own ideas and expectations. Time spent observing, listening and being with others tested those ideas, sometimes changing their ways of working. Residents and caregivers contribute to the making of images through storytelling, action, consent, refusal and collaboration. Where a camera could be pointed, how close it might come, which images were selected and what happened after they were taken: these, too, became part of the work.
Photography enters the relationships it records. Who looks? Who is looked at? Who has a say in what the viewer eventually sees? Such questions remain open to negotiation throughout the process.

The exhibition’s six chapters—Perspective, Contact, Everyday Life, Narration, Interdependence and Coexistence—emerged from the residency sites. Perspective establishes a starting point for looking at community life through the relationship between a broader institutional view and individual experience. From there, five distinct yet overlapping ways of observing everyday life come into focus. Different as the artists’ methods are, their works show that the continuity of life depends on many small, sustained acts of coordination. ‘Brightness’, here, is something that must be made possible and maintained. It comes from light, but also from the support provided by space, labour, institutions and relationships. When people in different physical conditions can continue to make choices, maintain connections and participate in shared life, a room becomes the place where life happens. There is no single way to achieve this. It is worked out through daily adjustments, responses and negotiations. Life takes place through these small actions, and through them, life finds its place.

The exhibition thus raises a question for an era of longevity: as changes in the body, memory and ability become part of everyone’s life experience, how should we rethink autonomy, care and living together?