翻越“女”字旁
文：林灿文
《说文解字》曰：“始，女之初也。从女，台声。”
始、姓、姬、姜、姒、娲
妇、奴、婢、妾、嫁、娶
妄、奸、妒、婊、娼、妓
“女”字旁汉字的字形字义反映中国社会女性地位与文化语境的历史演变，从女神崇拜到父权宰制，“女”字旁作为社会意识形态的标本，在我们惯常的表达方式中从不缺席。
而在“女权”再次作为运动的今天，文化批评者紧抓这一历史进行着咬文嚼字与媒体纠察，性别研究者往往一昧强调其中性别不平等的结构性压迫，而忽视女性作为主体的能动性，召唤着“me too”式的情感连结，流水线式的性故事生产使社会大众沉溺于某种强大的性受害叙事结构，女性身份在身-心、精神-肉体、生理-文化、个人-社会、父权-女权等诸多二元对立关系之间被来回推搡，而更广大的女性则被笼罩于消费主义和娱乐工业化制造的“生活方式女权”幻境之中，关于女性问题的研究显得如此无力，一切讨论仿佛进入景观式的无效循环。
本次展览试图在这迷雾中构建出一个真空场域，翻越“女”字偏旁之下，那在人类文明进程中不断变化的权力（power）、社会性别（gender）和性（sexuality）三者间的相互关系结构，将目光投射于被长期忽略的物质性身体，从而回到更现实的问题中去。展览以九位青年女性艺术家的具身在场作为切片，观察在喧嚣的权力/政治叙事之下，原生女性意识的生长与日常生活的身体（lived body）在私领域的生存与生产。
“女”字旁之后，不再是被动的被规训或被消费，一个更经验性的，积极、轻松、更具力量的女性本体存在将得以现身。
Post-"she"
Lin Canwen
"女" as a radical of a Chinese character radical and echoes the pronoun "she" in English, which reflects the historical evolution of female status and cultural context in Chinese society.From the worship of the goddess to the patriarchal power, the word "女" is used as a specimen of social ideology and is never absent from our usual expressions.
Today, when "feminism" once again became a social movement, cultural critics have seized on this history to conduct slogans and media pickets. Gender researchers often only emphasize the structural oppression of gender inequality, while ignoring women's initiative.
Summoning the emotional connection of "me too", the production of streamlined sexual stories has caused the public to indulge in a powerful narrative structure of sexual victimization.Female identity is pushed between the two opposites of body-heart, spirit-physical, physiology-culture, individual-society, patriarchal-feminist,And the wider women are shrouded in the "lifestyle feminist" illusion created by the consumerism and entertainment industries.Research on women's issues seems so weak, and all discussions seem to enter an ineffective loop of the spectacle.
This exhibition attempts to construct a vacuum field in this fog.Beyond the structure between power, gender, and sexuality that is constantly changing in the course of human civilization,Focus on the material body that has been neglected for a long time and return to more realistic problems.The exhibition is sliced by the presence of nine young female artists.Observing under power/political narrative,The growth of native female consciousness and the survival and production of the lived body.
After "女", women are no longer passively disciplined or consumed. A more empirical, active, relaxed, and more powerful female ontology will emerge.
