前言
又是漂流，又是街头，又是点赞，又是抽表。除了铺天盖地的绘画作品，还有萦绕着它们到处漂浮的手机截屏。除了苹果店，还有同时闪烁起来的一排排手机屏幕直播。除了数千的全球朋友圈参与，还有蛰伏画室只身拼搏的画家。除了当代艺术作品、艺术家、美术馆，还有社交、娱乐和新闻。除了绘画和艺术，还——有汹涌而过的好奇、闲聊，以及，心有灵犀一点通的集体走神，以及，某种大家在一起的，“领悟着”的感觉。
即便，看起来似乎我们已然下意识地有点熟悉“今天展览如何出现”，我们还是会有点迷惑，会有点迷失在《漂流点赞，街头抽表》的矩阵中。如何籍由它，连同追溯徐震若干紧密相关的线索，包括艺术、身体、关系和大众动员等等，来漂流点赞，来街头抽表地组装出一种复杂而深刻的技术式文化现实？以及，追溯徐震是如何总是把握这一现实的不同面向、切身和大众关系，来拓展出一种自洽，但总是置身于今天的全部现实关系矩阵中的，不断触碰、试探和蔓延生长的实践态势？最终，在这一复杂变换蔓延的，现实杂多的态势中，我们如何又需要共同抽象出一个具体唯一的徐震来把握？
看起来，《漂流点赞，街头抽表》最外在和直接主打的就是绘画，首先是抓住了“绘画”，然后是对其激情演绎的“表演”。沿着这俩条硬行挑出入手的线索，我们则会被带入徐震的超级关系矩阵，最终又授出某种大众的，精湛才艺表演的准动员。
——王亚敏
Preface
Flow, Street Art, Social Media Hype, Abstract Expressionism.... Besides the overwhelming array of painted artworks, there are mobile screenshots floating around. Apart from XU ZHEN®’s Apple store, there are rows of mobile screens flickering with live broadcasts. In addition to thousands participating through social media globally, there are solitary artists toiling away in their hidden studios. Beyond contemporary art pieces, artists, and art galleries, there exist social interactions, entertainment, and news. Beyond painting and art, there stands an overwhelming curiosity, casual conversations, and a collective daydreaming in sync, as well as a sense of "collective epiphany".
Even though it seems that we have subconsciously become somewhat familiar with "how would the exhibition appear today", we still find ourselves somewhat bewildered, a bit lost in the matrix of "Likes in the Flow, Ab-Ex on the Street". How can we, by means of the exhibition, alongside various closely related threads involving Xu Zhen – including art, the body, human relationships, and mass mobilization – assemble a complex and profound techno-cultural reality in a fluid and street- Abstract-Expressionism way? Furthermore, how does Xu Zhen consistently grasp the diverse aspects of this reality, the personal and mass relationships, to expand a self-consistent practice but also always situated within the matrix of contemporary society, a practice that continuously touches, probes, and proliferates? Ultimately, within this complex and ever-changing proliferation of diverse realities, how do we collectively abstract a specific and unique understanding of Xu Zhen?
At first glance, "Likes in the Flow, Ab-Ex on the Street" appears to focus primarily on painting, first capturing the essence of this medium, followed by the passionate interpretation through "performance". Using these two decisive threads as entry points, Xu Zhen leads us into the supermatrix of human relationships, ultimately presenting a superbly skilled performance that serves as a prelude to a public rally.
