在这个由裂缝与回声织成的秋冬之夜，我们邀请观众回到上海外滩美术馆，进入一个断裂的、不透明的物质与审美流通场域。正如苏珊娜·塞泽尔所言：“马提尼克的诗歌要么是‘食人’的（cannibal），要么就不存在。”——这里的“食人”，不是血腥的隐喻，而是把外来话语咀嚼、吞食、转化为自身力量的姿态。在吟唱、诵读与群像对谈的流动结构中，两档新展——“伟大的掩饰”与“彭祖强：一些省略、静默和不透明的声音”——以另一种触觉与听觉打开观看。
On this late autumn and early winter night woven with cracks and echoes, we invited the audience back to the Rockbund Art Museum to enter a fractured, opaque field of material and aesthetic circulation. As Suzanne Césaire remarked: “Martinican poetry will be cannibal or it will not be.”—Here, “cannibalism” is not a bloody metaphor but a stance of chewing, ingesting, and transforming external discourse into one's own power. Through a fluid structure of chanting, recitation, and collective conversation, the two new exhibitions—The Great Camouflage and Peng Zuqiang: Short-term Histories—open vision to tactile and auditory experience.
