日光之下并无私密

当代视觉文化中，情欲始终作为一种暧昧的抵抗力量，游移在社会规训与个体解放的张力之间。本次展览聚焦编号223（林志鹏）长达二十年的摄影实践，展出了百余件摄影作品，探讨情欲如何成为一种颠覆性的日常实践。艺术家以持续且充溢的镜头语言，记录下身体、自然与日常器物物之间的隐秘且有力的对话，并指向其间折射和漫布的情欲。

展览被相对松散地分为三个部分，第一展厅中，鲜花、水果、以及身体在照片中横陈交错，身体的边界似乎于此消融。在试探、触摸、游移、托举的姿势中，身体与植物的肌理相互渗透，被赋予器官的隐喻功能。在第二部分，情欲与生命的连接被投射在自然的山水之间，纷飞的鸟群，列队行进的蚂蚁，包裹身体的海浪已然不再是纯粹的审美对象作为背景存在，而是充满张力的欲望载体，参与进主体消融的过程。而在第三展厅，展览的视线转向更加深层的情感状态与欲望纠缠：空荡的床榻，窗帘上的落日余晖，白炽灯闪耀的冷光，以及青年们落寞的目光，指向那在欲望的过剩与匮乏中不断生成的剩余之物和短暂亲密之后焦灼的孤独。

正如巴塔耶在《色情》中提到的：在色情中起作用的总是有规则的社会生活形式的消融，即其的本质在于打破个体性的封闭范畴，就像海浪相互交融、边界消失的那一刻。编号223的摄影实践中，我们可以看到这样一个在照片之中的边界消融的中间地带：公共与私人、纯洁与禁忌、自然与文化都变得模糊不清。在这些暧昧的混乱与失常中，欲望指向着不可抵达之物。而正是这种对在激情中不可能的事物的追求，让焦虑与兴奋，痛苦与美丽并存。

日光之下并无私密，这些兴奋的时刻，身体的游戏，以及欲望的纠缠是我们所有人都拥有经历。但同样也被规训，而后被我们精心地隐藏起来。在这个身体被不断地物化，快感与享乐成为一种被强迫的必须的时代里，223的作品与摄影实践在提醒我们，或许我们可以想象一种可能，超越自身的局限，不再是在难以理解的偶发事件中孤立地走向死亡的个体，而是一种连贯的存在。

哪怕，只是短暂的一刻。

文：李子健

Under the Sunlight, There is no True Intimacy

In contemporary visual culture, eroticism persists as an ambiguous force of resistance, oscillating between societal discipline and individual liberation. This exhibition focuses on the two-decade photographic practice of Lin Zhipeng (aka No.223), presenting over a hundred works that explore how desire functions as a subversive daily practice. Through sustained and saturated imagery, the artist documents the clandestine yet potent dialogues between bodies, nature, and everyday objects, revealing the erotic refractions that permeate these interactions.

The exhibition is loosely divided into three sections. In the first part, flowers, fruits, and bodies sprawl across the photographs, their boundaries dissolving. Through postures of probing, touching, wandering, and lifting, the textures of skin and plants interpenetrate, transforming mundane objects into metaphors for organs. The second section projects the connection between desire and life onto natural landscapes: flocks of birds, marching ant colonies, and waves enveloping human bodies no longer serve as mere aesthetic backgrounds but become charged vessels of desire, actively participating in the dissolution of subjectivity. The third part shifts focus to deeper emotional states and entangled desires: empty beds, sunset light filtering through curtains, the cold glare of fluorescent lamps, and the desolate gazes of youth—all of which point to the surplus generated between the excess and deprivation of desire, and the scorching solitude that follows fleeting intimacy.

As Georges Bataille states in Erotism: “What is always operative in eroticism is the dissolution of constituted forms within regulated social life.” This dissolution, which breaks the closed categories of individuality like waves merging and disappearing into one another, manifests in No.223’s photographic practice. His lens captures an intermediate zone where binaries—public and private, purity and taboo, nature and culture—lose their clarity. Within this ambiguous chaos, desire perpetually points toward the unattainable. It is precisely this pursuit of the impossible within passion that binds anxiety to exhilaration, pain to beauty.

Under the sunlight, there is no true intimacy. These moments of excitement, bodily play, and entangled desires are shared yet meticulously concealed under societal discipline. In an era where bodies are relentlessly commodified and pleasure is reduced to a compulsory performance, No.223’s work reminds us of an alternative possibility: to transcend our fragmented selves, no longer as isolated individuals stumbling toward death through incomprehensible contingencies, but as coherent beings—even if only for a fleeting instant.

Text｜Li Zijian