欧洲对于上海更像一个幻想而不是现实,尽管类似的景致就隐藏在上海的市区里。都市意象的混合——“欧式”婚纱照,自鸣得意的“外派人员”——超越了在地和当下的边界,成为了一个鲜活的杂糅体。其中既有异托邦色彩和未来感,也有复古的气质。由此,生活和工作在柏林的新加坡艺术家黄汉明选择在上海演绎他对法国新浪潮经典影片《去年在马里昂巴德》的解读。这部名为《明年》的影片忆起了两位主人公的一次邂逅(二者均由艺术家本人扮演)。原版电影对“既有之事”言之凿凿,“黄汉明版”则转向了一场尚未发生的际遇,让叙事显得愈发可疑和暧昧。从保留了初建时法式风格的复兴公园,到一家叫做马里昂巴德的古雅咖啡店,黄汉明片中的上海陷身于早期贸易留下的遗迹和城市化进程的夹缝当中。其中寓言式的角色扮演,使得《明年》成为一种通过自恋而得以呈现的见证:在多变世事一隅里的遗失与重见,也是对这个健忘时代的一瞥。 Europe is more an illusion than a reality for Shanghai, though a similar view is hidden in downtown Shanghai. Mixed urban image - “European ” wedding photos, smug “expatriates ” - beyond the borders of the present and the present, has become a living hybrid body. Among them are the different colors and the future sense of trust, but also the retro temperament. As a result, Wong Han-ming, a Singaporean artist who lives and works in Berlin, chose to interpret his interpretation of the French new classic “Marion-Baptistris last year” in Shanghai. The film, entitled “Next Year,” recalls an encounter between the two protagonists (both by the artist himself). The original movie made an exaggeration of the “existing things” and the “Huang Han Ming Edition” turned to a situation that had not happened yet, making the narrative more suspicious and ambiguous. From the restored Fuxing Park, which was originally built as a French style, to a quaint coffee shop called Marion-Bard, Shanghai in Huang Hanming was trapped in the remains of the early trade and urbanization. Among them, the fabled role-play makes “next year” a testimony presented through narcissism: the loss and redemption in a changing world is also a glimpse of the forgetfulness era.