悬墟

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这件装置源于我在搬离阁楼时内心难以言喻的情绪——因疫情期间的政策而承载了集体创伤的空间。

在一座老旧里弄房屋的斜屋顶下，阁楼墙外延伸出一片废弃的、介于归属与非归属之间的空间。

它既未被正式占有，也未被完全放弃。

过去与现在的住户曾在这里随意堆放废弃的家具、空瓶子、破旧纸箱，

时间将这些遗留物堆积成了一个存放着物质与记忆的临时仓库。

而这里唯一的直接入口，是阁楼的一扇窗。

 

每次有人向窗外丢弃物品，都会浮现一种短暂的逾越感

——仿佛占据了这片空间的一部分，尽管它本就不属于任何人。

然而，在这一细微的占据行为中，我们逐渐褪去入侵的不安，

转而意识到这是一种无声的再索回。

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这片空间，被视作无法居住、被产权与市场价值体系遗忘的角落，

意外地成为了那些“无处可去之物”的避难所——它们被抛弃，但尚未被抹除。

一个不受所有权约束的地方意味着什么？

它游离在衰败与功用之间，又归属于谁？

在这片散发着污水气息、悬浮于城市上空的屋顶角落下方，

每平方米土地的价格高达十万元，而这里却仿佛被排除在一切之外。

它是对被忽视的城市缝隙、遗忘的边界，以及“缺席”与“占有”之间微妙协商的沉思。

 

作为最后一批能进入这处边界的人，我们选择在离开前直面它的模糊性

——这是一场见证，一次短暂的占领，一个尚未被解答的问题。

作为一组摄影与影像项目，最终的装置由那些曾踏足阁楼的人共同创作

——那些与这片空间建立了某种记忆与联系的人们，

以此回应一段隐匿于城市缝隙中的、未竟的故事。

 

 

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This installation emerges from my own inexplicable feelings while moving out, of an attic filled with collective trauma due to the policies during pandemic in central Shanghai. 

Beneath the pitched roof of an old lane house, just beyond the attic wall, lies an abandoned, in-between space

—neither owned nor entirely disowned.

Over time, past and present residents of the apartment have discarded unwanted furniture, empty bottles, and worn-out cardboard boxes here, a slow accumulation of remnants that transformed the space into a liminal storage of both material and memory. The only direct access is through the attic window. Each time an object is placed into this void, there is a fleeting sense of transgression, as if a fragment of the space has been stolen—despite belonging to no one.

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Yet, in this subtle act of claiming, we gradually shed the discomfort of intrusion and instead recognized a form of quiet reclamation. This space, deemed uninhabitable and overlooked by the machinery of property and value, became an unintended refuge for what is no longer wanted but not yet erased.

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What does it mean for a place to exist outside ownership, hovering between decay and utility?

Who, if anyone, would concern themselves with this dusty, dangling rooftop corner, reeking of sewer, suspended above a city where each square meter is priced at 100,000 RMB?

It is a meditation on neglected urban recesses, forgotten thresholds, and the subtle negotiations between absence and possession.

 

As the last residents with access to this threshold, we chose to confront its ambiguity before leaving it behind—an act of witnessing, an ephemeral occupation, an unresolved question.

The final installation of this interdisciplinary photo-video project is co-created by people who have been to the attic, who have formed a sort of memory and relationship with the space.

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