那特深圳|「星尘大剧院」策展人推荐书单

那特画廊（深圳）正在展出艺术家孟思特个展「星尘大剧院」，展期至2026年8月16日，呈现孟思特近两年的绘画创作。策展人张晨在展览文章中提出了"技术与时间"这一解读孟思特绘画的核心框架，并在论述中援引了跨越技术哲学、精神分析与艺术史三个领域的五部重要著作。若你在展厅现场被“真实与虚幻”、“历史与时间”、“宇宙技术”等命题击中，不妨循着这份「策展人推荐书单」，走进由五本书的五条线索交织而成的「星尘大剧院」的思想剧场，完成一次深入的阅读谱系之旅。

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L-Art Gallery (Shenzhen) is currently presenting artist Meng Site's solo exhibition Stardust Grand Theatre, on view through August 16, 2026, featuring the artist's paintings from the past two years. In his curatorial essay, Zhang Chen proposes “technics and time” as the core framework for reading Meng Site's paintings, drawing on five significant works spanning the philosophy of technics, psychoanalysis, and art history. If, in the gallery or while reading the essay, you found yourself struck by propositions such as “reality and virtuality,” “history and time,” or “cosmotechnics,” follow this curator's reading list into the intellectual theater woven from these five threads, and take a deeper journey through this genealogy of ideas.

"如果将这样的时间观植入技术哲学的范畴，则无论在刘易斯·芒福德还是贝尔纳·斯蒂格勒那里，技术总是与时间相关，现代技术的关键起源可追溯至钟表的发明而非蒸汽机，而人类历史的每一种技术均承载着时间的记忆。"

——张晨《“星尘大剧院”：孟思特绘画中的技术与时间》

▲ 推荐书目

贝尔纳·斯蒂格勒：《技术与时间》，裴程 译，译林出版社，2019年。

刘易斯·芒福德：《技术与文明》，林华 译，中信出版社，2025年。

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I.

“If we implant this view of time into the philosophy of technics—whether through Lewis Mumford or Bernard Stiegler—technics is always bound to time. The crucial genesis of modern technics can be traced back to the invention of the clock rather than the steam engine, and every technics in human history carries the memory of time.”

——Zhang Chen, "The Stardust Grand Theatre: Technics and Time in Meng Site's Paintings"

Bernard Stiegler, Technics and Time, 1: The Fault of Epimetheus, trans. Richard Beardsworth and George Collins, Stanford University Press, 1998.

Lewis Mumford, Technics and Civilization, University of Chicago Press, 2010.

"……让停止的线性时间舒展为宇宙的'星丛'。"

"而这样的共时性所带来的历史回望与当下立场，所显现的不同技术与时间的平等共处，在本雅明的意义上，恰是'当代性'之时间哲学的题中之义：在这里，过去并未被现在所替代，而是在现在之中被重新激活，古老的历史也未将当下掩埋，恰恰相反，历史因立足此刻而真正拥有意义。这样，闪烁在历史哲学论纲中的星丛，便在绘画之中降落为剧院之上的尘埃。"

——张晨《“星尘大剧院”：孟思特绘画中的技术与时间》

▲ 推荐书目

本雅明《启迪：本雅明文选》

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II.

“...allowing suspended linear time to unfold into a cosmic ‘constellation’ (Sternenform, in the Benjaminian sense).”

“The historical retrospection and contemporary stance generated by this synchronicity, along with the egalitarian coexistence of different technics and times, represent—in Walter Benjamin’s terms—the very essence of the temporal philosophy of ‘contemporaneity.’ Here, the past is not supplanted by the present but is reactivated within it; nor does ancient history bury the current moment. On the contrary, history gains true meaning precisely because it stands upon the now. Thus, the constellation that flashes through the Theses on the Philosophy of History descends within his painting as dust upon the theater.”

——Zhang Chen, "The Stardust Grand Theatre: Technics and Time in Meng Site's Paintings"

Walter Benjamin, Illuminations: Essays and Reflections, ed. Hannah Arendt, trans. Harry Zohn, Schocken Books, 1968.

"在孟思特这里，马戏团原本即是驯化危险、展示危险并以危险制造快乐的机制……观众之所以快乐，正是因为危险被暂时安置在了安全的距离，而一旦这个距离被绘画悄悄取消，快乐便随时准备化为更加复杂与矛盾的情感。"

"……我们并不是不知晓这样的真相，恰恰相反，正是因为我们懂得这样的道理，也正是因为我们始终无法直面这样过于真实的实在界，而主动地发明了虚假，主动沉浸在木偶剧与马戏团之中，以此让惨淡的真实勉强能够被承受。"

——张晨《“星尘大剧院”：孟思特绘画中的技术与时间》

▲ 推荐书目

弗洛伊德：《文明及其缺憾》，车文博 主编，九州出版社，2014年。

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III.

“For Meng Site, the circus is inherently a mechanism that tames danger, displays danger, and manufactures joy out of danger. By bringing the paradox of spectatorship to the foreground through a wall that appears crossable, the artist seems to remind us that the audience’s pleasure exists precisely because danger is temporarily stationed at a safe distance. Once this distance is quietly dissolved by the painting, pleasure stands ready to mutate into far more complex and contradictory emotions.”

“...It is not that we are oblivious to this truth; on the contrary, precisely because we understand it, and because we are perpetually unable to confront such an overly authentic Real, we actively invent the fake and willingly immerse ourselves in puppet shows and circuses, rendering a bleak reality barely bearable.”

——Zhang Chen, "The Stardust Grand Theatre: Technics and Time in Meng Site's Paintings"

Sigmund Freud, Civilization and Its Discontents, trans. James Strachey, W. W. Norton & Company, 1961.

"许煜在《艺术与宇宙技术》中便指出，来自东西方不同文明、不同历史语境的技术，均包含着人与自然、人与宇宙、人与共同体之间的关系安排；而当人工智能、机器人、自动化系统不断重塑人的经验时，艺术便并不只是技术之后的附属装饰，而应成为重新思考技术的重要路径。艺术的经验之所以重要，正在于它能够让技术不再只是效率、控制和计算的同义词，而显现其与感性、形式、宇宙观和伦理秩序之间的关系。"

"由此，在绘画中，在孟思特多重技术的交叠与宇宙观的营造里，绘画的技术得以摆脱时代的严明分期、透过艺术史的种种传统，而在一种空间化的时间里，在宇宙的普世性维度上，展现技术本身超越历史的不同层次与终极面向。"

——张晨《“星尘大剧院”：孟思特绘画中的技术与时间》

▲ 推荐书目

许煜：《艺术与宇宙技术》，苏子滢 译，华东师范大学出版社，2022年。

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IV.

“Yuk Hui points out in Art and Cosmotechnics that technologies emerging from different civilizations and historical contexts invariably encompass specific alignments between humans and nature, humans and the cosmos, and humans and the community. When artificial intelligence, robotics, and automated systems continuously reshape human experience, art is not a mere subsidiary decoration following technical advancement, but should become a vital path for rethinking technics itself. The experience of art is crucial precisely because it allows technics to cease being a mere synonym for efficiency, control, and calculation, revealing instead its relationship with sensibility, form, cosmology, and ethical order.”

“Thus, through the overlapping of multiple techniques and the creation of a cosmology in Meng Site’s paintings, the techne of painting transcends strict historical periodization and various traditions of art history. Within a spatialized time and a universal cosmic dimension, it manifests the distinct layers and ultimate facets of technics that transcend history itself.”

——Zhang Chen, "The Stardust Grand Theatre: Technics and Time in Meng Site's Paintings"

Yuk Hui, Art and Cosmotechnics, e-flux / University of Minnesota Press, 2021.

张晨，艺术史学者、批评家、策展人，中央美术学院人文学院副教授，研究方向为现当代艺术史与理论，著有《身体，图像与艺术史》《身体·空间·时间——德勒兹艺术理论研究》等。

Zhang Chen is an art historian, critic, curator, and Associate Professor at the School of Humanities, Central Academy of Fine Arts (CAFA). Specializing in modern and contemporary art history and theory, he has authored monographs including Body, Image, and Art History and Body, Space, Time: A Study on Deleuze’s Art Theory, among others.