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2024.04.16
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徐皓霖✎
Hou Lam Tsui現於香港生活及工作，創作圍繞個人經歷、性別政治、邊界以及邊緣敘事展開。
Hou Lam Tsui lives and works in Hong Kong. Her practice centers around personal experience, gender politics, boundaries, and peripheral storytelling.
韓炳哲說奧菲莉亞完成了一次美的死亡。
記得深深地植根於許多人腦海的那張畫嗎？遇溺的少女雪白臉頰底端透出溫熱血色，嘴唇仍然鮮紅豔麗，長髮披散在水面。苔蘚翠綠潮濕，手中的花朵鮮亮奪目。真是匪夷所思。虛構女孩動輒就要去死一死。有血有肉的人也會死多過一次。瑪麗亞·卡拉絲死過太多次了，從墮落女人到女祭司到蝴蝶夫人，吟唱著她的死亡，撕心裂肺。得不到愛的女孩萬念俱灰，破碎的心黯淡無光。然而，她仍然是美麗的，她只能是美麗動人的。唯有絕美的消逝才配得上被哀悼。當然，怎麼會不是這樣？啊人們爭著要去粉碎玻璃造的玫瑰。我不敢再寫了。為何將逝之人散溢著充沛的生命力？我是知道的，你不會為我哀悼。
Ophelia dies a beautiful death, a Liebestod, says Byung-Chul Han.
Do you remember the painting that is deeply ingrained in so many people’s heads? A warm, rosy undertone flushes the pale cheeks of the drowned girl. Her lips maintain a vivid, striking red, her long hair loose, floating in water. The moss appears lush and damp, the flowers in her hand dazzling with vibrancy. How ridiculous. Fictional girls simply have to die a few deaths. Those made of flesh die more than once, too. Maria Callas died far too many times—from the fallen divina to the priestess and Madame Butterfly, they chant her deaths in gut-wrenching tones. The girl who is denied love feels utterly hopeless, the light of her broken heart dims down. But she is still beautiful. She can only be beautiful. Only a death of heartbreaking beauty is worthy of mourning. Of course it is, how can it not be? Alas, people are fighting each other to break the rose made of glass. I dare not write anymore. How can a life so close to death radiate such vitality? I know already—you will not mourn for me.