1）主题阐释
《真实存在》并不试图把文本“再现”为情绪景观，而是将其作为仍在生成中的社会文本，检验它如何离开手机屏幕，进入真实的公共空间并继续发挥作用。True Existence does not attempt to re-enact the text as an emotional landscape. Instead it treats the writing as a still-evolving social text, testing how it leaves the phone screen and enters real public space.
2016–2026 年间，策展人花花在公众号“真实存在”上连载了 190 余篇文本，围绕母亲及数位至亲的离世，以及此后漫长的哀悼与继续生活，持续书写与思考。这是一部在算法与注意力经济主导的时代逆势生长的慢写作：它源于极度私人的丧失经验，却在不断的转发与共鸣中，逐渐牵连起照护劳动、女性经验、城市生活与代际记忆，成为一个远超个体叙述的公共文本场域。Between 2016 and 2026, curator Huahua published over 190 texts on her public account ‘True Existence’, writing continuously around the deaths of her mother and several loved ones, and the long grief and continued living that followed. It is a slow writing that grew against the grain of an era dominated by algorithms and attention economics — rooted in deeply private loss, yet through constant sharing and resonance, gradually drawing in care labour, women's experience, urban life and intergenerational memory.
展览将此书写视为研究的延伸与现场的检验。三章结构——“缝隙里长出的花Flowers Growing in the Cracks”“作用力是相互的Forces Are Mutual”“AI 也是爱AI Is Also Love”——并非线性的情绪阶段，而是三种关系场：人与环境的生存条件、人与他人的相互作用力、人与机器之间的共同创作。The exhibition treats this writing as both research extension and live test. Its three-chapter structure — ‘Flowers Growing in the Cracks’, ‘Forces Are Mutual’, ‘AI Is Also Love’ — does not represent linear emotional stages but three relational fields: human–environment survival, human–human reciprocity, and human–machine co-creation.
通过植物装置、绘画、雕塑、声音文本、协作性互动与 AI 对话等不同媒介，各方作品在同一空间中彼此干扰、相互激活，共同追问：谁在发声，如何发声，又是在什么样的制度与技术条件下发声。Through plant installations, paintings, sculptures, sound-text, collaborative interaction and AI dialogue, works interfere with and activate one another in the same space, collectively asking: who speaks, how do they speak, and under what institutional and technological conditions.
本项目Item有意识地削弱策展话语的权威位置，不再把观众固定为“观看他人悲伤的旁观者”。在结构上，展览为观众与各方主体——文本作者、艺术家、绿植、陌生人，以及不完美的 AI 回应者——预留出对话与共写的位置，使《真实存在》既指向一个具体的人的故事，又始终打开通往更广泛社会关系与公共经验的通道。This project consciously undermines the authority of curatorial discourse, refusing to fix visitors as mere spectators of another's grief. Structurally, the exhibition reserves space for visitors and all participants — text authors, artists, plants, strangers, and an imperfect AI respondent — to enter into dialogue and co-writing, so that True Existence points both to one person's specific story and always opens toward broader social relations and shared experience.
