Kubrick, Beijing, 2023
Flaneur is a French term used by nineteenth-century French poet Charles Baudelaire to identify an observer of modern urban life. Baudelaire identified the flaneur in his essay The Painter of Modern Life as the dilettante observer. The flaneur carried a set of rich associations: the man of leisure, the idler, the urban explorer, the connoisseur of the street. Such a figure can be seen featured in many impressionist paintings. The flaneur has become an important figure for scholars, artists and writers and was taken up in the twentieth century by the Situationists. ——The Tate
Flaneur 「漫游者」一词源自 19世纪法国诗人使用的术语。诗人查理 •波德莱尔在他的 《现代生活的画家》中称漫游者为"城市业余观察员〞。漫游者有着一系列丰富的联想：休闲者、游手好闲者、城市探险者、街头鉴赏家。在许多印象派绘画中都可以看到这样的人物。漫游者己成为学者、艺术家和作家的重要人物，并在20世纪被情境主义所采用。——泰特美术馆
Canvas is roamable due to perspective. Jingsi Chen exhibited works in a wide variety of categories, covering oil paintings, paintings on paper, book creations, and manuscripts. In my opinion, what connects works of various materials is not her creative techniques and display forms, but the perspective relationship among them. In Chen Jingsi's pictures, you can often find childish brushstrokes and simple shapes, even geometric shapes in the illustrations as if completely flattening the picture, condensing perspective into colour blocks, lines and textures in the plane. Watching and wandering in this rich visual relationship is to visit the perspective world she created. The poster captures a part of her painting and arranges it with words that are clearly distinguished by colour and size as if to let it participate in the perspectives of the picture. — Low sek-vai
画布因有透视而可漫游。陈静思的展出作品涵盖油画、纸本绘画、书籍创作、手稿，品类丰富。在我看来联结着各种材质作品的，不在于她的创作技法与展示形式，而是联结其中的透视关系。陈静思的画面经常能发现稚拙的笔触与简易的形体，甚至在插画中还有极具几何风格的形态，仿佛把画面完全压扁，将透视浓缩成平面之中的色块、线条与肌理。在这丰盈的视觉关系之中观赏与漫游，即是在她创造的透视世界中游览。海报截取她画作的局部，用被颜色与大小明确区分的文字安排其中，仿佛让其参与到画面的透视之中去。——劳硕维
