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徐累的作品像是躲在暗处观看到的剧目,引人猜想的不是画面上出现的东西,而是缺失或遮掩的部分。无力的鸟骸与自己的孤影,展露于似戏剧舞台的中心,幕是一张勘舆图,绘制出陆地与汪洋构成的大世界,这就是《世界的尽头》中我们看到的。勘舆图实质上是反映一种主观探寻的隐喻,它不仅记录客观的格局,也记录自我想像的踪迹。那尽头不仅是地域上的概念,同时也是我们对于世界主观认知的死角。
Xu tired of works like hiding in the dark to watch the repertoire, the introduction of conjecture is not what appears on the screen, but the missing or covered part. The feeble bird bones and their own solitary ghosts show off at the center of a theater stage. The curtain is a map of geomancy that draws the big world of land and ocean. This is what we see in the End of the World. Mapping is essentially a reflection of a subjective metaphor of exploration, it not only records the objective pattern, but also record traces of self-imagination. That end is not only a geographical concept, but also a dead corner of our subjective knowledge of the world.