因為很喜歡這次文心藝所辦的Roni Horn個展，即使上個週末已經看過了，這個週末又去看。
我應該是11:00左右到的，開始營業後不久。零星的觀者在我看展期間來了又走。
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「妳看得好認真。」
上回來看展時意外跟一位店員聊了起來，這次她主動來找我，不過我沒有認出她。
「應該沒有人看得像妳這樣仔細。」她補充。
我跟她說明我觀看的方式。
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這次展出的作品中，有一個系列叫作《Still Water (The River Thames, for Example)》，她來找我時我正在看這個系列的作品。據導覽手冊所述，《Still Water (The River Thames, for Example)》為一系列大型攝影平版畫，作品聚焦在泰晤士河水面的一小塊區域。點綴在水面上的微小數字代表的是白框下緣的註腳，這些註腳呈現一系列關於河流意義的引文，以及它所喚起的情緒和敘事，也穿插了電影和文學的引用。
上次我先仔細看過攝影的部分才一併去讀下面的註腳，但發現將攝影和文字分開看大腦容易彈性疲乏，所以這次先在照片中找出數字的位置，然後去讀對應的文句，視線來回往復，找數字時消化註腳的訊息，看文句時腦中也還保有數字所在的那一小片水域的印象，1, 2, 3這樣一一照著數字的順序看完整件作品。資訊量接近飽和時我點了杯咖啡選了靠窗的位置坐下。很長一段時間，整個空間只有我一個人。
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“Still Water (The River Thames, for Example)”, 1999
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19 When you go into the river you discover a new entrance and in yourself you uncover an exit, an unseen exit, your exit. (You brought it with you.)
20 Water is tolerant. It accepts everything that comes to it, and all the things we put into it.
21 Water is too tolerant. It loses itself.
22 Water is too tolerant. It loses itself, becoming (only) an image of itself.
23 Water is too tolerant. It loses itself, becoming the opposite of water: a water that will pollute you.
24 It's so easy to project yourself onto water. Its violence, calmness, changeableness are mine (or yours. I can't separate its moods from my own. But then I don't really believe they're separate anyway.
(Footnotes from "Still Water (The River Thames, for Example))
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2019年去倫敦旅行時拍的唯一一張泰晤士河的照片
