"双重曝光"原本是摄影技法中的术语，指在一张底片上进行两次曝光，物像在画面上出现两次来实现“1+1>3”的奇异视效。因其承载了时空多面而延绵的流变与折叠，对诸多事件的捕捉和重组让事件得以超越自身片面的含义，从而构成全新叙事。如维尔托夫（Vertov）巧用二次曝光、双层叙事结构嵌套等手段探求革命年代事物未知的面貌。

展览呈现的“双重曝光”将“个体记忆”和“宏大叙事”构成双层叙事曝光于绵延空间，不仅是对当代社会文化景观变迁的多维度重现提出构想，试图在多维度被曝光的语境下寻找时间、记忆、历史的裂缝。在宏大叙事与个体生活多重“镜头”的捕获与交叠中，无限被放大的裂缝即现代人的记忆缺失，转瞬即逝的事件留下的痕迹犹如一条逃逸线穿行在集体时空之中，个体总在逃逸线中生成并消逝，置身于一种历史性的意义缺失之中，而正因现代人忽视裂缝的真实存在，从而受困于短暂无常与永恒持存间的矛盾中。

展览建起的听候调度的剧场空间，呈现多重无限被放大的时空连结。在此作品代表的纷繁复杂的事件被拼接而成，构建着年代年表不曾告诉我们的事件相互间的线索和含义，如刘建华、王炜申和尹煜的作品完成了从两类叙事逻辑的叠合到对当代经验模式的再编码。与此同时，脱离学院体制的学生自以其身带着二重曝光的晕圈，会对现代性迎来一次新审思。“双重曝光”还透漏着艺术家与策展人的共同意志，即拒绝单一或静态地介入世界，并抒发对一个被集体性感知的内在连贯一致的世界的质疑。

Double exposure, originally a term in photography, refers to exposing film to focused light twice, therefore generating a picture consisting of two images to realize the bizarre visual effect of “1+1>3”. Since it carries the multi-facet and continuous evolvement and folding of the time and space，its capture and reconstruction of many events allow the events themselves to transcend the one-sided connotations of their own, thus constructing a novel and complete narrative. Here, the concept of double exposure metaphorically expresses the curators’ idea about multi-dimensional reappearance of changes of the contemporary social and cultural landscape, which is just like Vertov’s clever use of various means, such as double exposure and nesting structure in double narrative, in the early stage of art’s maturity, to explore the look of the unknown in the age of revolution. 

When the artists led to the re-perception of the timeliness, with the works’ tone woven by “individual life memory “and “grand narrative” together. Photography when capturing the time, also proves the presence of the object by making it “momentary”. However, for the individuals in the current life, the trace left by the transient events is like a line of escape travelling in the collective space. The individual is always generated and vanishing in the line of escape and is placed in a kind of historical meaninglessness. The contradiction between the transience and eternity tells the nature of the modernity, and the recoding the meaning of modernity indeed needs the capture and superimposing of multiple “shots” of the grand narrative and individual life. 

In this group exhibition that has built a theatrical space awaiting the blocking, every piece of works is beyond its own connotation; like an individual role, each one is constructing the clues and meanings between events which the age and chronology fail to tell us, through the complex events’ desire of piecing together and having dialogues. As seen in the works of Liu Jianhua, Wang Weishen and Yin Yu, the superimposing of two kinds of narrative logic and the recoding of the contemporary experience mode are well completed. Meanwhile, the students separate from the college system would have another reflection on the modernity, with their own aura of double exposure. This exhibition clarifies the common will of the artists and the curators, namely refusing to intervene in the world in a singular or static way and express the question to the world with inner conformity perceived by the collective.