如果我们设想，时间并非是一块密度均匀的玛德琳蛋糕——也就承认，时间与时间存在间隙。在这里，记忆是滑落间隙中的糖浆。它无固体形态、弥散在蛋糕体的任意角落，留下深深浅浅糖渍的痕迹。

正是这样的设想，使得我们可以谈论痕迹与触发记忆、返回特定时间之间的关系。苏格拉底将痕迹（tupos）称之为「记忆再现之物」（anamnesis），它常以视觉图象的样貌出现，统治着私人记忆。其另一层功能性要义是对集体记忆的再现。凝缩的图像是一座勾连四方的桥梁，成为时空下不相关之人的怀旧情绪仍能共通的原因与基本条件。

因此后来再次在别处瞥见隐约的糖渍痕迹时，便想起咬下第一口玛德琳蛋糕的滋味。我们从来无需证明为何蛋糕香甜，因为吃过的人就不会忘记。

此次展览试图讲述的，正是这样一个关于记忆重现的故事，是从一块西班牙砖开始的。艺术家将这幅缠绵于一代人步行路上的图案不加掩饰地呈现于展厅，绒毛般「黄金年代」委身于个人的怀念中，被统摄在环状与网格结合的图案里。图像如何拥有一段人类的记忆？又或者，图像如何帮助我们重新在记忆中找到了记忆？而又是什么帮助我们确定了它的可读性？

当「西班牙砖」一出现，便调动起我们共同的思维活动，充当起对话的载体。任何一个需要观察它的观众都需得先破坏它本来面貌，继而去到空间中找寻新的佐证。在新旧闪回之间我们拿着返回好时光的钥匙：那或许在普遍的怀旧以外，更预言着再度重相逢的安慰。

If we envisage that time is not a Madeleine cake of uniform density - which confesses that a gap stays between time and time where memory is the syrup that slips through the gap. No solid form, leaving traces of deep and light sugary stains.

That gives us a basis to talk about the relationship between traces and triggering of memories and returning to a specific time. Socrates calls tupos 'anamnesis', which often takes the form of visual images that rule private memory. Another layer of its functionality is the reproduction of collective memory, when the condensed image becomes a bridge connecting every aspect, becoming the essential reason and condition for the common nostalgia of unconnected people.

Therefore, when we glimpsed the faint traces of sugar stains elsewhere, we remembered the sweet taste of the first bite of a Madeleine cake. We never have to prove the sweetness of it, because those who eat it will never forget it.

This exhibition tries to tell a story about the reappearance of memory, starting with a Spanish brick. The artist presents this pattern, which has dominated the walking paths of a generation, unabashedly in the exhibition. A plush golden age and nostalgia mind has been captured in a pattern that combines a ring and a grid. How does an image possess a piece of human memory? Or, how does an image help us to revisit a memory within a memory? And what helps us gain certitude of its readability?

When the Spanish Brick appears, it mobilises our shared thinking as a carrier for dialogue. Anyone who needs to observe it will have to destroy it first, thus a new evidence may emerge. Between the flashbacks, we hold the key to the good old days, which perhaps predicts a reunited comfort beyond the general nostalgia.