《迷楼蒙太奇》展览现场，艺术家叶帆个展Exhibition site of "Montage of the Tower", solo exhibition of artist Ye Fan

“迷楼”一词自始至终被幻化为不同时代的东方观察，极具东方色彩。
将“迷楼”作为场景与语境，意喻复杂而无统一性与合目的性的当下社会结构。“迷楼”一词追溯于隋炀帝建造建造的一座宫殿，其本义就是“让人迷失的宫殿”，无论是谁，只要进入迷楼，就会迷而忘返。“迷楼”一词同样被用于宇文所安所出版的书籍《迷楼：诗与欲望的迷宫》，这本著作模仿迷楼的架构，重返业已遗忘的东方历史现场。“迷楼”一词同时被当代文学家刘以鬯编为小说集《迷楼》。刘以鬯的多部小说被王家卫改编拍摄为电影，描摹了一座现代的“迷楼”，人性的探索与复杂的写照。以期展现不同社会视角下的道德判断和价值判断。人性的解剖刀下，人类复杂而隐秘。
Mílóu: A Transcendental Eastern Observation
The concept of Mílóu (literally "Mysterious Attic") has been infused with an evolving Eastern sensibility across different eras. As a scene and context, Mílóu symbolizes a complex social structure marked by disunity and a lack of purpose. The term "Mílóu" originates from a palace built by Emperor Yang of the Sui Dynasty, meaning "a palace where one loses their way." It was later used by Stephen Owen in The Lattice: Constructions of Desire, which mirrors the Mílóu’s structure to revisit forgotten Eastern histories. Contemporary writer Liu Yichang also titled a novel collection Mílóu, some of which inspired Wong Kar-wai’s films, portraying a modern "Mílóu" as a labyrinth of human nature. These narratives explore societal values and human morality, revealing humanity’s intricate and hidden dimensions.