「”消解与重构”一趟人类学的景色笔记 – 邓国豪个人文章展」开幕

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黄建成个展“机械手稿 • 黄建成的艺术”在威尼斯开展

时间:2019年03月24日来源:中国文艺网作者:朗文0

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展览现场

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展览现场

  以刻录时光的艺术痕迹为形象印记的《机械手稿•黄建成的艺术》黄建成个展于2019年3月20日在意大利威尼斯Diocesano博物馆开幕,展品涵盖绘画、装置、影像三个类别,共23件作品。

  由范迪安先生担任学术主持、由Vittorio
Urbani先生担任策展人。本次展览计划是黄建成近年来对艺术及创作的一次集中表现,延续2015年德国柏林宝马中心展出的概念手稿的创作思路,以机械性理念的整合创作模式来呈现本次展览。本展览以时间刻度为艺术展的计量单位来凸现对宇宙、历史、社会的宏观与微观的思辨性认识,并以多元的表现形式和系列的核心图形来交叉传递这一符号体系。

  策展人Vittorio
Urbani在开幕式上说,此次展览筹备了半年时间,从最初的一个创作想法到最终展览的完美呈现,黄建成希望他的视觉语言能将客观现实与自己的思维方式联结在一起。同时,他也对作品中的控制、误读、真理、留痕和借用等概念颇感兴趣。这些概念都是构成黄建成艺术创作的关键要素。

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黄建成和策展人Vittorio Urbani

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主办方ICAA国际艺术创意联盟国际理事会成员代表、米兰Palazzo
Reale艺术总监Dalia Gallico

  主办方ICAA国际艺术创意联盟国际理事会成员代表、米兰Palazzo
Reale艺术总监Dalia
Gallico在致辞中说,本次展览不仅仅表达了艺术家的个人艺术创作理念,同时也为中国和意大利的艺术文化交流提供了一个机会。通过艺术作品,传达出一些观点,帮助来自不同文化、地区和背景的人们认识到共同的思维方式,提高人们对人类自身的理解,从而走向融合。

  据悉,此次展览为黄建成”机械手稿“系列作品的首次展出,囊括概念架上、装置、影像等作品形式,力求在展示空间内部融合所有作品的表现形态,以勾勒出艺术家在其观念探索的完整艺术实践轨迹。出席开幕活动的嘉宾有威尼斯美术学院、威尼斯建筑学院、威尼斯大皇宫等当地代表。

  本次展览由中央美术学院、ICAA国际艺术创意联盟主办,中央美术学院城市设计学院、威尼斯Diocesano博物馆承办,意大利国际展览机构We
Exhibit Srl协办,广东玉兰集团支持。展览将持续至4月17日。

  艺术家阐述

  “在现实世界的表象之下其实充斥着许多的未知和不确定性,可感知的存在与虚无的未来之间亦存在无限转换的可能,理性与感性、规范与无序、冷静与热烈,控制与放纵等诸多矛盾体构成了物质世界与心理空间的均衡与置换,有序的摹写与偶发的游走形成了精神世界的轨迹,我试图用机械运行的原型与知觉手稿的图像进行溶解与契合来刻录和印证这一痕迹,我想这种多项度、多界质的转译是有温度、有价值的,凸显生长、生命的哲学意义,惟望这一实验和过程是有勇气的,至少是有意义的行为…”

  此次艺术呈现以一个主题概念,一个融合空间的形式来展开述事和对话,将包裹一件主艺术装置,一组概念架上作品,一宗生长的影像媒材,共同构成“机械手稿”的核心理念与视知觉沉浸体验,形成以静拟动、以动写静的内外交融、意犹未尽的交织效应,从而阐释主题要义的深层意蕴。

  ——《机械手稿•黄建成的艺术》

  艺术家介绍

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  黄建成,中央美术学院城市设计学院副院长、教授、博士生导师;中国著名的空间整合设计师、艺术家;同时担任ICAA国际艺术创意联盟执委会主席、中国美术家协会环境设计艺委会副主任;并兼任纽约室内设计学院、罗马圣拉斐尔大学建筑与设计学院、中国美术学院、广州美术学院等院校的客座教授,同时兼任西安美术学院博士生导师。

  黄建成曾担任2005日本爱知世博会中国馆艺术总监、总设计师,2010上海世博会中国国家馆设计总监;2015、2016、2017、2018年度中国文化部“欢乐春节•艺术中国汇”纽约主题活动总设计。

  黄建成的作品曾参加多次国家级和国际性美展和设计展,获多项重要奖项;2014年《场域•黄建成设计》艺术展曾分别在中央美术学院美术馆、广州美术学院美术馆及上海新新美术馆成功举办;2015年《数字时代的仿像•黄建成艺术展》在德国宝马展示中心成功展出。

  学术主持介绍

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  范迪安
全国政协委员、中国美术家协会主席、中央美术学院院长、中央文史研究馆馆员。

  策展人介绍

  Vittorio Urbani,活跃的当代艺术独立策展人,Nuova
Icona文化艺术机构创办人,多次在威尼斯双年展上和其他重要展览策划展览项目。

  策展人文章

《Mechanical Manuscript 机械手稿》

  In a conversation I had with artist Huang Jiancheng he quoted
Chinese artist Xu Bing, who once said,where life is, there will be
problems; where there are problems, there will be art. It is an
important statement which unveils Jiancheng’s point of view. He
scrutinizes the boundaries between the individual and the outer world
that make History and believes that our perception and comprehension of
history is based on a certain degree of misunderstanding. So what is
reality?

  在我与艺术家黄建成的一次交谈中,他提到了中国艺术家徐冰的观点,你生活在哪,就面对哪的问题,有问题就有艺术。这句重要的话也表达了黄建成对艺术的观点。个人与外界之间的界限创造了历史,而黄建成通过对这种界限的审视,认为我们对历史的感知和理解是建立在一定程度的误解之上。那么,什么才是真实?

  The artist wishes that his visual language will be able to connect
objective reality with his way of thinking; he is interested in the
concepts of control, misreading, truth, leaving traces and borrowing.
These are all key words that make up the field of his creation.

  黄建成希望他的视觉语言能将客观现实与自己的思维方式联结在一起;同时,他对控制、误读、真理、留痕和借用等概念颇感兴趣。这些概念都是构成他创作领域的关键要素。

  Art is a form of language. For millennia, human beings have embarked
in the most difficult of tasks, that of making each other be understood.
Art is often literally a form of language as it is traditionally
intended: just think about contemporary street graffiti or calligraphy.
But its power of communication is deeper and subtler. It is the
metaphorical content that counts. Metaphor is not always evident and
sometimes in great artworks it functions as a hidden power plant. But
even when the meaning is not evident, good art always raises reactions,
stimulates emotions. You will not feel indifferent in its presence but
this does not automatically mean that you will have understood
everything.

  艺术是一种语言形式。数千年以来,人类一直都在解决最棘手的难题,即人与人之间的相互理解。从字面上看,艺术通常是传统所期望的一种语言形式,想想当代街头涂鸦或书法。但艺术的传播力更深刻,也更微妙。艺术中重要的是隐喻内容。然而,隐喻并非总是显而易见。有时,在伟大的艺术作品中,隐喻就像是隐蔽的动力装置。但是,即使含义不明,优秀的艺术作品也总能引发回应、激发情感。你会对它的存在而动容,但这并不意味着你已透彻地理解了它。

  With a strong professional engagement in space design, linked to
architecture,interior and visual design, Huang Jiancheng maintains a
strong interest in the artistic and artisanal traditions of China.
Craftsmanship and design share a strong rational link with practicality,
that is with function. The idea is meant to serve a function. In good
design, Function commands Form.

  黄建成主要从事专业空间设计,涉足建筑、室内、视觉等的相关创作,对中国的艺术和传统手工艺。手工艺和设计与实用性,即功能有着深刻而合理的关联性。手工艺和设计的目的就是发挥功能。在优秀的设计中,功能是凌驾于形式之上的。

  An artwork, instead, only follows the rule of its inner coherence:
the meaning of the work should adhere to its exterior aspect or form.
Prof. Jiancheng makes use of computer – generated mechanical images as a
tool he “inherited” from his profession of designer. And the computer –
generated mechanical lines in the work for Venice, following the rules
set by the artist, maintain their own logic, as that of streets drawn on
a map, which follow coherently the orographic lines of the land.

  相反,艺术品只遵循内在一致规则,即作品的意义应与外在表现或形式一致。黄建成教授将机械生成的图像作为一种源自设计师专业的工具。在为威尼斯展览创作的作品中,用机械画出的线条既符合他设定的规则,又保持了自己的逻辑性,就像地图中的街道线条,始终与地形线保持一致。

  Or like the logic that controls the position of branches on a tree.
We are used to considering the shapes of trees as harmonious, in
particular when they are without leaves. But why do branches grow at
regular distances, do not sprout all on one side, or almost never grow
longer than others? A sector of Botany called Phyllotaxis studies the
logic according to which leaves and branches grow at regular distances
from each other and discovered that such «behaviour» follows
mathematical rules. The main reason is to allow each leaf to grow
sufficiently apart from its neighbours so that it can gain the best
possible exposure to the sun. This reveals to us that the plant’s main
need in order to grow is to seek the best possible energetic balance.
This need conditions what we see in a tree: the reason of its shape
(which allows us to tell a lime from a poplar or a cypress), and its
Harmony … which we perceive as Beauty.

  又甚或像决定树枝生长位置的逻辑一样,我们通常认为树木的形状是协调、统一的,尤其是没有叶子的时候。但为什么树枝的生长距离总是固定的,而不是全部从一侧长出新芽,或者为何每一根树枝几乎同样长呢?植物学中有一个分支叫做叶序学,它研究的是树叶和树枝固定间隔生长逻辑,其发现这种“生长行为”遵循的是数学规则。背后的主要原因是要让每片叶子足够远离邻近的树叶,以确保最大程度地吸收阳光。这揭示了一个道理,即植物生长的主要需求是寻求最佳的能量平衡。要获得最佳能量平衡,树木需满足一定的条件,这也是树木生长形状(我们由此可分辨出菩提树、杨树和柏树)与协调外形的原因,也就是我们所感知的美感。

  In design and also – more subtly – in the artistic field, there are
no problems of energy production, but there is the need for a reason to
exist. An underlying motivation gives life to the work, it is its
necessity. A good artwork, AND a good product of design, need to have a
meaning. The success of the artwork or of the design product comes from
the coherence between the visible form and its inner reason.

  在设计领域和更为微妙的艺术领域,不存在能量生产问题,而更需要的是存在的理由。潜在动机赋予了作品生命,是作品存在的必然性。优秀的艺术作品和设计产品都需要有内涵。艺术作品或设计产品之所以获得成功是因为外在形式与内在动机达成了统一。

  Or sometimes, paradoxically, from the contrast between form and
reason. The ensuing coherence results in harmony, the contrast in
energy. Abstraction, symbolism and imagination are intellectual
mechanisms that the artist himself considers important in the production
of artworks.

  或者有时,形式与动机之间形成的反差也能造就一个成功的作品。统一所产生的一致性实现了协调,而反差则孕育出能量。黄建成认为,抽象、象征和想象是艺术创作中重要的脑力机制。

  I asked the artist about his relationship with flowers. Smilingly he
answered that he finds that flowers are relatively complete visual
symbols, and recalled that, when young, he worked for a product factory.
One of his job was to paint floral patterns on the products. A way to
interpret his work is therefore linked to the plant world.

  当我问及他与花之间的关系时,他微笑着答道,他发现花是相对完整的视觉符号,并忆起年轻时曾在设计一线的工作经历。当时,他的工作内容之一就是进行花卉图案的创作。因此,解读他作品的一种方式就与植物进行关联。

  We have talked about the rules that determine the position of
branches on trees and of how roads on a map are drawn in order to test
the flowing of lines in Huang Jiancheng’s work. We want to, so to say,
test if it has its own phyllotaxis. His work is made not only of
sweeping harmonious lines, such as those of a grass field swept by wind
or of a spring abundant with waters, but also of bolder, harsher, more
broken ones. These lines recall the traditional way of drawing
landscapes according to the antique Chinese painting style: steep
mountains and hills disappearing in the mist are perforated by grottoes
and running waters, tired old scholars on horseback and farmers burdened
with heavy encumbrances wander on narrow streets. The landscape thus
becomes the theatre of human fragility and of the futility of our
pursuits.

  我们探讨了决定树枝生长位置的规则,以及如何绘制地图上的道路,以此理解黄建成作品中线条的流动性。或者说,我们想知道他的作品是否也有自己的“叶序”。黄建成的作品不仅有风吹草地、溶溶泉水等流动、和谐的线条,也有更加硬朗、更加支离破碎的粗线条。这些线条让人回想起中国古代传统山水画的绘画方式:陡峭的山脉隐于雾霭之中,石洞和流水贯穿其间,疲惫的老朽才骑在马上,挑着重担的农民则在窄道上慢行。通过这种景象,反映出人的脆弱和求而不得后的徒劳。

  The human figure is pictured small, fragile, burdened with
preoccupation and tiredness from daily work, cursed by the weather
which, hot or cold, is always harsh. Sometimes the little men look
ridiculous in their inadequacy and disproportionate in comparison to the
majesty of the mountains. In the study of a high- ranking Chinese
officer, on his desk, you would often have found a gongshi – or scholar
rock – a natural stone whose interesting and various shapes make it look
like a miniature mountain or landscape. Through a simple trick of
inverted proportions, a gongshi encourages us to reflect on the
relationship between Man and the World, which is immense and indifferent
to human destiny. A good gongshi is a ready-made ante litteram. Even if
it is a three dimensional object, it is not a sculpture, but it is
eventually a substitute for painting, because alone it is able to evoke
whole natural landscapes and the emotions aroused by them.

  画中的人物重担于身,矮小而又脆弱,专注却又疲惫不堪,常因酷热或极寒而备受折磨。有时,这些矮小的人物与雄伟的山脉相比,是那么的微不足道,甚至有些可笑。在研究中国古代高官时,可以发现,官员的案几上常放有一块供石,即观赏石。这是一种天然石头,其造型别致且形状各异,看起来就像一座小山体或微型景观。借由简单的反比技巧,供石激发了我们思考人与世界的关系,这种关系无处不在,却又与人的命运毫无关系。一块完美的供石是大自然浑然天成的作品。即使供石是三维物体,它也不属于雕塑。但是,它最终却能成为油墨画的替代品,这是因为它能唤起人们脑海中的自然景象,激发人们的情感。

  And it is landscape–the lyric expanse of plants, flowers, waters,
wind, the succession of light and darkness during day and night–is the
ideal scene in which the wide forms drawn by the lines of Huang
Jiancheng’s work are set.

  同时,供石也是一种景观,是花草、树木、水、风和日夜光影交替构成的抒情空间,也是承载黄建成作品中线条所勾勒出各种形式的理想意向。

  Another way to interpret his work is the secret but continuous
exchange of proportions from landscape to interiors and vice versa. And
in fact in his own words: “I am engaged especially in space design”,
which is, so to say, to draw landscapes for interiors.

  黄建成作品的另一种解读方法是,以隐秘的方式在山水景观与室内场景之间不断切换。事实上,就像黄建成自己所说的那样:“我所做的尤以空间设计为主”,也就是为室内空间“绘制”风景。

  Calligraphy is another important point of reference for his work as
an artist. His art can be compared to an abstract form of calligraphy.
The artist considers his work, interestingly, as “the shadow of
calligraphy” or the ghost of it, as I may suggest. As a youth he
practiced calligraphy. This technique is the most abstract form of art
in Oriental culture. Calligraphy is of course first and foremost a form
of language “concise to the extreme” (in Huang Jiancheng’s words).

  书法是解读黄建成艺术作品的另一种重要参考方式。他的艺术可以比作书法的一种抽象形式。有趣的是,黄建成认为自己的作品是“书法的影子”,或者在我看来,是“书法的幽灵”。年轻时他曾练习过书法。书法在东方文化中是最为抽象的一种艺术形式。当然,以黄建成的话说,书法首先是一种“简练到极致”的语言形式。

  Let us now come to the title of the exhibition for Venice:
Mechanical Manuscript. It bears an interesting contradiction between the
idea of a handmade text and that of the mechanical production of it. How
could this not be an interesting paradox? Computerized programs allow to
set “rules” for the production of whatever text or image. The manuscript
part refers to the translation of the artist’s thinking through a
mechanical reproduction. The text/drawing resulting from this process
“has the mobility and fluidity of the continuous transformation of human
sensitivity and rationality”. (Huang Jiancheng)

  现在,让我们来谈谈威尼斯展览的主题——机械手稿。该主题表现了可控的手稿创作与不可控的机械方式在理念上的反差,这难道不是一个十分有趣的悖论吗?利用计算机程序,我们可以实现任何机械创作的文本或图像的“规则”,而“手稿”则是通过艺术家的手工温度,表达艺术家的思想。由此创作出的文字/图画“具有人类感性和理性不断转换的流动性”黄建成如此说道。

  I asked Jiancheng how he sees the relationship between his work as
an industrial designer and his free artistic creation. He answered: “I
have nearly thirty years of design experience. In my opinion design is
one way to solve social problems. Design is functional, usable and
object-oriented. Art, on the other hand, presents problems to solve, it
is a way to influence others through concepts, that is to change the
logic behind the appearance of things”. He also added: “I hope that
through my artistic creation I will be able to convey perspectives and
viewpoints that will help people from different cultures, regions and
backgrounds to perceive a common way of thinking and develop an
understanding of human beings that lead to integration.” Contribution to
the growth of positive social and cultural values is the reason of Huang
Jiancheng’s art, and at the same time the warranty of its authenticity
and necessity.

  当我问黄建成,作为一名独立设计师,如何看待自身作品与自由艺术创作之间的关系时,他回答说:“我拥有近三十年的设计经验。在我看来,设计是解决社会问题的一种方式。设计讲究功能性、可用性和目标性,而艺术,从另一方面来讲,呈现的是需要解决的问题,它是一种通过概念影响他人的方式,即改变事物表象背后的逻辑。”他又补充道:“我希望通过自身的艺术创作,传达出一些观点,帮助来自不同文化、地区和背景的人们认识到共同的思维方式,提高人们对人类自身的理解,从而走向融合。”黄建成进行艺术创作的动机是发扬积极的社会和文化价值观,同时保证作品的真实性和必要性。

  展览组织架构

  主办单位:中央美术学院、ICAA国际艺术创意联盟

  承办机构:中央美术学院城市设计学院、Museo
Diocesano威尼斯主教博物馆、广东玉兰集美合作支持

  合作机构:广东玉兰集团

  协作机构:We Exhibit Srl、中远运输

  学术主持:范迪安

  策展人:Vittorio Urbani

  艺术家:黄建成

  展览时间

  2019.3.20 – 2019.4.17

  展览地点

  意大利威尼斯主教博物馆

  Museo Diocesano – Salone Ss. Filioop e Giacomo,Castello
4312,Venice,Italy

  部分作品

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展览海报

”消解与重构”一趟人类学的景观笔记 – 邓国豪个人作品展海报

现·场——吕山川个展REPRESENTING THE SQUARE—— Lv Shanchuan Solo
Exhibition

由澳门全艺社主办的展览「”消解与重构”一趟人类学的景观笔记 –
邓国豪个人作品展」于11月16日(星期五)在澳门全艺社盛大开幕。许多来自文化艺术界人士以及媒体均到场支持,包括澳门博物馆馆长吕志鹏先生、澳门大学社会学系副教授彼得托马斯博士、东方基金会驻澳代表高碧岚女士、澳门创意空间总监LúciaLemos女士等,以及一众本地艺术家及文化界人士。

策展人:唐克扬|Curator:Tang Keyang开幕 | Opening:16:00
Oct.8,2011展览日期 | Exhibiting Time:2011/10/08 -10/30地点 |
Venue:空间站Space Station 北京市朝阳区酒仙桥路4号798艺术区中一街T: +86
10 59789671 W: www.space-station-art.com

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“现·场”——吕山川个展

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空间站将于2011年10月08日举办
“现·场”——吕山川个展。这是参加过2009年上海双年展的吕山川的第三次个展,展出艺术家近2年创作的“广场系列”的大型绘画作品。曾任威尼斯建筑双年展国家馆策展人的唐克扬先生担任此次展览的策展人,从建筑历史的角度对艺术家的作品做出阐释。三周的展期内,将每周更换一张艺术家作品,展示此一系列中的不同作品,同时还将展示一些相关建筑文献图像的背景资料。

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初次面对吕山川的《广场》有一种”自动”的心理应激。海涛般的人浪席卷过巨大的广场,为我们带来了更强的视觉震撼,并将我们的眼光导向深入的细节。这些建筑的周遭在各个历史时期有着全然不同的面貌,它们构成了二十世纪逐渐被稀释的空间的演化史。吕山川创作这样的画或许基于一种自我矛盾的现象:一方面所有的“输入”都来自现实,另一方面,这些“现实”却有着自我取消的倾向。

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吕山川过去生涯中对于新闻”事件”的兴趣,以相似的手法和”广场”系列不谋而合。对他而言,报纸上那些日常生活中的语词一方面自然组成一种”意义的拼图”,同时它们的形态和涵义之间又是种彼此竞争的关系──具体地说来,就是构成意义的元素越多,它们表面的多样性越纷繁,当它们被转置于一个中性的情境中时,这些元素向反面转化的可能也就越大。2005年他在德国的一段生活更戏剧化地凸显了这种矛盾,也构成了一个中国人对于欧洲政治历史的独特视角:在海外艺术家不得不依赖于报纸获得新闻资讯,而且在那里只有有限的一些中文报纸。对他而言,类似于”超女”这样使人眼花缭乱的新词汇兼具陌生感和亲切感,他不理解它们的意义,但是亲切的是它们独立成立而合在一起又缺乏意义的形象。油画语言的表现性和物质性,使它产生出了一种不真实的确凿,”某种属于视觉上的现场感”。

展览开幕式现场

他的”广场”系列以同样的方式重复了”事件”的悖谬。在其中艺术家意识到了一种结构与个体,表达与表现之间深层的矛盾。就像贡布里希在《艺术与幻觉》里多次提到过的那样,把事物的“高光“和它的物理“本性”一笔绘出的粗放笔法,不仅仅是令人信服地描绘了“真实”,也同时遮没了它,因为在总体的印象里,你实际上辨别不出构成意义基础的真正的个体。

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开幕当天剪彩仪式

广场—香港 600cm x 250 cmSquare—Hong Kong 600cm x 250 cm

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嘉宾与艺术家们合照

广场—柏林 500cm x 300cmSquare—Berlin 500cm x 300cm

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MEDIA RELEASE REPRESENTING THE SQUARELv Shanchuan solo exhibition

艺术家邓国豪

REPRESENTING THE SQUARE— Space Station will present Square Series, Lv
Shanchuan’s recent oil paintings, on October 8th, 2011. This is going to
be the third solo show of the artist, who has participated in the 2009
Shanghai Biennale. Tang Keyang, the curator of 2010 Venice Architectural
Biennale, collaborates with the artist for an in-depth interpretation of
his works. In the three-week exhibition, content of the show will be
weekly rotated with different works in the same series and Space Station
will also exhibit some contextual materials including relevant documents
and images.

邓国豪,1989年于澳门出生,摄影团体-《方言社》创办人之一,毕业于澳门大学社会学学系。创作以摄影为主,至今已参加过五十馀次本地及海内外艺术展览,创作主题围绕于城市、时间、记忆及地域文化等,透过都市中的人造景观去寻找都市人与自然中对景观及存在的连结和意义。作品被澳门大学、澳门东方基金会、澳门创意空间、澳门艺术博物馆、葡萄牙PLMJ基金会、海外及本地收藏家收藏。而其摄影集《Line
连》在德国国家设计奬及美国Graphis设计奬中均有优异及金奬的成绩,目前该书正收藏于巴黎庞毕度中心、马德里的索菲亚皇后艺术中心、葡萄牙古尔本基安美术馆的图书馆等。艺术家是次展览为自己展览命名:“消解与重构”一趟人类学的景观笔记——一本可以试错的笔记,一趟时有迂回的旅途;解构,为了再结构。

People will respond to Lv’s Berlin Square with immediate amaze. The
crowd roll over a large square, covering the attraction of numerous
buildings which bring our eyes a stronger shock and lead us into further
visual details. Scenarios emerged around these buildings made different
faces for the Square over a long history. This history is about an
evolution of the public space with their dilute meaning in the 20th
century. Interestingly, Lv might be self-contradictory while painting
works like these: on one hand, all inputs come directly from reality. On
the other hand, the reality as depicted tends to be self-defying.

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The artist’s passion for visualizing “events” in his earlier works
corresponds with his “Square” series in many aspects. For him, the daily
words on newspapers compose some kind of “Puzzles of Senses” because
there is a competition between its form and norm. In details, the more
blocks one “Puzzle of Senses” has, the more diversity it gets. When they
are transplanted into a neutral yet alien context, the original
implication will be readily turned upside down. In 2005, the artist had
lived in Germany for some while. And this foreign experience gave a
vivid presentation of “Puzzle of Senses.” It also enables the Chinese
artist to cut an unique slice into the Western history and politics.
During his German days Lv had to rely on a few local Chinese newspapers
for updates. For him, fresh new-generation jargons like “Super Girls’
Voice” were both strange and tangible. These self-containing words could
register to an equally self-containing image that was immediately
recognizable, though they also felt distanced for their lack of precise
meanings. While there are no legible faces and signs, the strong
materiality that oil paint embodies endows Lv’s work with a surrealist
feel as if you were “at the scene.” (In Chinese the phrase “at the
scene” also literally means “representing the Square” )

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In a similar way, his “square” series repeat the “event” series,
visualizing an “event” simultaneously in its visual and semiotic
context. By doing so, the artist is fully aware of a deep contradiction
between structure and individual, representation and presentation. As
repeatedly mentioned by E. H. Gombrich, a seemingly cursive stroke is
composed of both the physical “nature” of a thing and its highlight.
With the masterpiece of Renaissance artists, the deliberate optical
illusion both convincingly depicts the “truth” and places it under
shadows. That is because you can only come to the “truth” in a general
yet total impression but could never not tell which is the real
“individual” – as the acclaimed basis for the “whole” meaning.

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空间站 | Space Station T: +86 10 59789671 W: www.space-station-art.com
E: spacestationart@163.com info@space-station-art.com 地点:空间站
北京市朝阳区酒仙桥路4号798艺术区中一街Venue: Space Station,NO.4
Jiuxianqiao Rd,798 Art District,Beijing 100015

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展览现场

附展览前言:

我们从三方面切入邓国豪的创作:作为「自我」之方法的人类学;以日常物的「景观化」为策略对抗「景观社会」;非审美的、隐微写作的隐喻之发生动机。

一。

福斯特在《作为民族志作者的艺术家》指出,人类学方法、文献类型的当代艺术家往往在强调创作客观性的同时,陷入「现实主义」的「神话」,或无意识地只是在建构自身世界内部角色的「他者」。

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邓国豪《#笔记 机械团结》15.2 x 10.1 cm,版次 5, 艺术微喷,2016

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邓国豪《#笔记 平均分佈》60 x 40 cm,版次5, 艺术微喷,2017

作为一个社会学知识背景的艺术家,国豪则反过来自觉地以「田野方法」来重塑自我。「问卷调查」式地以某一主题拍摄不同场景的图像,或围绕某一物件区域拍摄其不同层面——其间并不涉及主观意图的先行置入。以客观、近乎外在的方法来悬搁主观,以模式化重複拍摄过程的强制性使自己对作品的控制欲失效,从而让最不可避免的、最深处的自我以残馀的方式被揭示。

以严谨的实证方法步骤为名的《练习:陈述-分类-预设-模型-例证》系列,在拍摄过后再行反身观照,再以组合为方式二次赋予意义的过程中,却发见了刻意设置的寓言式联想解读的空间。

二。

所谓“景观”,原指消费社会割裂现成生活的真实,把人群的目光和意识引导到欺骗性的庞大幻觉。国豪重新界定「景观」的概念:不被注视的日常物被称为「景观」,或通过影像的形式语言成为凝视的中心,或通过疏离化的新视角而使其习焉不察的无意义焕发出不确定的新意味……

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邓国豪《#笔记 平均分佈》100 x 67 cm,版次 5, 艺术微喷,2018

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邓国豪《#笔记 栖息地》80 x 53 cm, 艺术微喷, 版次:5, 2017

举作品个案为例:

作为历史-文化代表性场域中间立著的寻常物,以特定构图产生仪式核心的观感……

人工的蓄水塘通过反射化身为自然的蓝天,而蓝天又倒过来显得像场景中的人为景观……

对调大面积彩钢防护栏、建筑工棚和周边小株植物在画面中的面积,构图引发其在大片植物之中的错觉……

延续这一思路的作品《对象.漂浮物》组图,国豪自述「漂浮物」是一件尺寸可变的客体,把城市这个巨大的变量想像成一个海洋,而漂浮物则是它当中的观察标的物,从而去度量他的「城市」。

三。

我们知道,讽喻是一种委婉地借此言彼的方式,不可做一种象徵寓义的解读。国豪的美妙隐喻源于他消解了背景资讯的文字说明。这种隐喻的发生动机并非审美、抒情,也可能是自我审视后的隐微写作……展现一种相顾而曲言的方式本身同样是艺术。

延续这一思路的《笔记》系列中,国豪诙谐地使用涂尔干的术语,把机械地运用握手符号的公共雕塑起名作《有机团结》,而通过「景观化」重拾中心位置的遮阳伞却反而是《机械团结》;《追寻象徵》在人类学中可以指找寻普世性的文化深层结构,也可指找寻特定文化系统里的意识形态,但在国豪这里,也有可能是意指当下社会的「象徵缺失症」:一个词只能对应一个物,具有丰富内涵的象徵失效了,笔记作者知不可而强为地黾勉……

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邓国豪《#笔记 有机团结​》60 x 40 cm, 艺术微喷, 版次:5, 2016

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邓国豪《#练习 陈述-分类-预设-模型-例证04》28 x 40 cmx2, 版次 5,
艺术微喷,2018

是以,国豪为自己展览命名:一本可以试错的笔记,一趟时有迂回的旅途;解构,为了再结构。

Written by雷徕

This preface explores into Tang Kuok Hou’s works from three aspects:
anthropology as a method of “self”; confronting the “sight-seeing
society” by rendering everyday objects into “landscape”; the motive of
non-aesthetic and implicit writing metaphors.

1.

In his book “Artists as ethnographer”, Hal Foster pointed out that
contemporary artists who use anthropological methods and documentation
types often fall into the “myth” of “realism” while emphasizing the
objectivity of creation, or they are unconsciously constructing the
notion of “the other” within their own inner world.

As an artist with a sociological knowledge background, Kuok Hou is
reflexively reinventing himself with the “in-the-field method”. The
capturing process of the images takes place as if in a “questionnaire”.
Such as collecting different scenes on a certain theme, or photographing
different aspects around a target area—without prior involvement of
subjective intent. Subjective and mostly external methods are used to
suspend subjectivity, and the mandatory repetition of the patterning
process makes control of the works ineffective, so that the most
inevitable and deepest sense of Self is revealed in a residual way.

The “Exercise: Statement-Classification-Preset-Model-Illustration”
series, which is named after the rigorous empirical method steps, was
reflected in the process of re-composition after the filming,
deliberately setting the space for allegorical association and
interpretation.

2.

The so-called “landscape” originally refers to the reality of the
consumer society’s fragmented ready-made life, guiding the eyes and
consciousness of the crowd to the deceptive gigantic illusion. Kuok Hou
redefines the concept of “landscape”: the everyday objects that are not
watched are called “landscapes”, or become the center of gaze through
the formal language of images, or they are obscured by new perspectives
of alienation. The meaning is renewed with uncertainty and new
connotation…

Take the case of a work as an example:

As a common object in the middle of the historical-cultural
representative field, the core of the ritual is produced with a specific
composition…

The artificial reservoir pond transforms into a natural blue sky through
reflection, and the blue sky is turned upside down like a manmade
landscape in the scene…

To adjust the area of large-area color steel fences, construction sheds
and surrounding small plants in the picture, the composition triggers
its illusion within a large area of vegetation…

The continuation of this idea, in the composition of “floating objects”,
Kuok Hou’s self-reported “floating object” is a variable-size object,
which creates an imagination of the huge variable of the city as a sea,
while the floating object is under observation among them. It is the
artist’s method to measure his “city.”

3.

We know that allegory is a way of euphemistically using words and
sayings, and we cannot make an interpretation of symbolic meaning out of
it. The wonderful metaphor of Kuok Hou stems from his dispelling of
textual description of the background information. The motive of this
kind of metaphor is not aesthetics, sensation, it is rather an implicit
writing after self-examination… The way in which the meanings are
understood but the words are twisted is also a form of art.

In the “Notes” series that continues this line of thought, Kuok Hou uses
the term of Durkheim wittily to name the public sculpture that uses the
handshake symbol mechanically as “Organic Solidarity”. By being rendered
into “landscapes”, the objects regain the central position. The
umbrellas are named instead as “Mechanical Solidarity”. The work
“Establishing Symbols” can refer to the deep structure of universal
culture in anthropology. It can also refer to the ideology in a
particular cultural system. But in the case of Kuok Hou, it may also be
referred to as a “symbolic deficiency” of the current society: where a
word can only correspond to one thing, the symbol with rich connotation
has lost its validity. And the author knows that it is impossible to be
force the transformation and yet he can only try.

Therefore, Kuok Hou named his own exhibition as a note that can be a
trial where mistakes are allowed. It is a trip within a trip;
deconstruction, in order to re-structure.

Translated by Alice Kok