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”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由澳门全艺社主办的展览「”消解与重构”

”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

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。

展览开幕式现场

开幕当天剪彩仪式

嘉宾与艺术家们合照

艺术家邓国豪

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。

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」。

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

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……

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

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……

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

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

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