洪浩在我的印象中是屬于具有智性品質(zhì)的藝術(shù)家。這種智性品質(zhì)是指體現(xiàn)在他的創(chuàng)作上與中國80年代藝術(shù)家的人文關(guān)懷過于沉重和理性不同，又與當(dāng)下年輕的新新人類的激進(jìn)、偏執(zhí)相異。他的創(chuàng)作并沒有延續(xù)啟蒙傳統(tǒng)的老路上去展開批判，而是趨向于使用后現(xiàn)代主義的方式進(jìn)行戲謔和戲擬，在輕松的戲仿過程中達(dá)到對現(xiàn)實生存的質(zhì)疑與批判。在表現(xiàn)語言的運用上也充分顯示了他的才華和自由把握各種媒介的能力。
在一組以目前中國日常生活密切相關(guān)的日常物件為題材，題為《我的東西》的系列攝影作品中，洪浩特有的藝術(shù)直覺力和他的敏銳的觀察得到了充分的體現(xiàn)。他在物件排列的裝置、轉(zhuǎn)換、重復(fù)之間找到了一個直接呈現(xiàn)的共有空間，仿佛我們生活于其中的物質(zhì)世界是由物件和碎片構(gòu)成的。繁復(fù)地組合混雜一起，強化了對現(xiàn)實生存的節(jié)奏和印象，這種印象背后的一個關(guān)鍵意向是物質(zhì)的消費，而這恰恰是中國當(dāng)下生活的基本狀態(tài)和對物質(zhì)的欲望轉(zhuǎn)化到圖像的真實體現(xiàn)。雖然欲望給我們的生活帶來了表面上的斑斕色彩，但其深處卻充滿了無力之感。其主題思想也集中反思了后現(xiàn)代主義式的消費時尚文化在中國的困境與荒誕性。視覺的張力或諧謔或懷舊或時尚，不同的處理試圖從當(dāng)代生活的紛繁無序中整理出一種超現(xiàn)實的秩序，一種將物質(zhì)的和技術(shù)的語言加以區(qū)分，但同時又讓兩者并置在一起且保持接觸的形式感。
《藏經(jīng)》系列版畫作品是洪浩藝術(shù)創(chuàng)作中的主要代表作之一。“世界政區(qū)新圖”、“世界地貌新圖”是按中國傳統(tǒng)書籍插圖的樣式，其背景是世界的不同區(qū)域，但它卻不是可以按圖索驥地去臻達(dá)某個地理空間，或者說這是一組假借地圖的名義——所謂的以具體地理為背景的世界局勢圖。其創(chuàng)作的觀念方式，按洪浩自己的解釋是：確立一個“偏離了正常秩序的規(guī)則”。即先將文化資訊分解進(jìn)行重新編碼，使其失去在原有的規(guī)范與意義上的習(xí)慣性對應(yīng)，然后再讓這些被重新界定的語義通過重復(fù)加強等手段升值為經(jīng)驗，這樣它們就會象古代經(jīng)卷那樣“道貌岸然”起來。他有意并隨意地將地圖的版式寫真或主觀地夸張、神秘的不可知以及轉(zhuǎn)換的幻象等等拼貼結(jié)合起來，意在調(diào)節(jié)思維的角度和觀看物質(zhì)的眼光。比如“世界地貌新圖”是將世界的海陸互換以及將地圖反向處理。也許正是這些臆想的多元混合導(dǎo)致了結(jié)構(gòu)及觀看的某些復(fù)雜狀況。他瑰奇的想象力使時間和空間、歷史和現(xiàn)在及未來之間出現(xiàn)了一種混雜的關(guān)系?；蛟S他并不想把主題弄得太明白太直露，不想把深刻的觀念變得簡單淺顯。這可以理解為作者的苦心孤詣，也可以視為作者對那些有意改變世界地圖形狀結(jié)構(gòu)中的連接方式的一種挑戰(zhàn)。
在《我所認(rèn)識的Mr．Gnoh》、《Yes，I'm Gnoh》中，洪浩試圖把中國正在興起的消費社會中的虛擬化的生活加以典型化處理，不僅把它們放大，尤其是也將自我的形象化妝、置換到自己營造的場景空間中，以凸現(xiàn)出其中的生動性和荒誕性，來表達(dá)他對當(dāng)下社會生活的深刻關(guān)注。那些時尚的裝飾本身就具有象征的表演性，更為重要的意義在于他用夸張的視覺效果生動的表現(xiàn)出這個時代精神崇拜的荒誕情境，戲謔的場景背后隱含的是對當(dāng)代中國過度膨脹的時尚文化所進(jìn)行的尖銳、嚴(yán)肅的反思。
物質(zhì)的時尚消費對我們來說與其是一個場景，一種欲望，不如說是一種象征和隱喻。藝術(shù)家的敏感、銳利和積淀的獨特而奇異的經(jīng)驗，他的反思和批判精神是值得關(guān)注的，他不僅為時代記錄了精神的和情感的歷史，更在于用一種新的視覺觀念和方式表現(xiàn)了時代的文化特征。我以為這是藝術(shù)家的職責(zé)和一種所謂“現(xiàn)代性”的體現(xiàn)。
Hong Hao is an artist of intelligence in my impression. The intelligence I’m speaking of refers to the difference of his works from the overwhelming humanity of the artists in the 80’s, as well as from the revolutionary spirit and prejudice of contemporary ones. His works do not pursue the old tradition of the enlightenment period to criticize. By using post-modern satirical and mimic means, he questions and criticizes the real life. His talent and the ability to master different forms of media are also showed in his expressing language.
In a series of photos named “My Things” which is based on daily-life objects, Hong Hao expresses his unique artistic intuition and sharp observation. He finds a common space through positioning, transforming and repeating the arrangement of his objects, thus presenting us of a material world made up of small pieces and objects. The complex combination of the materials stresses the impression of the reality life pace, and under this impression is the key intention of material consumption. This is the image representation of China’s actual life situation and desires for materials. Although the desires bring us superficial colorful situation, it is powerless. Furthermore, The main idea of his works also reflects the difficult position and ridiculousness of post-contemporary consumption culture in China. The visual impressing, satirizing, past life remembering, and new life desiring, all those means adopted in his works are trying to find a way to create a surrealistic order out of the chaos of daily life, presenting us with a framework that separates the material and technical languages, but also let them be in contact with each other by arranging them together.
“Selected Scripture” engraving series is one of the main representatives in his works. “New World Political Map” and “New World Physical” are designed in the form of inserted pictures in books as Chinese traditional way. These works are based on the various regions all over the world, but it is unable to reach the places. It is just like a world situation chart with geography background by borrowing the name of the map. The motivation of the creation, according to Hong himself, is to “set up a rule which deviates the original way”, that is to separate the culture information and re-code it in order to re-define language meanings by means of repeatedly strengthening and upgrading to the experiences. In this way, they look like the old scriptures. He deliberately combined the geographical blocks using different styles such as actual description, subjective exaggeration, mysterious unknowing and convertible illusion, and so on. His purpose is to adjust consciousness and the view for materials. For example, in “New World Physical”, he treats the works in a reversing way, that is to exchange the positions of the oceans and the land, thus the abnormal changes lead to the fantasy and the complication of his creation. His extraordinary imagination produced a new relationship between the space, time, history, the present and the future. Probably it is not his motivation to make the theme too obvious and straightforward, nor to make the point of view too simple and superficial. It is a result of the artist’s deep contemplation, and it could also be regarded as the artist’s challenge to those who want to change the connecting forms of the world map structure.
In “Mr. Hong” and “Mr. Gnoh” series, Hong Hao treats typically the subjunctive life of consumption society in China nowadays. He not only amplifies it, but also makes himself up and put his own image on the scene to emphasize its vividness and absurdness. Thus expressed is his deep concern for the current social life. More meaningful is the fact that he presents these ridiculous situations worshiped by current spirit by the way of exaggerative visual effect, and expresses his penetrative and serious reflect concerning China’s current over-expanded fashion culture.
Material fashion consumption is a symbol and metaphor, rather than a kind of scene or a desire. Hong Hao’s own peculiar experience that is sensitive and sharp, should be put into attention, as well as his reflectiveness and critical spirit. He has not only recorded the spiritual and sensational history, but also demonstrated the cultural characteristics of this epoch with a new point of view and way. I think it is the obligation of an artist and also the embodiment of so-called “modernity”.
Feng Boyi is independent curator / editor based in Beijing
【編輯：陳耀杰】
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