車建全 /

地圖

在《諾亞花園II》專門為新加坡雙年展創(chuàng)作的版本中，鄧國源特別引入了“地圖”的理念，世界上最早的地圖是被用作保護(hù)領(lǐng)地的祈禱書，護(hù)佑和平與堅固。《諾亞花園II》借用了這個概念，從這些最早的石壁和泥板印記中，拓展出為世界祈愿的美好愿景，成為和具有警示意味的主題相呼應(yīng)的隱性線索。

不同的顏色象征著整個世界地貌中的不同區(qū)域和國度，藝術(shù)家特意將色彩的鮮艷度純度推向極致，令情境充滿波普和時尚的熱力，通過讓感官在色彩中無限膨脹的方式，增強鏡像的沖擊力。

點

作品中的點狀元素的運用取自公元前6000年新石器時代地圖壁畫的主要表達(dá)手段，這些具有繪畫性的點狀與象征地域輪廓的線條交相輝映，成為貫穿石頭和植物的主要語言線索，同時藝術(shù)家也借用了中國傳統(tǒng)瓷瓶中的花園圖式和吉祥紋樣，進(jìn)一步加強在地圖構(gòu)成的云圖中為世界祈禱的美好期待。

色彩

色彩是感受作品的關(guān)鍵?！吨Z亞花園II》的顏色選擇本身具有特殊的文化意義，它的靈感來自地球分區(qū)的圖表顏色啟示，海洋、沙漠、山脈、森林、草地以及行政區(qū)劃的特殊色彩引發(fā)了藝術(shù)家對色彩的聯(lián)想，他將色彩轉(zhuǎn)化為象征性的元素，并將這種象征性實施于山石和園中植物，并打破了地圖色標(biāo)的原有功能，它象征了太平洋、大西洋、歐亞大陸和非洲大陸，也打破了這種識別功能，它象征了整個世界以及世界的豐富性，也象征了世界的包容性，象征了中國與世界的融合性。因此，藝術(shù)家打破了色彩配置的位置和關(guān)系，更加強調(diào)了融合的意義。毫無疑問，作品被賦予了更高的文化意義，那就是融合，它既有中國與世界的所指，更包含了世界各種沖突與與矛盾的能指，色彩成為作品中最活躍的指向。

Map

This version of Noah’s Garden II is specially created for this time’s Singapore Biennale by Deng Guoyuan, in which the concept of map is particularly planted into the work by the artist. The very fi rst map was used as a prayer book to protect the territory and maintain peace and fi rmness. The work Noah’s Garden II borrowed this concept and, from these original rocks and clay tablets, expanded it to a great vision of praying for the world and turned into the hidden clues which echoed the theme of warning.

Different colours symbolize different landscape, territory and country. The artist particularly pushes colour brightness and purity to excel and make the scenario be fi lled with heat of Pop art and fashion.Through expanding people’s sense organ in colour indef i nitely, the work enhances impact force of mirror image.

Points

The idea of using dot elements in this work is inspired from the Map murals in the neolithic age in 6000 BC. These points with painting quality merged with lines which represent geographic prof i le and became main language clue through the rocks and plants. In the meanwhile, the artist also borrowed auspicious patterns on classical Chinese porcelain,and further strengthened good expectation for world peace in the cloud picture made up of maps.

Colour

Colour is the crucial part of feeling this exhibition. The selection of colour in Noah’s Garden II has its specific cultural meaning. It is inspired from different colour of partitions of world. The specif i c colours of ocean, desert, mountain, forest, grassland and administrative division stimulate the artist’s association about colour. He converts colour into symbolic element and puts this symbolic meaning into effect towards rocks and plants in the garden. He breaks the original functions of color code on map, which represents the Pacific Ocean, the Atlantic, the Eurasia and the African continent. It also breaks the recognition function,which represents the richness and containment of the world, and the integration between the world and China as well. Therefore, the artist shatters the location and relation of color conf i guration and enhances the meaning of fusion. There is no doubt that, this work is endowed with higher level of cultural signif i cance, that is, fusion. It includes not only the signif i ed of China and world, but also the signif i ers of all kinds of conflict and contradiction in current society. Color becomes the most active part in terms of orientation in this work.

鄧國源 諾亞花園II（局部5）Deng Guoyuan, Noah’s Garden II （detail 5）

鄧國源 諾亞花園II（局部6）Deng Guoyuan, Noah’s Garden II （detail 6）

鄧國源 諾亞花園II（局部7）Deng Guoyuan, Noah’s Garden II （detail 7）

鄧國源 諾亞花園II（局部8）Deng Guoyuan, Noah’s Garden II （detail 8）

路徑

單一的引導(dǎo)性路徑在之前的《諾亞花園》中具有在環(huán)抱性空間中游園的意味，伴隨觀者的進(jìn)入，徐徐轉(zhuǎn)動的反光鏡面在有限的空間中制造出無限延伸和變化的空間，在《諾亞花園II》中環(huán)抱式的空間變成兩個，以單色和多色區(qū)分的兩個既獨立又互補的空間，單一的園游路徑在乘以2之后，變得更加復(fù)雜，它意味著觀者將有更多意料之外的視覺遭遇。

多重鏡像

多種元素的交織與植入讓《諾亞花園II》呈現(xiàn)出更為復(fù)雜的鏡像結(jié)構(gòu)，從單色石頭和植物到多色石頭和植物，到地圖元素的分布植入，到藝術(shù)家表達(dá)的多層次文化含義，全部交織在不斷轉(zhuǎn)動構(gòu)成的多重鏡像之中，它們交織，重疊，一扇門后打開另一扇門，迎面而來的是無限延伸的復(fù)雜景象，正面、背面、頭頂和腳下，就像一個萬花筒打開一個沒有開始也沒有盡頭的世界，或者說它是一件需要親身進(jìn)入親身經(jīng)歷的VR空間，帶你進(jìn)入身在其間的魔域視界。

真實與虛幻

此次藝術(shù)家特別為展覽做出關(guān)鍵性調(diào)整，即把原有空間中梅、蘭、竹、菊、松等自然植物替換成了精心制作的假植物，這些假松假竹被炫目的色彩描繪包裹后，形成亦真亦幻的夢幻效果，進(jìn)一步混淆了真實與虛幻的邊界，構(gòu)成了一個無限延伸無限反射的超現(xiàn)實魔幻世界。

借此，藝術(shù)家提出真實與非真實的關(guān)系命題，它涉及現(xiàn)象與本質(zhì)的思考，現(xiàn)象的包裹遮蔽了本質(zhì)的含義，生命體被逼真的復(fù)制品代替，替代品獨立存在，并被賦予超現(xiàn)實的酷炫顏色，以至于讓人忽略甚至忘記被替代之物的本相。

車建全：廣州美術(shù)學(xué)院教授

Pathway

The single leading path had an implication of visiting an encircled space in the previous Noah’s Garden work. With the entering of viewers,the slowly rotating ref l ectors created inf i nite extension and changes of space in very limited room. In Noah’s Garden II, the encircled space is turned into two both independent and complementary parts of space,which are differentiated by single color and multi-color. With the previous single touring route being doubled, the maze becomes more complicated, which means that visitors may have more unexpected visual experience.

Multiple Mirror Image

The interlacing and implantatio n of different elements make Noah’s Garden II show an even more complex mirror structure. From monochrome rock and plant to polychrome ones, to the distribution and implantation of map elements, and to multi-level cultural meanings by artist’s expression, they all merge into the rotating multiple image,tangling and overlapping each other. When one door open, people fi nd another one behind. The oncoming and inconceivably extended complex scene, with front, back, head and feet, is just like a kaleidoscope, a world without start or end, or a VR world that you need to step into personally,which will bring you inside a realm of chaos.

Reality and Illusion

This time, the artist made a crucial adju stment by replacing the natural plants, such as plums, orchids, bamboos, chrysanthemums and pines which were normally used in past works, with elaborate fake plants.After being coated with glaring colour, those fake pines and bamboos bring visitors a sort of unreal aesthetic experience. They further confuse the boundary of reality and illusion, building up an in fi nitely extending and re flecting surreal magic world.

The artist has raised the proposition of the real and unreal whereby,which involve the deep thinking in terms of phenomenon and essence.The packaging of phenomenon covers up the essential meaning and the life entity being replaced by the lifelike reproductions. The succedaneum exists independently and it is endowed with surreal cool colour so much as to make people ignore or even forget the original feature of the superseded substance.