《诺亚花园II》

车建全 /

地图

在《诺亚花园II》专门为新加坡双年展创作的版本中，邓国源特别引入了“地图”的理念，世界上最早的地图是被用作保护领地的祈祷书，护佑和平与坚固。《诺亚花园II》借用了这个概念，从这些最早的石壁和泥板印记中，拓展出为世界祈愿的美好愿景，成为和具有警示意味的主题相呼应的隐性线索。

不同的颜色象征着整个世界地貌中的不同区域和国度，艺术家特意将色彩的鲜艳度纯度推向极致，令情境充满波普和时尚的热力，通过让感官在色彩中无限膨胀的方式，增强镜像的冲击力。

点

作品中的点状元素的运用取自公元前6000年新石器时代地图壁画的主要表达手段，这些具有绘画性的点状与象征地域轮廓的线条交相辉映，成为贯穿石头和植物的主要语言线索，同时艺术家也借用了中国传统瓷瓶中的花园图式和吉祥纹样，进一步加强在地图构成的云图中为世界祈祷的美好期待。

色彩

色彩是感受作品的关键。《诺亚花园II》的颜色选择本身具有特殊的文化意义，它的灵感来自地球分区的图表颜色启示，海洋、沙漠、山脉、森林、草地以及行政区划的特殊色彩引发了艺术家对色彩的联想，他将色彩转化为象征性的元素，并将这种象征性实施于山石和园中植物，并打破了地图色标的原有功能，它象征了太平洋、大西洋、欧亚大陆和非洲大陆，也打破了这种识别功能，它象征了整个世界以及世界的丰富性，也象征了世界的包容性，象征了中国与世界的融合性。因此，艺术家打破了色彩配置的位置和关系，更加强调了融合的意义。毫无疑问，作品被赋予了更高的文化意义，那就是融合，它既有中国与世界的所指，更包含了世界各种冲突与与矛盾的能指，色彩成为作品中最活跃的指向。

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.

邓国源 诺亚花园II（局部5）Deng Guoyuan, Noah’s Garden II （detail 5）

邓国源 诺亚花园II（局部6）Deng Guoyuan, Noah’s Garden II （detail 6）

邓国源 诺亚花园II（局部7）Deng Guoyuan, Noah’s Garden II （detail 7）

邓国源 诺亚花园II（局部8）Deng Guoyuan, Noah’s Garden II （detail 8）

路径

单一的引导性路径在之前的《诺亚花园》中具有在环抱性空间中游园的意味，伴随观者的进入，徐徐转动的反光镜面在有限的空间中制造出无限延伸和变化的空间，在《诺亚花园II》中环抱式的空间变成两个，以单色和多色区分的两个既独立又互补的空间，单一的园游路径在乘以2之后，变得更加复杂，它意味着观者将有更多意料之外的视觉遭遇。

多重镜像

多种元素的交织与植入让《诺亚花园II》呈现出更为复杂的镜像结构，从单色石头和植物到多色石头和植物，到地图元素的分布植入，到艺术家表达的多层次文化含义，全部交织在不断转动构成的多重镜像之中，它们交织，重叠，一扇门后打开另一扇门，迎面而来的是无限延伸的复杂景象，正面、背面、头顶和脚下，就像一个万花筒打开一个没有开始也没有尽头的世界，或者说它是一件需要亲身进入亲身经历的VR空间，带你进入身在其间的魔域视界。

真实与虚幻

此次艺术家特别为展览做出关键性调整，即把原有空间中梅、兰、竹、菊、松等自然植物替换成了精心制作的假植物，这些假松假竹被炫目的色彩描绘包裹后，形成亦真亦幻的梦幻效果，进一步混淆了真实与虚幻的边界，构成了一个无限延伸无限反射的超现实魔幻世界。

借此，艺术家提出真实与非真实的关系命题，它涉及现象与本质的思考，现象的包裹遮蔽了本质的含义，生命体被逼真的复制品代替，替代品独立存在，并被赋予超现实的酷炫颜色，以至于让人忽略甚至忘记被替代之物的本相。

车建全：广州美术学院教授

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.