ACTING AGAINST ONE KIND OF FATE
對一種宿命的扮演


Part I

One “cock head man” who is wearing armor- somewhat like
the Pleiades, one of the Twentyeight Mansions, only is short of royal crown which star monarch should have, while is added a blast of rustic taste from “grass stage troupe” – he arms akimbo, stands unexpectedly in the interchange between battlements and white marble railing on Meridian Gate. There are Tiananmen Gate Tower, a Square between Tiananmen and the Meridian Gate, and visitors sparsely on the Square, as well as a big round sun somewhat bleak in mist. All of them constitute “his” (or “its”) grand and rather fantasy background.

This piece of photo appears in some absurd, was taken by photographer Chen Nong in 2004~2005, and was included
in his Forbidden City series. This work uses an overlooking perspective, there are two visual focuses on the quadrate picture: battlements, railings, which together with the standing akimbo “cock head man” into one large slice form a relatively independent foreground, focus on the “cock head” of the character – this is also the visual center of the view picture photo – but the perspective focus of the scene is the Tiananmen gate center at a distance, therefore, the Tiananmen appears to be nothing but a streak of virtual pale shadow in a thick mist,
but all scenes (square, low houses, trees and the crowd on the square, side wings outstretched from the Meridian Gate, and the contiguous foreground in the form of a slice) on the ground are gathered to it. It can be seen a tense psychological relationship between the two focuses: on one hand, the “cock head man” is in the attractive force system with Tiananmen Square as the center, but “he” (or “it”) can not resist this; the other hand, “he” (or “it”) shows clearly an almost desperate protest will without yielding in the wide mouth, fiery anger crown, or scared or angry eye pupil, and trying to support posture.

There are thick mist, bleak sun, unexpected and absurd image, protest gesture of despair and passion in the attractive force system with Tiananmen Square as the center …… such a piece of work was created in “Political Pop” which is becoming a common vocabulary for sensitive period, also consists of a series of visual elements with sensitive social metaphor, is classified probably very easy in that category which belongs to the beginning of the political and symbolic social criticism art. However Chen Nong’s Forbidden City 06 is obviously not questioning for the social value system of ideologicalization – these are just used as an existing historical background – in fact that the work focuses on really the unexpected and absurd “cock head man”: who is “he” does “he” (or “it”) (or think) do in our society?

E2.Fobidden city 06 Photography Handcolored 2004-2005             E.Fobidden city 04 Photography Handcolored 2004-2005

(一)

一個身穿甲胄的“雞頭人”——有些像二十八宿中的昴日雞,卻少了星君應 有的冠冕,多了一股“草台戲班”的土腥味兒——雙手叉腰,突兀地站在午 門上城垛與漢白玉欄桿的交匯處。天安門城樓,天安門與午門之間的廣 場,廣場上疏疏落落的遊人,以及一輪大大的、在霧靄中顯得有些慘淡的 圓日,構成“他”(或“它”)宏大而又頗為夢幻的背景。

這幅多少有些荒誕的照片,出自攝影家陳農2004年到2005年間拍攝的 《故宮》系列。作品採用俯視的視角,方形的畫面上有兩個視覺焦點:城 垛、欄杆和叉腰站立的“雞頭人”連成一片,形成相對獨立的前景,焦點集 中在人物的“雞頭”上——這也是整幅照片的視覺中心——但景物的透 視焦點卻在遠處天安門的城門中央,因此,儘管天安門看起來不過是濃 濃霧靄中的一道虛虛的淡影,但地面上所有的景物(廣場,廣場上低矮的 房 屋 、樹 木 、人 群 ,午 門 伸 出 的 側 翼 ,甚 至 是 連 成 一 片 的 前 景 )都 在 向 它 匯 聚。可以看出,在兩個焦點之間有一種緊張的心理關係:一方面,“雞頭人” 置身於以天安門為中心的引力系統之中,這是“他”(或“它”)無法抗拒的; 另一方面,在“他”(或“它”) 張大的喙、火焰般的怒冠、或驚或怒的眼瞳、 和竭力支撐的身姿中,分明流露出一種近乎絕望卻並不屈服抗爭意志。

濃重的霧靄,慘淡的太陽,以天安門為中心的引力系統,突兀、荒誕的形 象,絕望而又激情的抗爭姿態……這樣一幅創作於“政治波普”正成為一 個公共詞彙的敏感時期,又是由一系列有著敏感的社會隱喻的視覺元素 構成的作品,大概很容易被人劃入那類業已濫觴的政治化、符號化的社 會批判藝術的範疇。但陳農的《故宮06》顯然不是對意識形態化的社會 價值系統的追問——這些只是作為一種時代背景而存在——作品真正 的焦點是那個突兀、荒誕“雞頭人”:“他”(或“它”)是誰?在我們的社會 裡,“他”(或“它”)在(或想)幹什麼?


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