洪浩在我的印象中是属于具有智性品质的艺术家。这种智性品质是指体现在他的创作上与中国80年代艺术家的人文关怀过于沉重和理性不同，又与当下年轻的新新人类的激进、偏执相异。他的创作并没有延续启蒙传统的老路上去展开批判，而是趋向于使用后现代主义的方式进行戏谑和戏拟，在轻松的戏仿过程中达到对现实生存的质疑与批判。在表现语言的运用上也充分显示了他的才华和自由把握各种媒介的能力。
在一组以目前中国日常生活密切相关的日常物件为题材，题为《我的东西》的系列摄影作品中，洪浩特有的艺术直觉力和他的敏锐的观察得到了充分的体现。他在物件排列的装置、转换、重复之间找到了一个直接呈现的共有空间，仿佛我们生活于其中的物质世界是由物件和碎片构成的。繁复地组合混杂一起，强化了对现实生存的节奏和印象，这种印象背后的一个关键意向是物质的消费，而这恰恰是中国当下生活的基本状态和对物质的欲望转化到图像的真实体现。虽然欲望给我们的生活带来了表面上的斑斓色彩，但其深处却充满了无力之感。其主题思想也集中反思了后现代主义式的消费时尚文化在中国的困境与荒诞性。视觉的张力或谐谑或怀旧或时尚，不同的处理试图从当代生活的纷繁无序中整理出一种超现实的秩序，一种将物质的和技术的语言加以区分，但同时又让两者并置在一起且保持接触的形式感。
《藏经》系列版画作品是洪浩艺术创作中的主要代表作之一。“世界政区新图”、“世界地貌新图”是按中国传统书籍插图的样式，其背景是世界的不同区域，但它却不是可以按图索骥地去臻达某个地理空间，或者说这是一组假借地图的名义——所谓的以具体地理为背景的世界局势图。其创作的观念方式，按洪浩自己的解释是：确立一个“偏离了正常秩序的规则”。即先将文化资讯分解进行重新编码，使其失去在原有的规范与意义上的习惯性对应，然后再让这些被重新界定的语义通过重复加强等手段升值为经验，这样它们就会象古代经卷那样“道貌岸然”起来。他有意并随意地将地图的版式写真或主观地夸张、神秘的不可知以及转换的幻象等等拼贴结合起来，意在调节思维的角度和观看物质的眼光。比如“世界地貌新图”是将世界的海陆互换以及将地图反向处理。也许正是这些臆想的多元混合导致了结构及观看的某些复杂状况。他瑰奇的想象力使时间和空间、历史和现在及未来之间出现了一种混杂的关系。或许他并不想把主题弄得太明白太直露，不想把深刻的观念变得简单浅显。这可以理解为作者的苦心孤诣，也可以视为作者对那些有意改变世界地图形状结构中的连接方式的一种挑战。
在《我所认识的Mr．Gnoh》、《Yes，I'm Gnoh》中，洪浩试图把中国正在兴起的消费社会中的虚拟化的生活加以典型化处理，不仅把它们放大，尤其是也将自我的形象化妆、置换到自己营造的场景空间中，以凸现出其中的生动性和荒诞性，来表达他对当下社会生活的深刻关注。那些时尚的装饰本身就具有象征的表演性，更为重要的意义在于他用夸张的视觉效果生动的表现出这个时代精神崇拜的荒诞情境，戏谑的场景背后隐含的是对当代中国过度膨胀的时尚文化所进行的尖锐、严肃的反思。
物质的时尚消费对我们来说与其是一个场景，一种欲望，不如说是一种象征和隐喻。艺术家的敏感、锐利和积淀的独特而奇异的经验，他的反思和批判精神是值得关注的，他不仅为时代记录了精神的和情感的历史，更在于用一种新的视觉观念和方式表现了时代的文化特征。我以为这是艺术家的职责和一种所谓“现代性”的体现。
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
【编辑：陈耀杰】
