The utopian enclave 乌托邦孤岛
2017
Photography Installation
摄影装置
Eisenkunstguss Museum Germany
德国Eisenkunstguss博物馆
In this work, I draw on Fredric Jameson’s analysis of “utopian desire” in Archaeologies of the Future, treating memory as a structure that is continuously rewritten through technological and material conditions. I use inexpensive artificial aquarium landscapes as the core material—a choice rooted in childhood memories of my father building miniature rock formations and aquatic worlds, while deliberately retaining their qualities of imitation and distortion. Within the photographic installation, these elements are reorganized into a world model that appears complete yet remains inherently unstable, situated between personal memory and industrial production.
In mystical and religious systems—such as the Saha World imagined in Buddhism—ideal realms are often presupposed as absolutely complete and accessible through discipline, ritual, or practice. In this work, however, I allow this presupposition to become distorted: utopia is no longer a confirmable endpoint, but a state that briefly emerges in the gap between the “real” and the “artificial.” It is within this deviation and uncertainty that childhood memory, technological reproduction, and structures of belief overlap, generating a perceptual field suspended between reality and fiction, where creation occurs at the boundary of difference rather than in a state of perfection.
在这件作品中，我从弗里德里克·詹姆逊《未来考古学》中对“乌托邦欲望”的分析出发，将记忆视为一种在技术与物质条件中被不断重写的结构。我选用廉价的水族人工造景作为核心材料，这一选择既源于童年时期对父亲搭建水族假山与微观水景的记忆，也刻意保留其仿制与失真的质感。在摄影装置中，这些材料被重新组织为一个看似完整却始终不稳定的世界模型，介于个人记忆与工业生产之间。
在神秘主义与宗教体系中——例如佛教所设想的婆沙世界——理想境地往往被预设为一个绝对完满、可通过修持与仪式抵达的所在。而在这件作品里，我让这一预设主动失真：乌托邦不再是可被确认的终点，而是在“真”与“假”的缝隙中短暂浮现的状态。正是在这种偏差与不确定之中，童年记忆、技术复制与信仰结构相互叠加，生成一种介于现实与虚构之间的感知场域，使创造发生于差异性的边界，而非完满之中。