Art Portfolio

关盛豪 Guan Shenghao 深圳大学建筑与城市规划学院 SAUP, Shenzhen University

2019级建筑学 Architecture，class of 2019

ID：2019101033

Email：954283509@qq.com

装置艺术 Installation Art

“简单地讲，装置艺术，就是“场地 材料 情感”的综合展示艺术。”

“它把艺术拉下神坛。它是具有话题性与时效性的。它的解读是开放性的。 ”

"Simply put, installation art is a comprehensive display art of "site, material, emotion" "It pulls art off the altar. It is topical and time-sensitive. Its interpretation is open. "

©2023.

ShenghaoGuan.AllRights Reserved.

走进拥挤的城中村，人们如同蚯蚓般在狭小的街巷间穿梭。这是一个独 立于外部城市的小社会，旧生活的文化、习惯、关系网在此交织。城中 村的人们有着不同的社会背景、兴趣爱好、文化品味。在小巷漫步时，

我遇到过背着书包上学的学生、骑着摩托上班的成年人、蹲在路边阅读 的老人，在他们眼中，我都看到了对外面世界的渴望。我想起一句歌词。

“那首歌说/向外面世界奔驰/渴望那一天将至/祈求风和雨/吹我到理 想的远处/故土没法跟随我的意愿/但为什么终于/穿过故乡来到老远/ 却很想返回我的屋邨”我忽然想到，对于想逃离这里的人来说，文化和 知识是唯一的途径。 Walking into the crowded village in the city, people shuttled between the narrow streets like earthworms. This is a small society independent of external cities, where the culture, habits, and relationships of the old life are intertwined. People in urban villages have different social backgrounds, hobbies, and cultural tastes. While walking in the alleys, I have met students carrying school bags to school, adults riding motorcycles to work, and elderly people squatting on the side of the road to read. In their eyes, I have seen the yearning for the outside world. I think of a lyrics.

"That song says/Run to the outside world/Wish for that day to come/Pray for wind and rain/Blow me to the ideal distance/My homeland can’t follow my wishes/ But why finally/I passed through my hometown and came far away/ But I really want to return to my estate"It suddenly occurred to me that for those who want to escape here, culture and knowledge are the only way.

“一线”城市 "First-tier" City

这里的人们喜欢看书，对于他们来说，书中的文字连接着更广阔的天空。一本本旧 书细数着这里生活过的人的故事，诉说着他们的理想与热爱。城中村就是这么一个 特别的地方，容得下肉身，装得下灵魂。和丰富的书海一样，这里的一个个生命都 有血有肉，活得真实。从表面上看，他们的身体被禁锢在这狭小的空间中，但实际 上，他们的灵魂是一片丰富自由的广袤天地。

People here like to read books. For them, the text in the book connects the wider sky. An old book counts the stories of the people who have lived here, telling their ideals and passions. The village in the city is such a special place, which can accommodate the body and the soul. Like the rich sea of books, every life here is full of flesh and blood, living a real life. On the surface, their bodies are imprisoned in this small space, but in fact, their souls are a vast and free world.

文化拾遗 Cultural Supplements

当有人搬离城中村或打扫新屋的时候，他们便会把不要的旧书出售到附近的废品 站。在距离城中村最近的废品站，我找到了这些被遗弃的记忆、被折叠的历史。 我将这些被扔掉的旧书买回来，并按照出版时间对它们进行排序。这些旧书横跨 大半个世纪，从1959年到2016年，在时间线的约束下，它们出人意料地被分成 了不同的主题和种类。形成一个个特色鲜明的文化符号。这些符号生动地折射出 几代城中村居民文化品味的变迁，也成为深圳这半个世纪以来社会发展的缩影。

When someone moves out of the village in the city or cleans a new house, they will sell unwanted old books to a nearby junkyard. At the waste station closest to the village in the city, I found these abandoned memories and folded histories. I bought these discarded old books and sorted them by publication time. These old books span more than half a century. From 1959 to 2016, under the constraints of the timeline, they were unexpectedly divided into different themes and categories. Form a distinctive cultural symbol. These symbols vividly reflect the changes in the cultural tastes of generations of urban village residents, and have also become the epitome of social development in Shenzhen over the past half century.

路边看书老人，©shenzhenlook

Old men reading by the roadside ，©shenzhenlook

In 1961, during the three years of economic difficulties, the second wave of fleeing to Hong Kong broke out in Shenzhen. Fifty years have passed, and we can’t describe the catastrophe now, nor can we guess the mood and tears of countless farmers and fishermen who clung to the relocation of the land, dragging their children and staggering across the border when they staggered across the border. This "Anthology of Ancient Poems" was published in this year. This is the first time I truly understand-life is more than just the elusiveness in front of me, but also poetry and distant fields.

These architectural books were published between 1977 and 1981, just before and after the establishment of the Shenzhen Special Economic Zone. It can be inferred that the owners of these books are probably architects with keen awareness. They have sensed the opportunities and potential of Shenzhen. They must have been full of passion and ideals back then, preparing to devote their youth to the construction of Shenzhen.

《图书馆建筑设计》 出版时间：1977年

这几本建筑类书籍出版于1977——1981年， 此时正值深圳经济特区成立前后。可以推 断，这几本书的主人大概都是有着敏锐觉 察能力的建筑师，他们嗅到了深圳的机遇 与潜力，想必当年正怀着满腔热血和理想， 准备将自己的青春投身深圳的建设事业吧。

The development of Shenzhen is inseparable from the "Hong Kong experience". Hong Kong has brought capital, talents, and experience to Shenzhen and has become the object and model for Shenzhen to learn. Hong Kong people invest and set up enterprises in the Mainland, not only bringing in a large amount of capital, but also bringing advanced experience and ideas to Shenzhen. Could this "Hong Kong Small House" hidden in the village in the city be the notes left by the first generation of urban builders in Shenzhen at that time?

As a test field for reform and opening up, Shenzhen is a window for China to connect with the world. In 1979, there was already a phenomenon of residents learning English in urban villages. This 79-edition English-Chinese dictionary is the best imprint of that era.

《英汉词典》 出版时间：1979年

深圳作为改革开放的试验田，是中国与世 界接轨的一扇窗户。1979年，城中村已经 出现居民学习英语的现象了。这本79版的 英汉词典就是那个时代最好的印记。

1983，深圳市委决定筹办深圳大学。深大由 北大、清华、人大援建，当年建校，当年招生， 被邓小平同志称为“深圳速度”，也被称

为特区大学、窗口大学、实验大学。我在

“摄影艺术和其它革命的文艺一样，一张

优秀的照片，它必须具有深刻的思想内容

和完美的艺术形式。”

“我们应该坚持以无产阶级的政治统帅艺

术和技术这个根本原则，批判和抵制资产

阶级庸俗的东西。”

In 1983, the Shenzhen Municipal Party Committee decided to organize Shenzhen University. The Shenzhen University was built with the aid of Peking University, Tsinghua University, and the National People's Congress. It was founded that year and recruited students that year. It was called "Shenzhen Speed" by Comrade Deng Xiaoping, and it was also called the Special Economic Zone University, Window University, and Experimental University. I collected this "Shenzhen University Curriculum Program" in the village in the city, and I immediately felt very cordial. Perhaps its owner grew up with Shenzhen University, the earliest alumni of Shenzhen University.

This is a photography tutorial published during the Cultural Revolution. In that era, it was hard to be able to own a camera and a book. There are also notes marked with a pen in the book. It can be guessed that the identity of the owner of the book should be unusual.

《实用摄影知识丛书》 出版时间：1974年

这是一本文革时期出版的摄影教程，在那 个年代，能够自己拥有一架相机和一本书 籍，其难度可想而知。书中还有用钢笔标 注的笔记，可以猜想，书的主人身份应该 不一般吧。

1990s——2000s

90年代，奥数开始在全国逐渐流行，深圳也不例外。 各种校外机构开设大量奥数课，好学校纷纷以奥

数为选拔标准。最多时大城市约有三分之一的小 学生学奥数。奥数轻易把学生的学习能力划出了 等级，而且非常准确。教育资源的稀缺性与人们

对名校的追求已经开始显现。书的主人如今住在

In the 1990s, Mathematical Olympiad began to become popular throughout the country, and Shenzhen is no exception. Various off-campus institutions offer a large number of Mathematical Olympiad classes, and good schools have adopted Mathematical Olympiad as their selection criteria. At most, about one-third of elementary school students in big cities learn Mathematical Olympiad. Mathematical Olympiad easily ranks students' learning ability, and it is very accurate. The scarcity of educational resources and people's pursuit of prestigious schools have begun to appear. The owner of the book now lives in this village in the city. Perhaps more than 20 years ago, he/she was also an ambitious young man.

©2023.

深圳地处广东，受到香港文化的影响，风水 命理在城中村中受众不少。上世纪八九十 年代,我国出现较为严重的迷信回潮现象。

ShenghaoGuan.AllRights Reserved.

这种现象一经出现，就引起社会各阶层的 普遍关注和批判反思。普通老百姓对风水、 命理、玄学等内容的推崇，到底是文化的 一部分，还是属于封建迷信，难以一概而论。

无论如何，从这些剪影中，我们仿佛也能 窥见那个时代的特殊印记。

Shenzhen is located in Guangdong and is influenced by Hong Kong culture. Fengshui numerology has a large audience in villages in the city. In the 1980s and 1990s, there was a serious resurgence of superstition in our country. Once this phenomenon appeared, it aroused widespread concern and critical reflection from all walks of life. It is difficult to generalize whether ordinary people's admiration of feng shui, numerology, and metaphysics is part of culture or feudal superstition. In any case, from these silhouettes, we seem to be able to glimpse the special marks of that era.

《邵伟华四柱预测学入门》 出版时间：1995年

《李居明狗年运程》 出版时间：2006年

居民已经开始追求更丰富的爱好。从琴棋

With the improvement of living standards, the residents of urban villages at this time have begun to pursue richer hobbies. From piano, chess, calligraphy and calligraphy to health care, the hobbies of the villagers in the city can be described as wide. Whether it is "Yangchun Baixue" or "Xia Liba People", they are all part of the appreciation of the elegance and commonness of the residents of the villages in the city.

The year 2000, the first year of the new century, is also a new era of science and technology. The "Computer Enthusiast", which was purchased from the village in the city in 2000, the 01 issue, now reads the contents of this magazine, and I can't help but feel the vicissitudes of the world, the time has passed, and the endless sorrow.

2000年，新世纪元年，也是科技的新纪元。

了房价飞涨的纪录。天下熙熙，皆为利来；

天下攘攘，皆为利往。这本书的主人，应

该也在深圳有过房产致富的梦想吧。

After entering the 2010s, most of the books circulated in urban villages were chicken soupstyle bestsellers such as economics and success studies. Instead, the public's reading preferences tended to be singular and homogeneous. The new vents of the new era seem to have brought more desire to "get rich" to people here, and the taste of literature has gradually become shorter, flat, and faster, and the atmosphere of life has gradually become impetuous.

Real estate is an eternal topic for the people in the villages in the city. The relationship between landlord and tenant is also the most common relationship in urban villages. Shenzhen has set a miracle of urban development, while also setting a record of skyrocketing housing prices. The prosperity of the world is all for profit; the hustle and bustle of the world is all for profit. The owner of this book should have had the dream of getting rich in real estate in Shenzhen.

出版时间：2010年 《华尔街的力量》 出版时间：2011年

《房地产权之你我》

元素提取

Elements Extraction

Reserved.

提取钢筋混凝土、书两种元素，分别对应 城中村“肉体禁锢”与“精神筋骨”两个 方面，营造肉身与精神、硬与软的冲突。 意图通过用混凝土对书进行包裹、隐藏、 暴露，暗示城中村的生活：表面是丑陋的 钢筋混凝土，内在是丰富的精神生活。

The two elements of reinforced concrete and books are extracted to correspond to the two aspects of "physical confinement" and "mental muscles and bones" of the urban village, creating a conflict between flesh and spirit, hard and soft. The intention is to wrap, hide, and expose the book with concrete, suggesting the life of the village in the city: the surface is ugly reinforced concrete, and the inner is rich spiritual life.

操作过程 Steps

搭建木骨架 Build a Wooden Skeleton

用3mm厚木板、2×2cm方形木棒、铁钉、 热熔胶等工具搭建内部核心筒，作为受力 支撑结构。留出三块适当的空间填充书籍。

覆盖混凝土 Cover With Concrete

Use 3mm thick wooden boards, 2×2cm square wooden rods, iron nails, hot melt glue and other tools to build the inner core tube as a supporting structure. Set aside three suitable spaces to fill the books.

ShenghaoGuan.AllRights Reserved.

在装置的表面均匀地覆盖混凝土。用刮刀 刮出斑驳的纹理，待混凝土硬化后，用锤 子在书籍附近凿开一部分，使得书籍与混 凝土的衔接更为自然，力求营造“凿开混 凝土表皮，暴露内部书籍”的视觉效果。

Cover the surface of the device with concrete evenly. Scrape out the mottled texture with a spatula. After the concrete has hardened, use a hammer to cut a part of the book near the book, making the connection between the book and the concrete more natural, and strive to create a visual effect of "cutting the surface of the concrete and exposing the internal books". ©2023.

Exhibition

本装置名为《Jin Gu》，取自禁锢/筋骨的汉语拼音。一方面， 钢筋混凝土组成的城中村封存了人的肉身，是一种“禁锢”；另 一方面，这种封锁却更加凸显和暴露了人的思想之“筋骨”。是 “禁锢”还是“筋骨”，取决于你观看的角度。

The device is called "Jin Gu", which is taken from the Chinese Pinyin of imprison/ muscles and bones. On the one hand, the urban village made of reinforced concrete seals the human body, which is a kind of "imprisonment." Whether it is "imprisoned" or "bones and bones" depends on the angle you look at.

城中村的人们喜欢看书，对于他们来说，书中的文字连接着更广 阔的天空。一本本旧书细数着这里生活过的人的故事，诉说着他 们的理想与热爱。和丰富的书海一样，这里的一个个生命都有血 有肉，活得真实。从表面上看，他们的身体被禁锢在这狭小的空 间中，但实际上，他们的灵魂是一片丰富自由的广袤天地。 当有人搬离城中村或打扫新屋的时候，他们便会把不要的旧书出 售到附近的废品站。在那里，我找到了这些被遗弃的记忆、被折 叠的历史。我将这些被扔掉的旧书买回来，并按照出版时间对它 们进行排序。这些旧书横跨大半个世纪，从1959年到2016年， 在时间线的约束下，它们出人意料地被分成了不同的主题和种类。 它们自下而上，被封存在巨大的混凝土块中，形成一个个特色鲜 明的文化符号。这些符号生动地折射出几代城中村居民文化品味 的变迁，也成为深圳这半个世纪以来社会发展的缩影。

People in the villages in the city like to read books. For them, the text in the book connects the wider sky. An old book counts the stories of the people who have lived here, telling their ideals and passions. Like the rich sea of books, every life here is full of flesh and blood, living a real life. On the surface, their bodies are confined in this small space, but in fact, their souls are a vast and free world.

When someone moves out of the village in the city or cleans a new house, they will sell unwanted old books to a nearby junkyard. There, I found these abandoned memories and folded history. I bought these discarded old books and sorted them according to the time of publication. These old books span more than half a century. From 1959 to 2016, under the constraints of the timeline, they were unexpectedly divided into different themes and categories. From the bottom up, they are enclosed in huge concrete blocks, forming distinctive cultural symbols. These symbols vividly reflect the changes in the cultural tastes of generations of urban village residents, and have also become the epitome of social development in Shenzhen over the past half century.

从上至下 2010s

1950s——1980s

1990s——2000s

From top to bottom 2010s

1950s——1980s

1990s——2000s

Reserved.

©2023. ShenghaoGuan.AllRights

综合材料绘画 Mixed Material Painting

“肌理是材料与质地在图形上的体现，是图形所具有的材料与‘痕迹’特征，运用 不同的工具，开发一切可以产生与制造不同行为轨迹的方法，求得不同的形态结果。”

"Texture is the manifestation of materials and textures in graphics. It is the characteristics of materials and'traces' in graphics. Using different tools, we develop all methods that can generate and create different behavioral trajectories, and obtain different morphological results."

灵感与想法 元素提取

Inspiration and Ideas

在完成了上一阶段的装置艺术后，我意识

到了城中村人群的多样性和复杂性。我好

爱好都千差万别，那么他们还会有一种一

城中村吗？他们会觉得自己是深圳人吗？ 我希望我的作品能给观众带来提问和思考。

Element Extraction

这里的大多数居民都是背井离乡，独自来到深圳打拼，在城中村租 房是大多数人的选择。我选取了信封、出租屋广告纸等元素，打乱、 撕碎，只留下易识别的文字和图像符号，填进画面。

Most of the residents here leave their hometowns and come to Shenzhen alone to work hard. Renting a house in urban villages is the choice of most people. I selected elements such as envelopes and rental housing advertising paper, shuffled and shredded them, leaving only recognizable text and image symbols, and filled them into the screen.

After completing the previous stage of installation art, I realized the diversity and complexity of the people in the villages in the city. I am curious: if people's cultures, tastes, backgrounds, occupations, and hobbies are very different, will they still have a consistent sense of identity? Do they think they belong to the village in the city? Do they think they are from Shenzhen? I hope my work can bring questions and thoughts to the audience.

对于移民者而言，城中村作为一个“跳板”，是很多人接 触深圳的第一站。在这个阶段，外来者与深圳开始连结， 与家乡开始疏离。在目前，普遍来说，大多数移民者对深 圳的归属和认同被简单粗暴地投射于钱、房产和户籍。因此， 我选用毕业本、房产证、户口本，分别代表着求学、买房、 成家，对应“深漂”获得身份认同的三个阶段。而对于失 地专制居民来说，身份认同则是一个更为复杂的问题。经 营出租屋是他们的主要收入来源。这种“以地生财”的方 式使他们对土地的情感难以转移，进一步固化着他们原有 的小农意识。因此，我选用了地契来表现这种身份意识。

For immigrants, the urban village serves as a "springboard" and is the first stop for many people to come into contact with Shenzhen. At this stage, outsiders began to connect with Shenzhen and alienated from their hometown. At present, generally speaking, the ownership and identification of most immigrants in Shenzhen are simply and rudely projected on money, real estate, and household registration. Therefore, I chose the graduation certificate, real estate certificate, and household registration certificate, which respectively represent the three stages of studying, buying a house, and getting a family, corresponding to the three stages of "deep drifting" to obtain identity. For the landless autocratic residents, identity is a more complicated issue. Operating rental houses is their main source of income. This way of "making money from the land" makes it difficult for them to transfer their feelings for the land, and further solidifies their original small peasant consciousness. Therefore, I chose the land deed to express this sense of identity.

深圳作为一个移民城市，人口流动非常活 跃，城中村尤其如此。据统计，目前有超 过1100万（2017）居民居住在城中村，占 深圳总人口的70%以上。参考了不同时期 的统计数据，我总结出了深圳人口排名最 多的五个姓氏，并制作成五个印章，分别

刻有“陈”、“李”、“黄”、“张”、

“刘”的字样，作为画面元素组成的一部分，

Reserved.

As a city of immigrants, Shenzhen has a very active population flow, especially in urban villages. According to statistics, there are currently more than 11 million (2017) residents living in urban villages, accounting for more than 70% of the total population of Shenzhen. With reference to statistical data from different periods, I summarized the five most populous surnames in Shenzhen, and made five seals, engraved with "Chen", "Li", "Huang", "Zhang" and "Liu" respectively. As part of the composition of the picture elements, the words represent the thousands of residents in the villages in the city.

用泥土进行覆盖，晒干，营造皲裂的纹理效 果。最后，加入了代表农村和城市的两种建 筑材料：砖粉、水泥粉，均匀地撒在画面的 不同位置，增加绘画的细节和纹理。

操作过程 Steps

Cover with soil and dry in the sun to create a cracked texture. Finally, I added two building materials representing the countryside and the city: brick powder and cement powder, which were evenly sprinkled on different positions of the painting to increase the details and texture of the painting.

本绘画名为《深份》，聚焦于深圳城中村居民“身份认同“的建 构与困境。

This painting is titled "Shenfen" and focuses on the construction and predicament of the "identity" of the residents of the urban villages in Shenzhen.

深圳是中国最典型的移民城市，城中村作为深圳文化与原居地文 化的缓冲区域，其居民具有多样性特征，人口构成包括多元化的 移居群体。当人们背井离乡来到深圳，归属感则主要来自于“身 份认同”。群居和融入城中村集体便是其中一个解决办法。在传 统观念的作用下，人们又习惯于把“家”等同于“房”，即把身 份感、归属感投射于土地、房产这一物质载体，企图简单粗暴地 通过不动产来寻求身份认同与归属感。当遇到冲突，多数移民会 选择躲回原生文化空间，寻找“避风港”，导致城中村移居群体 仍生活在原生文化容器中，并未完全正视文化差异，其对于“深 圳人”这一身份的认识是空虚的。

我运用了毕业证、房产证、地契、户口本、信封、出租屋广告纸 等象征性元素进行重新组合，并用砖粉、水泥粉和刻有不同姓氏 的印章为画面增加了图案和纹理。最后，用一层泥土覆盖画面并 晒干，制造出干裂的效果，表现城中村居民复杂、割裂的乡土意 识和身份认同感，试图通过绘画引发人们对这一现象的思考。

Shenzhen is the most typical immigrant city in China. The village in the city serves as a buffer area between the culture of Shenzhen and the culture of the original place. Its residents have diverse characteristics and the demographic composition includes a diverse group of immigrants. When people leave their homes and come to Shenzhen, the sense of belonging mainly comes from "identity." Living in groups and integrating into the urban village collective is one of the solutions. Under the influence of traditional concepts, people are accustomed to equating "home" with "house", that is, projecting a sense of identity and belonging on the material carrier of land and real estate, in an attempt to simply and rudely seek identity and belonging through real estate. sense. When confronted with conflicts, most immigrants will choose to hide in the original cultural space and find a "safe haven". As a result, the migrant groups in urban villages still live in the original cultural container, and they do not fully face the cultural differences. Their identity as "Shenzhen people" Knowledge is empty.

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I recombined symbolic elements such as graduation certificates, real estate certificates, land deeds, household registration books, envelopes, rental housing advertising papers, and used brick powder, cement powder, and seals with different surnames to add patterns and textures to the picture. Finally, the painting was covered with a layer of soil and dried to create a chapped effect, expressing the complex and fragmented local consciousness and identity of the residents of the village in the city, trying to induce people to think about this phenomenon through painting.

这个学期的美术课对我的概念提取、进度 把控、成果表达等各方面提出了不小的挑 战。在完成装置艺术的过程中，图书的收 集和搬运、混凝土的抹灰处理都给我制造 了一定的麻烦。综合材料绘画过程中，证 件的采购、印章的定制、泥土的干燥速度

控制都在时间上造成很大的挑战。幸运的 是，问题最后都比较顺利地解决了。期待 在日后的学习生涯中积累经验，继续改进。

The art class this semester posed a lot of challenges for my concept extraction, progress control, and achievement expression. In the process of completing the installation art, the collection and transportation of books, and the plastering of concrete all caused some trouble for me. In the process of painting with integrated materials, the procurement of certificates, the customization of seals, and the control of the drying speed of the soil all pose great challenges in terms of time. Fortunately, the problem was solved relatively smoothly in the end. I look forward to accumulating experience and continuing to improve in my learning career in the future.

致谢

感谢温克寒老师这四个学期以来的指导和 鼓励，感谢美术四组同学的关心和帮助。

Thank you Wen Kehan for your guidance and encouragement over the past four semesters, and thank you for your care and help from the four groups of art students.