賈方舟

 

鄧箭今的作品既然帶著經驗記憶的自述性質，他就不能不面對一個真實的“自我”。而這個真實的“自我”又常常在自然人性與文化理性的沖突中發生偏離。在人與人之間，男性與女性之間無法溝通的心靈地帶，阻隔了欲望，卻滋生了暴力。“一切暴力都起源于性”，這個處于無奈與焦慮中的真實“自我”，終于在夢游中手持槍械，走向凌虐、施暴與犯罪的“黑色幻想”之中（見《有關目擊者的夢游記錄》系列作品）。這種優雅而又迷離的幻覺使鄧箭今在尋求生命存在的價值和意義時，對自我發生了懷疑。而作為一個有血有肉的男人，正是導致這一精神危機的根源。“男人”，這個與生俱來、不可更改的性別身份，如他所說，它的“強制性、侵略性”，“總讓人處在終極、被動的迷茫之中”。

 

                                                              2000年

 

 

Deng Jianjin: Pay Homage to Desire

 

By Jia Fangzhou

 

Since Deng Jianjin’s works have the nature of readme of experience and memory, he has to face a real “self”. However, the real “selfness” often departures because of the conflict between human nature and cultural rationality. The desire is blocked and the violence is bred between people and people in the spiritual zone where men and women cannot communicate. “All violence originates from sex”. The real “selfness” in helplessness and anxiety finally held firearms sleepwalking to the “dark fantasy” with abuse, violence and crime. (See the series of The Sleepwalking Records About Witness). The elegant and magic illusion makes Deng Jianjin to doubt himself when he is looking for the value and significance of life. The spiritual crisis originates in being as a flesh man. “Men,” the birthright and unchangeable gender identity, as he said, its “mandatory and aggressive quality” “always leaves people in the ultimate and passive confusion.”

 

2000