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先买电--写在无边的现实

(2007-06-14 17:30:44)
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文化

 

先 买 电

Prepaying the Power

 

影像不会从相机里掉下来。

Images will not fall from the cameras.

影像如果只是掉在地上砸不到任何人,除非它是从心尖上掉下来的。影像的目的不是吓人,不是骗人,影的目的是为了实现骗人,好的影像砸脚。

If the images fall to the ground, they won’t fall on anybody unless they fall from one’s heart. The purpose of images is not to scare anybody, or cheat anybody, but rather to have somebody cheated, good images fall on the feet of someone.

没有哪个风景和人物是永远静止不动的。变动的景物不是为了相机,尽管成像的原理必须得通过它。在一个暗箱子先将世界颠倒成像,那个时候还不确定,用手捏一下气囊,影就留在那里了,一个黑暗的地方,装着一个看似真实的世界。摄影家对那个东西总有是心有幻想,暗箱操作。

No scenery or person remains still forever. The ever changing sceneries are not for the camera, though the imaging must be carried out through it. The world is reversed in a camera obscura first, but it remains unfixed until you squeeze the airbag, then the image remains there. A dark place harbors a seemingly real world. Photographers always have expectations for it, and manage it in the camera obscura.  

使用相机的人太多了,没有人愿意相信眼前的现实,尽管广阔,无边,虚幻。那些人认知世界的方式是图片,是通过传统相机,或是数字相机,还有可以拍照的手机,直到大底片,这种既古老又特别的新样式。一张大底片有一本书那么大。可以放像,也可以直接印像,那是真正意义上的实现影像。人们就是不愿相信自己的眼睛,视觉失语。

Too many people use cameras, nobody would like to believe the real world before their eyes, though they are vast, boundless and visionary. The way in which these people get to know the world is pictures, through traditional cameras, or digital cameras, or cell phones with camera function, or even with contact print-the old and new type. A contact print is in the size of a book, but it can be used to enlarge pictures or to have the picture printed on it directly. People just don’t believe their own eyes, visual aphasia.

 

把相机变成艺术家的眼睛,他们通过这双眼睛观看世界,投射在瞳仁里的世界被显影在纸上,供人解读。“影”成了现实的镜子,提供无边的景象。物是人非之后,影还在。

Artists turn the cameras into their eyes through which they observe the world. The world projected to the pupil is developed onto the paper for people to unscramble. The “image” becomes the mirror for the reality, and it provides a boundless scenery. Things might have changed, people might have gone, but the images will remain.

 

十五个人,不同的眼睛。

Fifteen people with different eyes.

看一大群人的作品,感觉世界被做成了提纲放在眼前:关于“三线”的浪漫和伤城的回想;对计划生育政策涂鸦的记录象是在人性与人的关系中砌了一堵墙;山水亭台之间中国文人情绪的伤痛成为当代版的“溪山行旅”;对城市变迁惊恐的想象;革命理想图景的不断重叠;穿墙而过的红色记忆;对世界仍怀有童话般想象的彩虹颜色……看起来他们是一群人,其实是一堆人,一堆用镜头说话的人。

Appreciating the works of a great number of artists, I felt that the world was placed before my eyes as outlines: works about the romance of “The Third Front” and the recollection of the sad city; the record of the graffiti about family planning like a wall between human nature and human relationships; Chinese literati in melancholy mood becoming the modern Travellers Among Mountains and Streams; the imagination on the frightening of the urban transformation; constant overlapping of revolutionary ideal images; red memories about breaking through the wall; the rainbow colors from the imagination of a fairy tale for the world… They seem to be a group of people, but actually they are many people, many people who speak with their cameras.

十五个人,就是一百五十个人,或者是一千五百人,亦或更多。整个世界都在制造影像,一个真实的世界将要在我们认知的时候被抛到脑后,不要再问什么?看图、读图,直到看得你消化不良。好片子不是拍出来,是摄出来的。如果不摄住人的灵魂,不摄住那些世间所谓永恒的意象,那张有影的纸是无意义的,除非你根本不在乎它的意义。

Fifteen people, would be 150 people, or 1,500 people or more. All the world is making images, a real world is forgotten when we about to recognize it. Never ask why. See the pictures, read the pictures until you get dyspeptic. Good pictures are not shot, but taken. If you can not take the souls of people, can not take the eternal images, then the paper with images on it is meaningless, unless you don’t care about the significance of it.

就象一张裂成几万片的拼图,我们尝试着拼出一幅中国当代时象的图景,是解构,也是建构。每个人都仅仅是一小片,一个微不足道的点。但这个点,对于一个艺术家来说,可能就是一个世界。街道、山水、城市、……荒芜、兴盛……欢乐、忧郁……尘世的幻像,一幕大戏正在上演,人人都参与的欢乐嘉年华,现实的广度已经超出了我们的想象,无边的快乐

Just like a picture torn into thousands of pieces, we try to piece together a picture of contemporary Chinese image, it is decontruction as well as construction. Each person is a small piece, an insignificant spot. But this spot may be a whole world to an artist. Streets, landscapes, cities…desolation, prosperity…happiness, sadness…visionary world, a grand play is put on, everybody takes part in this happy carnival, the width of the world has gone beyond our imagination, and the happiness is endless.

 

在这个展览中,我们没有就图片、影像、摄影作严格意义上的区分,摄影在此刻仅仅是一种技术手段,摄影的边界被不断突破,摄影作品已越来越和通过各种手段进行表现的作品相融合。

In this exhibition, we didn’t make the strict division of pictures, images and photographs categorically, photographing is just a technical approach here. The limit of photographing has been constantly broken, and photographing works are becoming more and more the mixture of works expressed with various means.

有些人会认为影像的制造工作是一个事业,是无人指使的事业。这个事业只在自己的心里装着。摄影家走南闯北是为了输入,在自己的心灵画个圆。“影”不只在纸上,摄影术给这个世界带来了一个真实的梦。

Some people would think that photographing work is a career, the one without the instruction of others. It is a profession in your own heart. Photographers travel around just for input, to draw a circle in their souls. The “image” is not on the paper, and what the photography brings to this world is a true dream.

 

进入艺术家工作室,你会看到他们一桌甚至是一地的照片,他们的镜头从来没有离开过景、物,相机在这里成为说话的工具,咔嚓咔嚓的声音。从今天起,假定他们把镜头只对准文字,他们会拍到什么?

When you enter the studio of the artist, you will see pictures all over the desk and even all over the floor. Their lenses have never been moved away from the scenes and objects, cameras have become their language tool with “click, click” sounds. From now on, if they only focus their lenses to the text, what can they shoot?

底部:环境:处境:普遍意义:典型性:特征:当代艺术:社会学意义:人性:生存:困境:意识:脱离本身:趋向:争议:决断:体验:美学趣味:社会体例:自我形式:图像:当下状态:生存体验:流行:肥皂剧:时尚:月光消费:虚拟世界:城市变迁:改造:重建:背景:苦难:折磨:氛围:渴望:挫折:周期:生命短暂:虚伪:拷问:病毒:一厢情愿:脆弱:敏感:政治符号:天黑:解码:记忆:编译:中国。

Bottom: environment: situation: general sense: typicality: feature: contemporary art: sociological significance: humanity: subsistence: plight: disembodiment: trend: controversy: resolution: experience: aesthetic palate: social rules: self form: image: present status: surviving experience: popularity: soap opera: vogue: overdraft consumption: virtual world: city change: transformation: reconstruction: background: tribulation: torture: atmosphere: desire: frustration: period: brevity of life: hypocrisy: third degree: virus: wishful thinking: sentimentality: sensitivity: political icon: darkness: decoding: memory: translation and editing: China.

当艺术家用一个硌在胸中多年的小石子去勾联那段将要完全从历史和记忆中消逝的情境,他们知道这种勾引是成功的,通过一个化了妆的女人身影、一个被毛绒猴拥抱的男人、那些被熨烫平整的国旗、神圣的却被贴了条码的法舞金刚,还有戴着劫匪头套的民工、失去主人的权力空间。历史不能用一句话讲完,但那些曾经年少、年轻和灿烂的经历是无法忘记的,反衬的结果,使我们神伤。

When an artist used a small pebble settled in his heart for many years to delineate the scenes disappearing from people’s memory, they knew that his delineation was successful, through a women wearing makeup, a man embraced by a fluffy donkey, the national flag ironed flat, the sacred yet bar coded Fawoo Dorje, the migrant worker with face covered like a gangster, and the power space without the master. History can not be told with a few words, but the experiences of the junior, young and bright times can not be forgotten, and the result in contrast makes us heartrending.

漆黑的夜,小镇,路过一个幽暗的店,一个黑匣子似的,推门进去,里面直立着卖货的人,店里象是什么都有。门外有人拨弄一个木牌,通知。转身出来,看上面写着:进店前先买电。

In a pitch black night at a small town, I passed a dim shop like a black box. I opened the door and enter the room, the shop keeper standing there. It seemed that there were everything I needed. Someone fiddled with a plate, a poster. I went out to see it which said: Buy the electricity before entering the shop!

先买电,欲先取之必先予之。和摄影一个规矩,是个好规矩。心里惦着黑匣子里的好东西,在梦里我醒了。

Buy the power first, if you want to take something, you must first give something. It is like the rule of photographing, a good rule. While I was keeping thinking ofr the good things in the shop, I woke up.

这世界没有无缘无故的摄影,也没有无缘无故的被摄影。

There is no photographing without reason, and there is nothing to be photographed without sake.

 

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