加载中…
个人资料
唐卫艺术
唐卫艺术
  • 博客等级:
  • 博客积分:0
  • 博客访问:280,798
  • 关注人气:177
  • 获赠金笔:0支
  • 赠出金笔:0支
  • 荣誉徽章:
相关博文
推荐博文
谁看过这篇博文
加载中…
正文 字体大小:

克莱格自述

(2006-10-01 18:20:20)
分类: 林泉自多兴
克莱格自述
(具体图片,可以看我的相册)
在长达50多年的拍摄生涯中,鲁西安·克莱格几乎拍遍了所有给他留下深刻印象以及影响他生活的东西:遍及他的祖国,美丽的女性,他的激情,斗牛场和剧场,他对毕加索的怀念,以及对20世纪艺术发自内心的赞美。克莱格不仅仅是一位浪漫的唯美主义者和摄影诗人,他做过艺术指导,展览的组织者,充满激情的教师,而且是七十年代以后国际摄影的推动人。几乎所有20世纪下半叶的主要摄影家,都被他邀请到阿里耶斯,分享和数以千计的学生和参与者的难忘的记忆。这些作品几乎覆盖了摄影家所有重要的创作时期,传递出人们所熟知的各种信息。
For more than fifty years Luden Clergue has been photographing every-thing that has impressed him and influenced his life: the Camargue —his homeland, beautiful women—his passion, the bullring and the theatre, his memories of Picasso and his great admiration for twentieth-century art. Lucien Clergue is not only a romantic aesthete and a photographic poet; through his tireless commitment as founder, or -ganiser and—for decades—artistic director of the Rencontres de la photographic in Aries, and through his work as an exhibition organizer and inspiring teacher, he has been an inspiration to the growing inter-national photography scene since the seventies. All major photog-raphers of the second half of the twentieth century have accepted his invitation to Aries—an unforgetable experience in the lives of thousands of students and participants. This overview, covering all creative periods in Clergue's eventful life, shows the photographic work of someone with a true zest for life and who is always on the move: be it to do with photography, with Aries, or to do with his work. Lucien Clergue's photographs transmit the vision of someone in the know.
50年的摄影——鲁西安·克莱格自述
Fifty Years of Photography
Lucien Clergue
我第一批最好的作品诞生于1953年,就是在战后的第八个年头。照片所展现的是废弃的房屋,包括自己的房屋,这些建筑都是在1944年被炸弹所摧毁的。就在我写下这些文字时,其他的炸弹正在摧毁另外的城市,是建筑变成碎片。世界正在发生变化。一个人可能想象到的一切,可能就出现在简·科克提奥的电影里:在数秒钟之内烟囱倒塌了,一系列的事件随之发生。
My first good pictures were made in 1953, that is to say eight years after the end of the war. They show the ruins of houses, including my own, which had been destroyed by bombing in August 1944. As I write these lines, other bombers are flattening other cities and reducing other houses to rubble. And so the world turns. One can imagine all this as it might be shown in the films of Jean Cocteau: during the few hundredths of a second that it takes for a chimney to collapse, a whole series of events would take place.
这就是为什么艺术创造渴望超越时间、征服时间的原因,给艺术以穿越时间和空间的机会,而不受到任何理性的限制。
That is why artistic creation desires to abolish time, to crush it, to give those who admire art the opportunity to travel through time and through space without any sense of restriction.
要想将一生中的图像做出有限的选择,并且做出最终的平衡是非常痛苦的事情。有多少图像是必须拥有的,但是由于空间的限制,那些被舍弃的图像其实和保留的图像具有同等的价值。
It is very painful to have to limit the output of a lifetime to a selection of images, in order to draw up a final balance sheet. How many images must be withheld, due to lack of space, when they were really equally worthy of being chosen?
即便是在我严肃对待摄影的最初时期,也就是1953到1959年,我就已经发现了值得我永远拥有的主题:生活和死亡作为第四元素的基本框架存在着。从那样的出发点,不管是拍摄小丑和流浪汉,还是和毕加索以及科克提奥的合作,也不管是第一个介绍我作品的展览者还是安排我作品的出版者,这些都成为连接所有事件的链条,最终才有这本画册的出版。
Even in my first years of serious photography, 1953-1959.1 had already found the themes that were always to remain my own: Life and Death as a frame for the Four Elements. There were, of course, some departures from this, as in the case of the clowns and the gipsies, or my collaborations with Picasso and with Cocteau. The first people to exhibit my work and arrange for it to be published were Dr Georg Schmidt in Switzerland and Prof. Arnold Bode in Germany. This was another way of establishing a chain of connected events, the latest link in which is the publication in Munich of the present volume.
在我对生命的意义就是建立在裸体上的,第一个姿势是在大海上,然后是在树林里,最终进入了都市。死亡则出现在公墓中,包括死去的动物,肢解的玩偶,以及垂死的公牛。最终则是我有能力所探索的风景,作为第四元素的持久探索,从南到北,从地中海的入海口到渐渐沙化的土地,成为一种永恒的象征,数百万年不变。
My preoccupation with Life is to be found in my nudes, first posed in the sea, then in a wood and finally in the city. Death is most obviously present in the images of cemeteries, of dead animals, of dismembered dolls, of dying bulls. Finally, there are the landscapes I was able to explore, permeated with the insistent presence of the Four Elements: first of all the Camargue, then the Rhone Delta in its continuous descent from north to south, opening mouth-like into the Mediterranean, until little by little the sand takes over, the symbol of eternity, for it has not changed for millions of years. It is on this sand that Venus-Aphrodite was born, and on the same sand that the bull-god dies; and, in answer to my relentless questioning, it finally allowed me to understand the evolution of the earth. Another symbol of eternity is the boundless mass of water, the site of a ceaseless hunt extending across all the oceans of the globe and along the rivers that circle it, a hunt that goes on under the gaze of the sun (the photographer's god) and of the wind, which repeatedly sweeps away the traces left by man.
在这片曾经诞生了维纳斯的土地上,公牛之神黯然死去。这些都在回答我所提出的无情的问题,最终让我理解了地球进化的奥秘。另外一个对永恒的象征,就是无限的水的汹涌波涛,从海洋到江河无以穷尽地循环往复,在阳光和风的凝视下闪光,反复清除了人类留下的痕迹。
和我同样年龄的人经常这样提问:“那一幅是你最喜欢的照片?”我会毫不犹豫地回答:“我在明天拍摄的那一张。”我再一次发现答案是在沙土之上。于是我就会驱车数公里,来到东日清晨阳光下的阿里耶斯。然后,面对波涛汹涌的背景音乐,以及喧闹的海鸥,我会将我的问题提交给沙土。
When one is at my age one is often asked; 'Which is your favourite photograph?' And, without hesitation, I answer: 'The one I'll take to-morrow.' And once again I find the answer in the sand. AH I need to do is go a few kilometres out of Aries on a sunny winter morning. Then, against the background music of the roaring waves and the clamour of the birds, I can put my questions to the sand.
这是唯一陪伴我向前的动力,沿着阳光的踪迹,我可以重复我所拍摄过照片的每一处细节:在河岸上被洗刷过的树,堆积的垃圾,花朵,萌芽的草,阴影下的沙丘,人、动物和鸟的踪迹,在我脚下永无止境延伸的海滩。我最好的同事、著名的摄影家杜安·迈克尔斯常常说:“我宁愿在摄影中提出问题,而不是提供答案。”
It is only in the company of the elements that I pursue my path onwards, following the course of the sun, and I can recite and specify every detail of the pictures I will take: the tree washed up on the river bank, piles of rubbish, flowers, sprouting grasses, shadowed dunes, traces of men, animals, birds, the reddish sea that repeatedly lays new puzzles at my feet. My celebrated colleague, the photographer Duane Michals, used to say:'[ prefer photographs that pose questions to those that provide answers.'
为什么?为什么?为什么?我将再一次把我的问题提交给上帝和人类。直到有一天,正如我所希望的,我的灰烬将飘洒在这片沙土上。
Why? Why? Why? I will again put my questions to the traces left by gods and men. And one day, it's there on the sand, or so I hope, that my ashes will be scattered.
 

0

阅读 评论 收藏 转载 喜欢 打印举报/Report
  • 评论加载中,请稍候...
发评论

    发评论

    以上网友发言只代表其个人观点,不代表新浪网的观点或立场。

      

    新浪BLOG意见反馈留言板 电话:4000520066 提示音后按1键(按当地市话标准计费) 欢迎批评指正

    新浪简介 | About Sina | 广告服务 | 联系我们 | 招聘信息 | 网站律师 | SINA English | 会员注册 | 产品答疑

    新浪公司 版权所有