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类似油画的时尚摄影-穆恩

(2006-07-22 11:37:41)
分类: 林泉自多兴

类似油画的时尚摄影-穆恩在一个雨日,早晨的光线中,我回首浏览这些已经收集的所有照片,唤醒的瞬间,几分之一秒的空间,如同剪辑自一部电影的慢镜头,让我想起自己如同一个过客,更多的是一个局外人而非生活其中,淹没在以前留下的视觉之中,这些唯一使我想起的,仿佛是我从真实中掠夺而来,将其伪造,或者重新使用……塞林尼说:“谎言是梦想发现的破绽。”这就是和我摄影相关的梦幻?或者说得好一点,它们就是一种幻觉?
... on a rainy day, in the morning light, I look back at all these photos I have accumulated - moments a/awakening, split seconds, a slow motion rough cut from a film, which I have been living by proxy, more from outside than inside, swallowed up by a preexisting vision which I could only make mine if I robbed it from reality, falsified it, reinvented it... "The lie is dream caught out," says Celine... Is it dreams that my photographs are about? Or even better, are they hallucinations?
幻觉:一种感知,一种个体的感性体验,和客观事实无关,和正规的常识无关。
幻想:用我父亲的话说,就是“渴望的思想”,希望看到足以令人信服的你所想看到的东西,也许我可以将一个空壳看成是一个灯笼,希望去发现那些隐藏的东西,希望一步一步徘徊向前,目光始终在前方的某一处,是的,我看到了海市蜃楼,我相信奇迹,我和我看到的东西之间得到了回应,一种共鸣,一种已经失落的记忆的再生。是的,眼睛可以在它所看到的东西之前,仿佛一切都是真实的。
Hallucinations: (nf: in Latin hallucinatio) perceptions, individually experienced sensations without the objective, normal conditions in which they become real,
Illusions; "wishful thinking," my father said... wishing to see is enough to believe that you are seeing... and perhaps, yes I do take an empty shell as if it was a lantern... - in order to find what's not obvious, in order to wander step by step, one foot, one eye in front of the other, in the dark when it is broad daylight -yes, I do see mirages, I believe in miracles when I hear an echo between me and what I see, a resonance, the memory of a memory already lost. Yes, the eye hears before it sees... and what if it was true that... "one dreams before contemplating, and that before becoming a conscious vision, every landscape is already an imaginary experience."* Did I dream it before I saw it; the sky full of clouds threatening the hill, there high up, the trace of wind in the barley field, the fear of the child running on the bridge, the swan struck in full flight, its wings spread out, and left on a table, I would have dreamed that death has a face, that the woman walking away has lost her lover, and when I clicked the shutter on nature, petrified at midday, in full sunlight, in absolute silence, alone on the road that leads to Joncquieres... Did I dream...
“一个梦在预期之前出现,在有意识的视觉之前出现,每一片风景都已经是假想的体验。”在我看到以前的确已经梦想到了;飘满云彩的天空正在逼近山丘,麦田里到处是风的痕迹,孩子在桥上奔跑的恐惧,天鹅突然中断了漫长的飞行,它的翅膀已经展开……我曾经梦想到死亡有一张脸,向远方走去的女人失去了她的爱人,当时我就在自然中按下了快门,呆立在中午强烈的阳光下,有着绝对的寂静,唯有孤独的路引导着我的梦境……
是的,我深深记得,我用自己的视觉目光看到了这一切,仿佛在这以前就已经看到了这一切,光线是如此的冷漠,风景则是凝固的——就在这样一个星期天,我出现在这里,我经过这里,我在拍摄,我感知着一切。这一切都是偶然同时发生?
莎拉·穆恩
yet, I do remember, I saw it with my seeing eyes, as if I had already seen it, the light too raw and the landscape frozen - It was a Sunday when I was there, I passed by... I photographed, I know. Coincidences?...
Sarah Moon

和伊隆纳·萨斯奇兹凯的对话
萨:在你的黑白照片中,有一种压倒一切的调性,就仿佛一个人闭上眼睛所看到的一切……而当你使用彩色时,却有另外一种完全不同的感觉,一种局外的,相互之间的跨越——是否你确信世界存在于你自身之外……
穆:我感到黑白是一种自我内省的调性,这是一种无色调的双色调性,它是不确定的,因为这更多的是与感情相关,而不仅仅是一种图像。这可能是一种记忆的调性,其实心灵的矿藏就是一种棕褐色的色调。而彩色更多是慷慨大方的,是一种开放性的语言,是一种共同的语言,是无法转换的,一种和真实相关的语言。因此可以让我和真实离得更近些。
Conversation with Ilona Suschitzky
IS: In your black and white pictures there is an overall tonality that is close to the tone one sees when one's eyes are shut... yet when you use colour, there is a very strong sense of otherness, of the outside, that comes across - as if you were confirming that a world exists outside of yourself...
SM: I feel that black and white has the tonality of introspection, it is a no-colour duotone, it's imprecise because it's more about a feeling than an image. It's probably the tone of memory, mine is definitely a certain sepia. Colour is more generous, it is an open language, it's [lie common language, not yet transposed, the language of the real. In a way it allows me to get closer to the fact.
萨:在这些后期的彩色照片中,我发现叙述性的成分逐渐少了,然而在你早期的时装摄影中,围绕着一个女性的等待过程中,总有一些故事情节,当然这样的故事情节完全不同于传统的对女性的解释。如今,将色彩作为一种图示性的独立的语言结构,你似乎又一次试图挑战传统的女性观念。
IS: In these later colour pictures, 1 find that there are no more narrative references, whereas in your earlier fashion photos there was always a story around a woman waiting, a story that was already quite different than the usual interpretations in the media about women. Now, in using colour as a pictorial device with a language of its own, you seem again to be challenging the traditional representations of a woman.
穆:我以为这是来自不同的需要,去打开另外一扇门,少一点趣味轶事,少一点悲天怜人的伤感,色彩可以帮助完成这一切。这仿佛是一种变得单一化的语言。光线已经改变,我必须以另外的方式取代阴影的位置。
SM: I think it came from a need to be different, to open another door, to be less anecdotal, less sentimental somehow, and colour helped. It is as if the language became simplified. The lighting changed, I could replace shade by dark and light by l^riglu and it dictated another kind of composition...
萨:这样就打开了新的纬度,因为一个人在摄影中所习惯期待的彩色,更多的是真实世界的本身。恰恰相反的是,你的摄影作品扰乱了我们,将我们带入了一种插图式的世界,重新组合了想象中的真实,延续其本身的逻辑空间。
IS: ...which opens up another dimension because one's usual expectation of colour in photography is that it will represent the factual truth of the world. On the contrary, your photographs destabilise us and take us into a pictorial world, reconstituting an imaginary reality, with its own coherent logic.
穆:这是另外一种途径。这和短暂的、稍纵即逝的东西无关,但是关于存在、刺耳、运动,因其不可预知性,我几乎难以将其凝固下来。这是在寻找一种更为抽象的世界,一个我所真正需要的形与色的世界……甚至在一开始,我就决定了宁可选择一种与经典的魅力语言保持距离的空间。这是一种我希望寻找的更为亲密的东西。这是一个吸引我的后台……在一个即将完成的姿态之间,在一个缓慢运动的瞬间……比如,这些女性仿佛在逐渐消失的过程。
SM: It's another approach. It's not about the ephemeral or the fleeting anymore, but about a presence, a stridence, a movement that is so unpredictable that I can hardly pin it down. It's a quest for a more abstract world, a world of shapes and colours that for me really works for fashion... Even in the beginning, I always preferred something that would distance me from the coded language of glamour. It was something more intimate that I was looking for. It was the back stage that interested me... the in-between second before the gesture is complete, a movement in slow motion... like for example, all those women seen from behind walking away.
萨:是的,我看到了你的意图,这是更为抽象,但是这些在逐渐消失的女性,同样唤起了一种即将失去的与生俱来的感觉,一种通过你的照片所得到的回应感,这是一种独一无二的个人信号……
IS: Yes, I see what you mean, it is more abstract, but the women walking away also evoke an inherent sense of imminent loss, a feeling that echoes throughout your photos and it is a uniquely personal signature...
穆:的确所有的照片都是一种目击,不是作为一种留存的档案,就是一种对失去的永恒的记忆。因此这是一种时间和渐渐消失的感觉,因此就会联想到死亡……我同时也相信摄影是一个戏剧化的瞬间,在这样一个瞬间的碎片中,不仅仅是因为它会因我个人的感情而变化,同时也保留了它本身的框架以及相关的联系,这是另外一种虚构,可以是没有故事情节的虚构。
SM: Well any photograpfz is a witness, if not the last record, of a moment that would otherwise be lost forever... therefore this sense of time and loss: therefore this association with death... I also believe that photographing is dramatising a fragment of a second not only because it is charged with my own feeling, but once it is framed out of its own context, it takes place in another fiction, in a fiction with no story.
萨:我在你所有的作品中都感受到了这一点,每一个瞬间,每一秒,情感都会因为时间所带来的变化而发生感应。甚至你以独特方式所呈现的物质性世界,也会因为光线的原因使人感到已经消失了……包括颤抖中的风景。我感到这时候如果我闭上眼睛一秒钟,仿佛世界因此就会消失,或者变得更为恶劣,甚至我也会消失。这是我自身飘逝的图像……
IS: I sense this in all your work because every moment, every second, feels threatened by the changes that time brings. Even the way you present the materiality of the world, which is lit as if the light on it has already gone... even the landscapes tremble. I feel as though the world will disappear if I dare shut my eyes for a second, or worse, that I could disappear; it is a picture of my own fleeting...
穆:这也是其它人的照片感动我的原因。一种短暂易逝的情感,尤其是一些不知名的业余爱好者拍摄的照片,所讲述的是一个既没有开头也没有结尾的故事,但是这里面有它自己的旋律,你在以前是从未听到过的。或者仅仅是匆匆的一瞥,却是值得纪念的不会再发生的什么事情。
SM: That is exactly what moves me in other people's photo-graphs... the feeling of the ephemeral, especially in those faded amateur photographs where the photo is part of a story with no beginning or ending, but which has its own music that you know without having ever listened to it... and in a glimpse it becomes a souvenir of something that will never happen again.
萨:这几乎是一个对立面,这就是摄影的观念和短暂的瞬间。是否可以这样说,拍摄照片就是为了证明你的存在?
IS: It's almost a contradiction... this idea of photography and the fleeting moment. Isn't the idea of taking a photograph to prove that you are there?
穆:一张照片中就是一种证据和消失,事实是,我在5月15日的上午10时,按下了快门,这已经就是一种纪念,就上我所喜欢的客观现实,已经被时间所抹去。
SM: There is proof and disappearance in a photograph - it's a fact, I am here on the 15th of May at 10:00 a.m. and I click [he shutter... it's already a souvenir, plus I like the fact that it erases with time.
萨:你是否想过,照片表面乳剂的涂抹和擦痕也属于消失过程的一个组成部分,它们同样也会使摄影的瞬间变得更为脆弱,甚至更为短暂。
IS: Do you ever think of the emulsion's marks and scratches as the part of the process of disappearance, that they also make the moment of the photograph more vulnerable... even more ephemeral?
穆:这非常有趣,在法语中“朝生暮死”(ephemeral)一词同样是蝴蝶的命名,因为它的生命非常短暂,在不断的变换过程中,流逝中,整个过程就是拍打着翅膀飞行。在英语中是否也有这样的双重意味?是的,我就是喜欢摄影的脆弱性和它的真实性,在波拉照片上面的痕迹,就是一种时间的标志和分解。威胁已经留在框架里了。我也喜欢摄影是如此的不确定性,不管我在上面花费多少时间,当我看到立刻显影的满意效果时,画面中只是我先前精确的一秒,过去的一瞥而已。
SM: It's funny, in French ephemeral is also the name of the butterfly which lives for only one day and its translation, fleeting... has the beat of wings in it, maybe because of flying. Does it also have that double meaning in English? Yes I like that photography is vulnerable and it is true, the traces that often are on the Polaroid are already marks of time and decomposition. The threat of it is already written in the frame. I also like that photographing is so fugitive however much time I spend on it... when I succeed, it is as though in that precise second I just looked back - a last glance...
萨:你的照片在剥离之前,已经是过去的一个瞬间,它将我带回到你的黑白照片之中。我尤其感兴趣的是你使用白色的效果。实际上你非常吝啬高光,而且也不是真正的白色,但是是一种不透明的、发光的特性,胜过任何色彩。你仿佛赋予白色以超自然的特性,你仿佛将其当作阴影和黑色来使用,以一种几乎令人目眩的方式,隐藏了事物。
IS: Your photographs really are about that very last moment before separation... which takes me back to your black and white photos. I am especially intrigued by the way you use whites. Actually you light very sparingly and it never is really white, but a kind of opaque, luminous material rather than a colour as such. You seem to understand white as if it were a metaphysical substance - and you use it as if it were shadow and darkness - to conceal things in an almost blinding way.
穆:我一直说,我在寻找阴影中的光线。
萨:那些散射的光线经常出现在你的照片中,尽管你的白色和黑色相遇在神秘消失的那一点上,在那里实际上类同于没有光线或者是虚无的价值,哪怕甚至这只是一种外在的选择,却是心理上的,是一种真正的情感的炼金术。
. SM: I always say I am looking for the light of the shadow....
IS: That diffused light is often in your pictures... It is as though your whites and blacks meet in that mysterious vanishing point where they are reduced to exactly the same value of no light and a kind of nothingness, so that even if it is a formal choice, it works psychologically - it really feels alchemical.
穆:当然我做出外在的选择,当时我宁可在做出选择之前让无意识引导自己,我就是喜欢摄影带给我的这样的不确定性,比如,不要有任何的观念:为什么我会让人手上抱着一只鹅,然后发出尖叫。也许最适合我的是,在这一秒钟里我无法确定任何事,而下一秒钟又会取消一切。有时候甚至连我也无法确信我所看到了什么。对于我来说,有一个很大的优势,让我处于一种茫然的状态,以我的本能取代我的思想。也许让我不断向前的过程要比寻求结果更为重要,一直处于困惑之中。
SM: Of course I make formal choices but I prefer to feel my unconscious leading me before my will interferes, and I like that photography allows me to be uncertain and for example, to have no idea why I might ask someone to hold a goose in their arms and then to scream as well. Maybe what suits me is that within that second I can't affirm anything as the next one can cancel it all. Sometimes I am not even sure ofwJiat I have seen. For me, it is an enormous advantage to allow myself to be vague and to move l)y instinct rather than thought. I find it hard to be too precise, too definite... I like to go on searching, maybe it's the quest more than the ending that keeps me going... the obsession...
萨:这是一个难以捉摸的寻求过程。一个探索者在同一时间里,眼睛既是睁开的,又是闭着的。你是否在拍摄照片的同时,心里已经有了一张画面?
IS: It's a strange quest... one searches with one's eyes open and shut at the same time. Have you ever come to the picture with the picture already in your mind?
穆:我不可能事先从视觉上感受到一张照片,甚至当我已经完成拍摄后,我还会考虑很多,但是这只是一种动机,而非具体有形的,也就是说你没有看到真实的存在,实际上你也不可能看到什么。只有照片才能揭示你曾经在头脑中的东西,因为照片发现了它,这是一种回应。
SM: I can't pre-visualise a picture, even if I have to make it up, I think about it a lot but it's mobile and not concrete, it's as if you can't see it, if you don't see it for real. Only the picture can reveal what you have in your head because the picture is the discovery of it... It's an echo.
萨:严格地说,就是你的照片如何对我产生启发,作为一种回应,通过你内心的流动的情感,点亮了我的记忆。我所爱的就是在哪一个瞬间,我已经拥有了这样的共鸣,我感受到了还有另外的可能。
IS: And that is exactly how your photographs are revealed to me... as an echo that moves through my mind like quicksilver lighting up my memory... and what I love is that the moment I think I've got hold of their resonance, I realise that there are still other possibilities...
穆:就像是海上的漂流瓶,流动着信息。
SM: It's just like a bottle in the sea really - a floating message...


Conversation with Claude Eveno
和克劳德·伊夫诺的对话
伊:在你大部分的照片中,身体裸露的非常多,甚至脸也是有擦痕的。
CE: In most of your photographs, the body bares a lot, even the faces seem to be corroding.
穆:这和时间相关,和退化相关,也和朝生暮死相关。这是一种和美丽相关的观念,就像是果实中已经存在的蠕虫。我确实很喜欢这样的一种定义,照片的表面是很敏感和脆弱的,仿佛它本身就在一点一点存活着和摧毁着自己。
SM: It relates to time, degradation, the ephemeral, ..it is the idea of beauty with the worm already inside the fruit. Pellicola in Italian means little skin... I really like this definition, the photo surface is as sensitive and fragile as if it was alive and des-troying itself little by little.
伊:就如同哲人所说,表面隐藏着深度。
CE: Hoffmansthal said that it is the surface that hides the depth.
穆:这是对摄影很好的定义,我越来越多地无法将腐朽或是死亡从任何事物中分离出来。在随时的捕捉和以其他的方式将其保留下来的过程中,你就释放出了死亡中的生命。从某种意义上说这是更接近于肉体和灵魂的故事。可以说是肉体,或者是捕捉的消失的事件,但是灵魂就在其中,摄影就是所有瞬间的灵魂,一个人的灵魂就在你的面前结束。
SM: It is a good definition for photography, more and more I can't dissociate it from anything that says deterioration or death. In capturing the instant and making it exist in another way, you are releasing the life of the death. It is close to the body and soul story somehow. One could say that the body, or the event disappears as it is cauglit, but the soul remains and photography is the soul of all instants, the soul of the one that just ended in front of you.
伊:死亡在你的照片中以不同的方式呈现。你所拍摄的花园就是这样的主题。是残余的灵魂,是生命的轨迹,但是,当这是一片风景时,这就是一种情感的自然的死亡。这些风景是无穷尽的忧郁症。它们无法唤起生命。
CE: Death is present in different ways in your pictures. When you photograph gardens it is in these terms; the remaining soul, the trace of life, but, when it is landscape it is raw death that one feels. These landscapes are endlessly melancholic. They don't evoke the living.
穆:我常有一种感觉,自然已经被风化了。我不知道为什么,尤其是在夏天的中午,光线是如此的苍白和沉重,一切好像变成了固体,变成永恒。在冬天也一样,因为是树和它们的骨架。但是甚至当乡村的风景也是独特的,我总是能发现一些凝固的东西。我在拍摄照片时,就变成了石头。
SM: I often have the impression that nature is petrified. I don't know why... especially in summer at noon when the light is so white and heavy, everything becomes solid and immutable. It's the same in winter because of the trees and their skeleton but even when the countryside is picturesque, I always find something frozen. It becomes stone when I take the picture.

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