超级资料——杰夫.沃尔JEFF WALL (不断整理更新中)
发起人:嘿乐乐  回复数:23   浏览数:13744   最后更新:2010/12/15 01:04:14 by ARTzhenzhen
[楼主] 嘿乐乐 2006-03-03 03:21:58
拿著相机说故事的人——杰夫.沃尔

文/王焜生


《Milk》.透明灯箱.187x229cm.1994。 (王焜生)


《Tattoos and Shadows》.195.5x255cm.2002。 (王焜生)


An Octobus》.182x229cm.1990。 (王焜生)


《After ”Invisible Man” by Ralph Ellison, the Preface》.229x352.5cm. 1999-2000,2001冲洗完成。 (王焜生)


美国小说家艾利森(Ralph Ellison, 1914-1994)於1952年出版了《隐形人》(Invisible Man)一书,揭发了美国黑人在白人文化中被歧视,生存的价值被主流文化所淹没。2002年艺术家杰夫.沃尔(Jeff Wall)以此小说的精神为题材所创作的《开端,艾利森的「隐形人」之後》(After Invisible Man” by Ralph Ellison, the Preface)於德国卡塞尔第11届文件展中出现。虽然只是一张简单的摄影图片,却无声胜有声的道尽种族歧视的问题,即使小说被誉为世纪之书、即使社会大声疾呼仍然改变不了黑人在西方世界的命运。

《开端,艾利森的「隐形人」之後》的画面是一个独自坐在地下室的黑人,房间内有1369个电灯泡将阴暗的室内照得通明而温暖,但是观众却感受不到一丝丝的欢娱,反而是席卷而来的孤独与落寞。照片中的人物以异乎寻常的光线说服自己的存在事实,这是一种心理的安慰作用,藉以抵销现实生活的挫败与不安。

杰夫.沃尔就是这么一个以摄影来说故事的人。

现代生活的画师

艺术史的背景让沃尔不断思索什么样的创作才能真正贴近当今生活的型态,并且充分表现艺术的特色。虽然自1960年代末期他便开始摄影的创作,但是一直到1978年开始,他选择使用灯箱的特殊光线效果让摄影作品出现更具张力的视觉映像,同时将摄影以如同底片的透光方式,让图片透露戏剧的效果。1991年後,因著摄影器材的更新,他开始运用数位摄影科技创作具有全景效果的图像,并取材艺术史中的名作以摄影的方式重新演绎。

《疾风》(A Sudden Gust of Wind)灵感来自於日本浮世绘大师葛饰北斋《富岳36景》其中的一幅作品。画中的农夫被沃尔以一些上班族装扮的人物取代,地点则转换到美国与墨西哥边界的提华纳(Tijuana)小镇的郊区,画中河流蜿蜒宛如旧时农村社会,但是人物却是西装与公事包的现代打扮。一阵疾风将公事包内的文件吹起,一张张的白纸在空中飞舞,其他人则抱头屈膝躲避强风的侵袭。

我们会质问,这样的场景如何让艺术家能够轻易接触,并且还来得及按下快门?其实,沃尔大部份的作品都经过精心的设计,不论地点、时间、光线,或是其中人物。更具体的说,这是特别邀请演员演出的一场戏剧,然後由艺术家以摄影机代替电影的摄影镜头所捕捉的故事一景,因此每张图片都有如电影的单格画面,每个细节都已经设计过了。因此,沃尔作品中所出现的某一刹那虽然都是生活现实的取样,但是绝非在自然发生的情况下被艺术家捕捉到当下的一刻,艺术家将这某个特殊的时刻安排後再以摄影机拍摄下来。如果单纯称杰夫.沃尔的作品为摄影,倒不如以「电影摄影」(cinematography)来称呼其实更为贴切。


沃尔的题材选择都会包含暴力、贫穷、种族、性别以及社会阶级等问题,历史与记忆的再现也在他的作品中经常出现。他不仅仅是透过摄影机来代替艺术家陈述对社会种种现象的看法,但不热衷於实况的转播,而是集中心力将某一个关键点透过特殊的安排重现在摄影机之前,他要记录的是某一个时刻的现象与背後的种种问题,而不是将自己当作是社会新闻的摄影记者。由於这一层转换,沃尔的作品跳脱了摄影报导的范畴而进入艺术创作的领域里,作品除了社会意识的陈述之外还包含了属於绘画、摄影等创作的基本精神。

因为沃尔的创作方式不同於一般的摄影家,20多年来他的作品总数约只有120件左右。

1978-2004作品回顾

《作为一位影像摄影家,沃尔将摄影的意义扩大并且延伸了艺术创作的精神语汇。由瑞士巴塞尔Schaulager(字面意思为表演仓库)美术馆馆长费雪(Theodora Vischer)与艺术家杰夫.沃尔共同筹画的展览,由120件作品中选择了约70件依据主题分类在不同的命题下展出。透过这样主题式的安排,使得沃尔的作品呈现更强的戏剧效果,即使是一个没有人物的静谧午後阳光画面,都透露出诉说不完的故事。

所有的作品都以大型的透明灯箱装置,观众在欣赏这些作品的同时犹如驻足在每一个电影画面之前看著定格的画面,想像著故事的进行。

巴塞尔的展出结束之後,展览将移至英国伦敦的泰德现代画廊展出。

[沙发:1楼] 嘿乐乐 2006-03-03 03:32:37
杰夫.沃尔(Jeff Wall)简历



1946 出生於加拿大温哥华

1969 第一次作品展出

个展 (节选)

2002 曼彻斯特城市画廊(Manchester City Art Gallery)

2003 维也纳当代美术馆(Moderner Kunst Stiftung Ludwig, MUMOK, Wien)

2004 奥斯陆现代美术馆(Astrup Fearnley Museet, Oslo)

联展 (节选)

1982 第七届卡塞尔文件展

1987 第八届卡塞尔文件展

1997 第十届卡塞尔文件展

2002 第11届卡塞尔文件展

2004 上海双年展

杰夫.沃尔——1978-2004

展地◎瑞士巴塞尔Schaulger美术馆
[板凳:2楼] 嘿乐乐 2006-03-03 03:34:17


This major retrospective of the work of Canadian photographer Jeff Wall brings together over fifty stunning works produced between the late 1970s and the present day, providing an overview of his entire career. Wall has exhibited his photographs internationally for the twenty-five years and is one of the most intriguing and influential artists working today. He has also played a key role in establishing photography as a contemporary art form.

Included are iconic works like A Sudden Gust of Wind 1993, Milk 1984 and Trân Duc Van 1988–2003, as well as lesser-known photographs which have rarely been exhibited in this country. Developed in close collaboration with the artist, this is the most comprehensive survey of his fascinating career to date, to take place in the UK.

The exhibition was created by Schaulager Basel in collaboration with Tate Modern, London. The London exhibition was curated in collaboration with Jeff Wall by Sheena Wagstaff, Chief Curator, Tate Modern, and Vincent Honore, Assistant Curator, Tate Modern



Young Workers 1978/1983
8 transparencies in lightboxes,
each 1015 x 1015 mm
Emanuel Hoffmann Foundation, on permanent loan to the Öffentliche Kunstsammlung Basel, © The artist
Cinematographic photograph


Wall is best known for his large-scale colour transparencies, mounted in wall-hung light boxes which combine the seductive glow of a cinema screen with the physical presence of sculpture. Wall's works are typified by two approaches, which he characterises as either cinematographic or documentary. For his innovative mise-en-scenes, Wall has pioneered state-of-the-art film and digital techniques to compose meticulously staged scenes. At first glance they often appear to be snapshots but, on closer inspection, the multi-layered content sometimes seems too bizarre or complex to be real. Wall draws upon a myriad of references from art history, particularly nineteenth century painting. His A Picture for Women 1979 directly references Edouard Manet's Un Bar aux Folies-Bergere whilst the iconic A Sudden Gust of Wind (After Hokusai) 1993 pays homage to Hokusai's exquisite Japanese print. Wall also draws upon cinematic techniques by using actors as protagonists, artificial lighting, staged compositions, and a narrative technique which leads you to contemplate the unseen events leading to the moment depicted. These stunning depictions of urban life tell stories about people, their habitat and the everyday yet enigmatic way they interact.
[地板:3楼] 嘿乐乐 2006-03-03 03:38:41
Works in Focus – Introduction

Jeff Wall has played a key role in establishing photography as a contemporary art form. His innovative approach, characterised by large-scale photographic tableaux mounted in lightboxes, marked a radical new development in twentieth-century photography. Bringing together more than forty key works from the late 1970s to the present day, this exhibition is the most comprehensive survey of his work to date.

The traditional claim that photography represents 'truth' is highly contested, and it is this interface between truth and fiction, actuality and fantasy that Wall has chosen to explore. 'I thought at the very beginning that all my different directions would all be connected by means of working with that truth claim. But never in the same way,' he has commented.

Wall describes his photographs as being either 'cinematographic' or 'documentary'. The former are made in collaboration with performers, often involving sets, costumes and the kind of techniques normally associated with film production. The latter are straight photographs, and don't involve such artifice. While some of the cinematographic pictures are purely imaginary Dead Troops Talk, for example, in which a group of soldiers come to life and converse with each other – many occupy a middle ground between fiction and reality, being reconstructions of events the artist has actually witnessed. He refers to these reconstructions as 'near documentary' pictures.

Casting himself as a photographer of the modern world, Wall captures scenes of contemporary everyday life. But while many of his pictures convey notions of reportage and social observation, they avoid moral certitudes, remaining open and enigmatic. In the same way, though each picture appears to encapsulate a pivotal moment, it is left to the viewer to explore its potential narratives.

This invitation to the viewer extends to the way we physically respond to the works. Many of Wall's pictures are scaled to the human body – we could almost step into the frame - while the lightbox itself, as a three dimensional object, helps to activate the onlooker's relationship to the image and to the space in which it is displayed.

Jeff Wall was born in 1946, in Vancouver, Canada, a city where he continues to live and work.

[url]http://www.tate.org.uk/modern/exhibitions/jeffwall/infocus/default.shtm


The Destroyed Room 1978
Transparency in lightbox 1590 x 2340 mm
National Gallery of Canada, Ottawa. Purchased 1988
Cinematographic photograph
© The artist


Eugene Delacroix The Death of Sardanapalus 1827
Oil on canvas
Photo RMN - © Herve Lewandowski, Paris, musee du Louvre

'My first pictures like The Destroyed Room emerged from a re-encounter with nineteenth-century art', Wall has said. Here, the work in question is The Death of Sardanapalus by Eugene Delacroix, which depicts the Assyrian monarch on his deathbed, commanding the destruction of his possessions and slaughter of his concubines in a last act of defiance against invading armies.

Wall echoes Delacroix's composition, with its central sweeping diagonal and sumptuous palette of blood reds, while acknowledging its staged atmosphere by re-composing the scene as a roughly fabricated stage-set, absent of any players. 'Through the door you can see that it's only a set held up by supports, that this is not a real space, this is no-one's house,' he has commented. Though clearly a woman's bedroom, the cause of the violence is unexplained, leaving the viewer to speculate on the sequence of events.





The strong diagonals in this image reference Delacroix's painting The Death of Sardanapalus (1827). The violent tear in the mattress is echoed in the struts supporting the set itself, and here, in the triangular shape of a high-heeled shoe.


[url]http://www.tate.org.uk/modern/exhibitions/jeffwall/infocus/section1/img1.shtm
[4楼] 嘿乐乐 2006-03-03 07:03:22




Picture for Women 1979
Transparency in lightbox 1425 x 2045 mm
Collection of the artist. Courtesy Marian Goodman Gallery, New York
Cinematographic photograph
© The artist



Picture for Women was inspired by Edouard Manet's masterpiece A Bar at the Folies-Bergeres (1881-82). In Manet's painting, a barmaid gazes out of frame, observed by a shadowy male figure. The whole scene appears to be reflected in the mirror behind the bar, creating a complex web of viewpoints. Wall borrows the internal structure of the painting, and motifs such as the light bulbs that give it spatial depth. The figures are similarly reflected in a mirror and the woman has the absorbed gaze and posture of Manet's barmaid, while the man is the artist himself. Though issues of the male gaze, particularly the power relationship between male artist and female model, and the viewer's role as onlooker, are implicit in Manet's painting, Wall updates the theme by positioning the camera at the centre of the work, so that it captures the act of making the image (the scene reflected in the mirror) and at the same time, looks straight out at us.

The seam running down the middle of the photograph is apparent in some of Wall's large-scale pictures, where two pieces of transparency are joined. The fact that it serves as a reminder of the artifice of picture making is something that Wall has come to appreciate: 'The join between the two pictures brings your eye up to the surface again and creates a dialectic that I always enjoyed and learned from painting... a dialectic between depth and flatness. Sometimes I hide it, sometimes I don't, he has said.



Detail from
Picture for Women 1979

The traditional power relationship, in which the male artist's gaze is focused, voyeuristically, upon the female model, is complicated here by the positioning of the mirror. The man (Wall himself) is looking at the back of the woman, while she observes him (and herself) via the mirror. The centrality of the camera adds another layer, its lens encompassing the whole reflected scene, while also seeming to aim straight out at the viewer.


Detail from Picture for Women 1979

The size of the transparencies means that they must be made in two parts with a seam splitting the image in two. Here Wall has integrated this seam into the work. It falls in the middle of the image directly through the centre of the camera's lens.


Detail from Picture for Women 1979

This is one of only two self-portraits that Wall has produced, the other being Double Self-Portrait 1979.


Double Self-Portrait 1979.
Cibachrome transparencies in lightbox.
64 9/16 X 85 13/16 in. (163.9 X 217.9cm).
Collection Art Gallery of Ontario. Toronto Purchase, 1982.


[url]http://www.tate.org.uk/modern/exhibitions/jeffwall/infocus/section1/img2.shtm
[5楼] 嘿乐乐 2006-03-03 07:07:11




Steves Farm, Stevenson 1980
Transparency in lightbox. 580 x 2286 mm
FRAC Nord - Pas-de-Calais, Dunkerque, France.
Documentary photograph
© The artist

Here, in his first documentary photograph, Wall chooses a location he knows well, on the fringes of his home city of Vancouver. The scale of the work evokes traditional landscape painting. The familiar device of the sweeping pathway leading to the horizon enhances this effect, while the tiny figure on the path underlines the openness of the landscape. However, the elements that make up the scene - a scattering of suburban housing, a few farmyard animals and an expanse of bare, scrubby track - are a far cry from idealised visions of pastoral landscape. Wall often selects these transitional environments, where urban life meets nature. 'I make landscapes, or cityscapes as the case may be, to study the process of settlement as well as to work out for myself what the kind of picture (or photograph) we call "landscape" is' he has explained.




Details from Steves Farm, Stevenson 1980

Wall's landscape photography often explores the relationship between nature, industrialisation and progress. Here, in one image, two categories of housing stock are captured: traditional style farm buildings and a new housing estate.


Detail from Steves Farm, Stevenson 1980

Small details draw the eye into the depths of the picture. The tiny figure is Steve himself, depicted in the centre of the two worlds, the landowner and developer poised between nature and progress.

[url]http://www.tate.org.uk/modern/exhibitions/jeffwall/infocus/section1/img3.shtm


Room 2
In these panoramic images, all documentary pictures, Wall studies the relation of modern forms of settlement to the natural environment.


The Bridge 1980
Transparency in lightbox 605 x 2285 mm
Friedrich Christian Flick Collection
Documentary photograph
© The artist


The Old Prison 1987
Transparency in lightbox 70 x 2285 mm
Collection Jörg Johnen
Documentary photograph
© The artist




Steve’s Farm, Steveston 1980
While the two works in the previous room were carefully staged, here, in his first documentary photograph, Wall chooses a location he knows well, on the fringes of his home city of Vancouver. The scale of the work evokes traditional landscape painting. The familiar device of the sweeping pathway leading to the horizon enhances this effect, while the tiny figure on the path underlines the openness of the landscape. However, the elements that make up the scene – a scattering of suburban housing, a few farmyard animals and an expanse of bare, scrubby track – are a far cry from idealised visions of pastoral landscape. Wall often selects these transitional environments, where urban life meets nature. 'I make landscapes, or cityscapes as the case may be, to study the process of settlement as well as to work out for myself what the kind of picture (or photograph) we call "landscape" is', he has explained.



Steves Farm, Steveston 1980
Transparency in lightbox 580 x 2286 mm
Frac Nord–Pas de Calais, Dunkerque, France
Documentary photograph
© The artist

[url]http://www.tate.org.uk/modern/exhibitions/jeffwall/rooms/room2.shtm
[6楼] 嘿乐乐 2006-03-03 07:16:31




Mimic 1982
Transparency in lightbox 1980 x 2286 mm
Courtesy of the Ydessa Hendeles Art Foundation, Toronto
Cinematographic photograph
© The artist


Detail from Mimic 1982

Wall owns a studio in one of the oldest neighbourhoods of Vancouver, now a ghetto for the disaffected, indigent, sick or addicted, where barely repressed social or ethnic conflicts periodically erupt. Amongst those in the area are a small population of immigrant workers, the majority being of Asian origin.


Detail from Mimic 1982

Most of Wall's street pictures are based on everyday situations that he has witnessed at first hand. He is particularly interested in what he calls 'micro-gestures': gestures that seem automatic or compulsive, and which are at the same time emblematic of tensions within society.

'The gesture was so small. I was interested in the... physical mimesis. The white man was copying the Asian's body. Mimesis is one of the original gestures of art.' - Jeff Wall


Detail from Mimic 1982

'I think that the stranger, someone I don't know – or, to generalise, someone we don'’t know – is himself or herself, a source, a figure of the enigmatic.' - Jeff Wall

[url]http://www.tate.org.uk/modern/exhibitions/jeffwall/infocus/section1/img4.shtm
[7楼] 嘿乐乐 2006-03-03 07:18:29



Milk 1984
Transparency in lightbox 1870 x 2290 mm
Collection FRAC Champagne–Ardenne, Reims
Cinematographic photograph
© The artist
Milk is another depiction of a socially charged subject. 'Suffering and dispossession remain at the centre of social experience', Wall has commented. The explosive burst of liquid is emblematic of the man's frame of mind, but what might have provoked such extreme emotion is not revealed, a state of ambiguity that ensures the work cannot be understood as moral commentary. The process of reconstructing an event allows Wall the freedom to reinvent the composition. He often relocates the action to a different setting, a place chosen for its formal or pictorial qualities, as the case here. The grid-like order of the brick wall background, and strong vertical bands that stripe the left side of the image contrast sharply with the tension in the man's arms and the uncontrolled arc of milk.


Detail from Milk 1984

'I think that every figure I have made is filled with suppressed emotion, which isn't allowed to be seen directly.' - Jeff Wall

[url]http://www.tate.org.uk/modern/exhibitions/jeffwall/infocus/section1/img5.shtm
[8楼] 嘿乐乐 2006-03-03 07:23:12



The Storyteller 1986
Transparency in lightbox 2290 x 4370 mm
Museum fur Moderne Kunst, Frankfurt am Main
Cinematographic photograph
© The artist

The image of the storyteller – the woman at the bottom left hand corner – is one that Wall has said can express the historical crisis of the Native peoples of Canada, whose traditions of oral history have been eroded by modern life. Though social commentary clearly features in the work, the image remains open to interpretation: 'I like the fact that when you really look at the world, conceptual oppositions collapse, or become much more complex. You realise that the concrete overpasses are neither majestic sculptures nor hideous, oppressive monoliths. They're just spaces that we experience in different ways,' he has said.

In this, one of his most iconic works, Wall poses a group of people in a place that is normally overlooked. The composition evokes Manet's Dejeuner sur l'herbe (1863), in which Manet depicts a group of Parisians picnicking in a leafy glade, an image that, with its portrayal of a naked woman sitting with two fully clothed men in modern dress, was at the time deeply shocking. Like Manet, Wall takes on the role of the observer of modern life with a radical reinterpretation of the classical pastoral scene.


Detail from The Storyteller 1986


Storytelling is a major theme in Wall's work. Many of his pictures imply a narrative, but leave it open-ended, allowing the viewer to make the imaginative leap to completion.

'The 'figura' of the storyteller is an archaism, a social type which has lost its function as a result of the technological transformations of literacy… such ruined figures embody essential elements of historical memory, the memory of values excluded by capitalist progress and seemingly forgotten by everyone.' - Jeff Wall


Detail from The Storyteller 1986

A stretch of urban wasteland under a motorway is punctuated by a golden patch of foliage. The man-made and the natural are present in the image, but are not intended to be oppositional. Wall has described this encounter as:

'...a gathering of natural forms – the figures, the planting, and the beautiful hull-like underside of the overpass.' - Jeff Wall


Detail from The Storyteller 1986

A lone figure is excluded from the storytelling and distanced by being placed against the concrete hull of the bridge, rather than amidst the trees like the others.




Details from The Storyteller 1986

The way in which Wall references iconic paintings from art history is seen here in the poses and positioning of some of the figures. Manet’s Dejeuner sur l'herbe (1863) was one of the sources for both The Storyteller and the later work Tattoos and Shadows.


Edouard Manet Dejeuner sur l'Herbe 1863
Oil on canvas
© Samuel Courtauld Trust, Courtauld Institute of Art Gallery


Tattoos and Shadows
Transparency in lightbox 1955 x 2550 mm
Courtesy the artist. Cinematographic photograph
© The artist
[9楼] 嘿乐乐 2006-03-03 07:25:53



Jeff Wall
Trân Duc Van 1988/2003
Transparency in lightbox 2900 x 2290 mm
Carnegie Museum of Art, Pittsburgh; A.W. Mellon Acquisition Endowment Fund and Gift of Milton Fine
Cinematographic photograph
© The artist


Many of the photographs that Wall made during the 1980s begin by looking at the economic dialogues and conflicts of the era, presenting aspects of an unfolding social crisis. Trân Duc Van is a Vietnamese name that could be that of the main figure depicted. Leaning against the tree, he seems to be looking up at the sky, as if caught in a reverie, unnoticed. There is no communication between the two figures in this scene, and oppositions of race and class are alluded to.


Detail from Trân Duc Van 1988/2003

Wall has referred to his images of the disaffected in gritty urban surroundings as 'the poems I was writing at the time'. The narrative potential of such images is left open-ended, leaving the viewer to form their own conclusions.

'A figure represented in an image remains an enigma...' - Jeff Wall


details from 1988 and 2003 versions of Trân Duc Van


In 2003, Wall decided to digitally remake this image, ordering that the original transparency from 1988, which had featured two young people walking past be replaced by this one containing a single passer by. This reduction from three figures in the photograph to just two, each of whom appears to be wrapped in their own world, creates a sharper opposition between the two.


[url]http://www.tate.org.uk/modern/exhibitions/jeffwall/infocus/section2/img2.shtm
[10楼] 嘿乐乐 2006-03-03 07:28:28

Some Beans 1990 (left)
Transparency in lightbox 1820 x 2290 mm
Goetz Collection, Munich
Cinematographic photograph
© The artist


An Octopus 1990 (right)
Transparency in lightbox 1820 x 2290 mm
Collection Fondation Cartier pour l'art contemporain, Paris
Cinematographic photograph
© The artist


These two images are identical except for the pile of beans in one of them and the octopus in the other. The strong lighting and deep shadows create a mood of privacy, even secrecy, accentuated by the setting, which appears to be a cellar. Both beans and octopus seem out of place on the worn and mismatched tables. A pair of pictures naturally invites comparison, but here the rules for doing so are left undefined. Wall considers these works to mark a new direction, one that allows for greater uncertainty in the meanings of his pictures.


Detail from Some Beans 1990

Detail from An Octopus 1990

The beans, like the octopus, are the kind of foodstuffs that would be found in seventeenth-century Spanish still life painting. Such works typically presented simplified compositions that were valued for their extraordinary architectonic order, and exploration of the play of light and shadow.

[url]http://www.tate.org.uk/modern/exhibitions/jeffwall/infocus/section2/img4and5.shtm
[11楼] 嘿乐乐 2006-03-03 07:33:27

A ventriloquist at a birthday party in October 1947 1990
Transparency in lightbox 2290 x 3520 mm
Collection of the artist. Courtesy Marian Goodman Gallery, New York
Cinematographic photograph
© The artist

This unsettling image replays a familiar Wall motif: that of the storyteller. But what are the stories being told by the ventriloquist and her dummy? A sense of constriction and claustrophobia is created by the unusual viewpoint, showing the low ceiling and trapped balloons, and by the tiny windows, and details such as the box for the dummy with its strait-jacket arrangement of buckles. The solemn expressions of the children and their over-formal dress add to an air of disquiet that suggests that this is not the province of happy endings.


The dummy is dressed in the jacket of a Second World War veteran, complete with medals.


Wall merges realism with fantasy in his work: the feet of the dummy and its operator are inseparable and confused.



Jean-Antoine Houdon (right)
Bust of Voltaire 1778
© Voltaire Institute and Museum / BPU –

Compare with Houdon’s Bust of Voltaire.

[url]http://www.tate.org.uk/modern/exhibitions/jeffwall/infocus/section2/img6.shtm
[12楼] 嘿乐乐 2006-03-03 07:41:14



Dead Troops Talk (A vision after an ambush of a Red Army patrol, near Moqor, Afghanistan, winter 1986) 1992
Transparency in lightbox 2290 x 4170 mm
Mr. David Pincus
Cinematographic photograph
© The artist


In Dead Troops Talk, Wall merges conventions from war and horror movies with those of the history painting of previous eras to create an elaborate, grotesque fiction. The picture presents a hallucinatory scene in which soldiers who have just been killed on the battlefield are re-animated, engaging with each other in what the artist describes as a 'dialogue of the dead'. As the title indicates, the troops are a Soviet patrol ambushed in Afghanistan during the war and occupation of the 1980s. Each figure or group seems to respond differently to the experience of death and reanimation. The three soldiers clowning with their own wounds provide a note of macabre levity. Wall has suggested that their black humour is as plausible a reaction to their circumstances as the more serious or distressed responses of their comrades. As carefully constructed as a film or epic painting, the work was shot in a large temporary studio, involving performers and costume, special effects and make-up professionals. The figures were photographed separately or in small groups and the final image was assembled as a digital montage.


Detail from Dead Troops Talk (A vision after an ambush of a Red Army patrol, near Moqor, Afghanistan, winter 1986) 1992

'The young boy, whose head is blown open and has lost his hands, is in a way the central figure, and he is saying something that he feels is urgent to the older captain but because the captain’s dead too, he's also moved into another dimension, one in which he doesn't have to answer. There's no urgency – he's contemplating this boy's questioning nature, or contemplating the urgency itself, who knows.' - Jeff Wall


Detail from Dead Troops Talk (A vision after an ambush of a Red Army patrol, near Moqor, Afghanistan, winter 1986) 1992


'I wanted to involve an element of levity, but without comedy... In any group of thirteen men, three at least are going to be complete fools. So it's likely they would remain fools even after death. On the other hand, maybe they weren't fools before, and only became so once they were killed.' - Jeff Wall


Above and below: details from Dead Troops Talk
(A vision after an ambush of a Red Army patrol, near Moqor, Afghanistan, winter 1986) 1992




Wall used computer technology to create this picture. It is made of hundreds of individual transparencies, taken over a period of months, and placed together in a digital montage.

'I've been able to experiment with a new range of subjects or types of picture that weren't really possible for me before. This technology has made available the picturing of possible worlds, parallel or imaginary universes...I have always considered my work to be a mimesis of the effects of cinema and of painting (at least traditional painting), and so the fictional, formal and poetic part of it has always been very important.' - Jeff Wall

[url]http://www.tate.org.uk/modern/exhibitions/jeffwall/infocus/section3/img1.shtm
[13楼] 嘿乐乐 2006-03-03 08:16:00



A Sudden Gust of Wind (after Hokusai) 1993
Transparency in lightbox. 2500 x 3970 mm
Tate. Purchased with assistance from the Patrons of New Art through the Tate Gallery Foundation and from the National Art Collections Fund 1995
Cinematographic photograph
© The artist


This work is one of Wall's earliest digital montages. It refers directly to a woodblock print by Japanese artist Katsushika Hokusai. Wall transposes the nineteenth-century Japanese scene to a contemporary cranberry farm near Vancouver. Amateur actors play the odd assortment of rural and city characters, surprised by the forces of nature. It required over 100 photographs, taken over the course of more than a year, to achieve a seamless montage that gives the illusion of capturing a real moment in time.


Detail from A Sudden Gust of Wind (after Hokusai) 1993


This, like many of the scenes in Wall's works, was staged. The 'sudden gust' was produced by a wind machine, the hat was tied to a stick with nylon thread and moved through the air, and the two trees, which had been felled elsewhere, were pulled on thin ropes.


Detail from
A Sudden Gust of Wind (after Hokusai) 1993


Detail from
A Sudden Gust of Wind (after Hokusai) 1993


Detail from
A Sudden Gust of Wind (after Hokusai) 1993
Transparency in lightbox 2290 x 3770 mm
Tate. Purchased with assistance from the Patrons of New Art through the Tate Gallery Foundation and from the National Art Collections Fund 1995
Cinematographic photograph
© The artist


Katsushika Hokusai Ejiri in Suruga Province
(Sunshû Ejiri) 1830-33
Colour woodblock print, Japan
From the series Thirty-Six Views of Mt. Fuji
© The British Museum
[14楼] 嘿乐乐 2006-03-03 08:26:44

Restoration 1993
Transparency in lightbox 1190 x 4895 mm
Museum of art, Lucerne
Cinematographic photograph
© The artist

This photograph shows actual conservators apparently in the process of working on the restoration of a panoramic painting in Lucerne, Switzerland. The title also evokes Wall’s own complex relationship with his artistic past.

Although Wall used a 360° panorama camera, he chose to capture only 180°, or half the panorama, digitally collaging overlapping exposures. This idea was important to Wall. ‘The exclusion of the space behind the camera is measured in a way that no other picture I’ve made is so closely measured… And of course there’s a woman looking into the space… into part of the picture you can’t see, to make a little accent to that notion that there’s a space outside.’ - Jeff Wall


Detail from Restoration 1993

Describing the disappearance of the panorama as a style of painting, Wall has commented:

'The fact that panorama emerged so strikingly, and then died so quickly suggest that they were an experimental response to a deeply felt need...for a medium that could surround the spectators and plunge them into a spectacular illusion. The panorama turned out to be entirely inadequate to the challenge...The cinema and the amusement park more or less accomplished what the panorama only indicated.' - Jeff Wall


Details from
Restoration 1993



The female restorers are consolidating the painting, by placing small patches of permeable paper over surface cracks to which they then apply a preservative adhesive.


Detail from Restoration 1993

In his work Wall synthesises the lessons of the great art of the past and of newer modes of representation, such as cinematography.

'The opportunity is both to recuperate the past - the great art of the museums - and at the same time to participate with a critical effect in the most up-to-date spectacularity.' - Jeff Wall


[url]http://www.tate.org.uk/modern/exhibitions/jeffwall/infocus/section3/img4.shtm
[15楼] 嘿乐乐 2006-03-03 08:31:51



Insomnia 1994
Transparency in lightbox 1722 x 2135 mm
Hamburger Kunsthalle, Hamburg
Cinematographic photograph
© The artist

The set for this work is an exact replica of the kitchen in Wall’s studio. The man seemingly suffering from a nightmarish episode of insomnia is an actor. The claustrophobic atmosphere is emphasised by the awkward positioning of the furniture – tables and chairs are placed at angles that defeat their function, and appear to block the fridge and cooker from opening. The door and cupboard, half ajar, could be read as metaphors for the mind, in its struggle to find an escape into sleep.


Detail from Insomnia 1994

Windows and other reflective surfaces appear frequently in Wall's work, offering glimpses of elements outside the picture's immediate frame of reference – here a ceiling light is seen reflected in a window.



Above left: detail from Mimic 1982
Transparency in lightbox 1980 x 2286 mm
Courtesy of the Ydessa Hendeles Art Foundation, Toronto
Cinematographic photograph
© The artist Above right: detail from Morning Cleaning,
Mies van der Rohe Foundation, Barcelona 1999
Transparency in lightbox 1807 x 3510 mm
Collection of the artist, on permanent loan to the Museum fur Moderne Kunst, Frankfurt am Main
Cinematographic photograph
© The artist


Detail from Insomnia 1994

'By watching films, I learned a lot about the relationship between performance, staging, composition and photography, so that I see film as a principal model for photography.' - Jeff Wall

[url]http://www.tate.org.uk/modern/exhibitions/jeffwall/infocus/section3/img5.shtm





Odradek, Taboritska 8, Prague, 18 July 1994 1994
Transparency in lightbox 2290 x 2890 mm
Museum fur Moderne Kunst, Frankfurt am Main. Acquired with funds of the Stadt Frankfurt am Main, the Hessischen Kulturstiftung and a donation by Dr. Karl-Heinz Heuer, Frankfurt am Main
Cinematographic photograph
© The artist

This work draws on Franz Kafka’s short story The Cares of a Family Man (1919), about a creature called Odradek, part wooden object, part living being, who lurks in the garrets, stairways, and lobbies of buildings, unknown to passers-by. Like Odradek, the invisible and the hidden are significant themes in Wall’s work, from abandoned and neglected places, to socially and politically invisible people.

The atmosphere of this photograph seems to oscillate between the foreboding of film noir and the familiarity of the everyday, the result perhaps of Wall’s deliberate blending of documentary-style photography with aspects of cinematography. ‘I can’t draw a sharp distinction between the prosaic and the spectral, between the factual and the fantastic, and by extension between the documentary and the imaginary,’ he has commented.



Detail from Odradek, Taboritska 8, Prague,
18 July 1994 1994


Detail from Odradek, Taboritska 8, Prague, 18 July 1994 1994

This extract is from Kafka's The Cares of a Family Man in which the narrator describes Odradek, a seemingly inanimate object with human characteristics.

'No one, of course, would occupy himself with such studies if there were not a creature called Odradek. At first glance it looks like a flat star-shaped spool for thread, and indeed it does seem to have thread wound upon it; to be sure, they are only old, broken-off bits of thread, knotted and tangled together, of the most varied sorts and colors. But it is not only a spool, for a small wooden crossbar sticks out of the middle of the star, and another small rod is joined to that at a right angle. By means of this latter rod on one side and one of the points of the star on the other, the whole thing can stand upright as if on two legs. ... He lurks by turns in the garret, the stairway, the lobbies, the entrance hall.' - Franz Kafka


Detail from Odradek, Taboritska 8, Prague, 18 July 1994 1994

The sepia tones in the hallway and the obsolete communal fountain give the impression of a building from a long-gone era. The presence of the young girl wearing modern clothes is unexpected in this context, as if she were an apparition.


[url]http://www.tate.org.uk/modern/exhibitions/jeffwall/infocus/section3/img6.shtm
[16楼] 嘿乐乐 2006-03-03 08:35:31



Volunteer 1996
Silver gelatin print 2215 x 3130 mm
Emanuel Hoffmann Foundation, permanent loan to the Öffentliche Kunstsammlung Basel
Cinematographic photograph
© The artist


This picture was based on Wall's observations of homeless shelters and similar facilities, but was shot on a set. The mural on the right-hand wall, a precise replica of one in an actual shelter, was painted for the photograph. It emphasises the potential in black-and-white photography for registering subtle gradations of tone. The man sweeping the floor appears absorbed in his task, in a mood and world of his own. The impression is of a chance glimpse into someone else's life.



Detail from Volunteer 1996

'I've realised that over the past few years I've made a number of pictures on or somehow related to the theme of cleaning, washing or housework. There is much to say about dirt and washing.' - Jeff Wall


Detail from Volunteer 1996


The figures in Wall's work often seem hypnotised, their eyes glazed, absorbed in their own internal worlds. Even when a figure is engaged in a specific physical activity, as here, they seem to simultaneously represent a slice of reality and to stand outside it.

[17楼] 嘿乐乐 2006-03-03 08:38:52

Morning Cleaning, Mies van der Rohe Foundation, Barcelona 1999
Transparency in lightbox 1807 x 3510 mm
Collection of the artist, on permanent loan to the Museum fur Moderne Kunst, Frankfurt am Main
Cinematographic photograph
© The artist


The subject of Morning Cleaning is an iconic example of modernist architecture, Ludwig Mies van der Rohe's pavilion for the International Exhibition of 1929, held in Barcelona. The pavilion was reconstructed in the 1980s and is now permanently open to the public. Wall was interested in the labour required to maintain the brilliance and transparency of the building, with its signature glass walls and marble surfaces. We see the pavilion's cleaner at work early in the morning before the building opens - another example of the artist’s interest in activities which are normally unseen or overlooked.



Detail from Morning Cleaning, Mies van der Rohe Foundation, Barcelona 1999

The scale of Wall's pictures make a direct link between the work and the viewer, allowing the image and the real world to blend into one another.

'All my pictures have a specific relationship to life-scale reproduction, and therefore to the spectator's space.' - Jeff Wall
[18楼] guest 2010-08-08 22:45:07

[19楼] guest 2010-12-13 14:40:59
杰夫·沃尔:发掘历史,探寻景观

“模仿是艺术的毒菌,但在这里却转化成为一种兵器”①。——杰夫·沃尔

一、误解

令我吃惊的是,我第一次看见杰夫·沃尔的一张照片,小到只有快照的尺寸,上面覆满了文字,大约是在1988年的Flash Art杂志,就像是一张画廊广告一样。至少又过了一年,我站在沃尔一幅巨大的、用灯装饰的灯箱片前,光线从一个金属框架的灯箱里照射出来,但是这幅被人贬低的作品却令我驻足。我后来才知道,这幅照片叫做《一个女人和她的医生》(1980—1981年);照片里面,在一个平坦的红色背景前,一个上年纪的男人在一个条纹沙发上,坐在病人的身边。他充满期待地看着她,而她把脸转过去,有一种断然冷漠的氛围。有人——是一个仆人吗?——就站在画面里,仿佛等着去倒下一杯酒。医生裁剪得体的灰色套装和金表,女人的珍珠项链——一些细节都暗示出上等阶层的仪态。然而,在这个重要时刻的沉寂当中,整个画面看起来完全是假造的。整个照片是在搭建的场景下拍摄的,布好光,并在照相机前摆好姿势,它省略的叙事却引起了人们的思索。这个女人是在一家私人诊所里吗?在一次假日当中,她发觉自己喜欢上家庭医生了吗?这一连串的询问不断地被一个明显的事实打断了:这是一张照片,拍摄的是永远不可能发生的事。

沃尔参照的是19世纪的一幅绘画作品,即马奈的《温室》(1879年),我当时并不知道这个事实。我当时只有17岁,住在西北太平洋的一座小城镇;比起印象派来,我更了解后现代主义。但是,我意识到很多当代艺术家一直在质疑摄影影像的真实性和魅力,往往是通过挪用这一举动。看起来似乎流行的影像能够告诉我们,我们可能是怎样的,不可能是怎样的,规定了性别的角色,通常巩固了权力的不对等分布状态。至少,这就是我当时理解的有关瞬间的辩证。辛迪·舍曼(Cindy Sherman)的《无题剧照》(1977—1980年)是一系列黑白照片,艺术家本人化妆成曾经推动了60年代小成本电影的各种形象,它们表明电影是如何塑造了妇女的身份;在每个画面中艺术家如同变色龙一般的外貌,偶尔瞥见的她手上的快门,这些都使我们意识到并没有什么真实的电影或者女主人公,只有假造。这些影像十分诱人,使得它们更加引人注目:《剧照》激起了人们渴望,想要探查塑造这一作品的方法。舍曼会继续利用她那些看似没完没了的假发、服装和油灰假鼻子的收藏,剖析从时装摄影、童话故事到历史肖像的不同门类。和沃尔一样,舍曼的照片也显然是摆拍的,她利用了不真实,从而获得了有关欲望、权力和表现之间联系的真理。

舍曼的确不是惟一一个采取这种方式创作的艺术家。如果安迪·沃霍尔这样的流行艺术家看起来自相矛盾,甚至对消费文化的影像大加赞赏,那么更年轻的一代人断然不会如此。他们见多识广,受到从1968年学潮余烬中涌现出来的法国知识分子著作的影响,这些艺术家的作品以及那些拥护他们的评论家们(道格拉斯·克里姆帕(Douglas Crimp)和其他与《十月》杂志有关的人),使得摄影影像的运用具有严格的辩证性:你要么是景观(spectacle)的一部分,要么是解决方法(solution)的组成部分。摄影的法则受到谢丽·利文(Sherrie Levine)的直接攻击,她当时挪用了最著名的摄影作品,重新拍摄,并把它们归在自己名下,例如《模仿霍克伊文(Walker Evans)》(1979年)。几乎与此同时,理查德·普林斯(Richard Prince)开始重新拍摄流行的影像,常常是一些奢侈品的广告。他从1977年以来拍摄的《无题》(在可更换背景前向右看的四个单身男人)具有象征意义:代表美国男性阳刚之气的四个男模特从背景中分离出来,被表现成粗犷的形象。

这就是杰夫·沃尔的曝光盒开始出现时艺术摄影所处的境遇(第一幅作品《破房子》于1978年问世)。在80年代,我想当然地以为沃尔就像舍曼、理查德·普林斯、劳瑞·西蒙斯(Laurie Simmons)以及其他所谓“图片”艺术家②一样,看到摄影的真实性遭到排斥,把这视为提出媒介如何巩固某种文化状况的一个机遇。如果舍曼是在制作剧照,沃尔看起来则是在制作某种好像电视秀广告片的东西——至少我记得在看到《一个女人和她的医生》时就是这样。可是从很多方面来讲,我错了。

二、由来

1946年,杰夫·沃尔出生在加拿大温哥华,到了60年代晚期,艺术上已开始成熟,那时极简抽象主义正在向观念作品让步,就像露西·李帕德(Lucy Lippard)那部著名的《艺术对象的反物质化》③中所说的。凭借当时反审美的精神——这就意味着首先避免为中产阶级消费而制作艺术对象——沃尔从(直接在墙上)绘制没有色彩的单色绘画转向了摄影。他的《风景手册》(1969—1970年)——我只看到过复制成两页的跨页④——显然从内容和风格上大量援用了同一时期罗伯特·史密森(Robert Smithson)具有开创性的摄影专辑《帕塞克的纪念碑》(1967年)(The Monument of Passaic)。手册当中的黑白快照是沃尔驾车在温哥华市郊工业区周围透过汽车挡风玻璃拍摄的,这些照片竭力要引起最低层次的视觉愉悦。

沃尔后来的摄影作品(曾经失败地尝试过电影摄制),与其说大量受到适用于图片艺术家们的法国后结构主义思想的影响,不如说受情境主义国际领导者居伊·德波(Guy Debord)的作品,以及法兰克福学派哲学家提奥多·阿多诺(Theodore Adorno)和瓦尔特·本雅明(Walter Benjamin)这些新马克思主义者著作影响——尽管沃尔也意识到这里面有大量说教。这不会让我们今天抱有一种偏见,觉得沃尔本人一直并没有认真地担当起这种学术的重担:在数不清的访谈和他自己的著作里,沃尔在讨论自己的艺术实践时提到了这些理论家。纵使在这篇篇幅有限的文章里无法概括他们的思想(而且没有这些限制的话,我自己的信心也会动摇),但是我可以介绍一些基本的观念,这将会有助于接下来阐述对沃尔作品的简要分析。

居伊·德波最为著名的作品是《景观社会》(1967年),这是一系列片断,见证了现代人在资本主义影像文化之下彻底地疏离。对德波而言,“景观”传达的信息远比大众媒体更多,尽管在其传播上也的确涉及到媒体。当然,景观部分是源于商品(来自于电影广告)的整个视觉文化,以及商品所激发的梦想,这一切不断地刺激着我们的欲望,调节着我们同他人的关系,诱使我们进入一种有害的被动性当中。在延伸马克思的许多观念,以便适用于当下的后工业化资本主义条件时,德波解释说:“从整体上把握的景观,既是现有生产模式的结果,又是其计划方案。这并不是对现实世界的补充,一种额外的装饰。它是现实社会虚幻性的核心。这一景观以各种具体形式,比如信息或宣传,广告或直接的娱乐消费,成为社会上占支配地位的生活的现有模态。这是对已经在生产及其随后的消费中实现的选择所作的无所不在的确认。这一景观的形式和内容同样彻底肯定了现有体制的状况和目标。景观也是这一肯定的永久呈现,因为它占据了生活在现代生产之外的时代的主体”⑤。对于沃尔和那些与他一代的很多其他同新前卫有关的人来说,关键的问题在于如何制作能够逃脱被资本主义景观消费的作品,也许还包括要同它对抗的影像。为了找出答案,艺术家从1970年到1977年没有创作新的作品。

瓦尔特·本雅明是德国诗人、哲学家和文化评论家,出生于19世纪末,他对沃尔的思想产生了深远的影响,特别是他的著作考察历史以便诊断当下问题的方式。本雅明的著作从屡被引用的《机械复制时代的艺术》(1935年)到有关大众娱乐的文论,否定了实证主义、唯物主义的历史观,发展出基于诸多力量格局的一种范式,过去和现在不断地彼此渗透,而历史则在过去的实体文化(或有形文化)中得到体现。

本雅明是1933年离开德国前往法国的犹太人,在他看来,19世纪法国的玻璃和钢铁拱廊——连同涌动的人流、充斥着商品的橱窗、不断变化的街景以及其他消遣——造就出一个如同梦境般的消费空间(不论是精神的还是物质的),他称之为“幻境效应”,这是对柏拉图的认可,也是德波的景观的先行者。他将现代资本主义文化诞生定位在这里。为了创作如同纪念碑一般的奢华的《拱廊计划》——这个项目始于1927年,到1940年他去世那年仍在进行中——本雅明从原始的、流行的资料来源中精选了数千条引文,这些都是在19世纪中期拱廊达到巅峰的时期所写的,创作出一种片断的细节组成的蒙太奇式组合体,使读者徜徉在回廊之中,关注着生动的细节——服装的裁剪,新安装的煤气灯——以便从批判的意义上关注现在。本雅明用典型的抒情诗体描述了走进过去的必要性;他解释说,“新的重塑历史的辩证方法教会我们透过过去的一切在精神上加以转化——借助梦境的迅捷与强烈,以便体现当下乃是一个清醒着的世界,任何梦境最终都会指向的一个世界”⑥。

将重访历史当作面对现在的一种方式,对于沃尔的方法而言这也是最重要的。他没有研究艺术实践,而是学习艺术史,在70年代早期获得伦敦声望很高的可陶德学院博士学位之前,写完了一篇有关柏林达达主义的硕士论文,这对于他的哲学思想也许有着深远的影响,赋予了他一个可以从中汲取的庞大影像库。沃尔的几个最重要的作品都借助艺术史,追随本雅明回到19世纪法国的梦境中,以便审视推动着这位哲学家的过去与现在之间的相同联系。

三、19世纪绘画与沃尔早期的灯箱

当沃尔最终在70年代末期重新回到摄影上来时,他选择的形式是最基本的:大尺寸的透明片,装裱在一个灯箱里,借助于它同商业广告的一切联系,使得他的作品直接指向——甚至是伪装成——他所批判的消费景观。他用灯箱展示的第一个成功的摄影作品《遭破坏的房间》(1978年),在温哥华诺瓦画廊的店面橱窗中展示,这成为一种干扰,将路人从具有竞争性的橱窗展示中吸引过来。简单地说,这件作品使观众面对一间卧室的内部:一张被割破的床垫被倒置过来,墙面和门窗都严重损坏了;女人的衣物、鞋帽、围巾和首饰散落在地上。路人没有看到模特身上穿着最新的时装,看到的却是废墟。这张照片有着前所未有的电影或电视的手法,这以后会成为沃尔大部分作品的一大特色。照片中的灾难现场显然是摆布出来的,过于精心地布置以致不可能是自然的;人们感觉不到它的暴力,而是看到了景观的暴力。

事实上这张照片模仿了欧仁·德拉克洛瓦的《萨丹纳帕勒斯之死》(1827年),一幅从赋予本雅明的《拱廊计划》以灵感的时代传承下来的著名浪漫主义画作。将这一模仿的线索进一步向前追溯,绘画原作是从拜伦的剧作《萨丹纳帕勒斯之死》(1822年)中获得了灵感,这是一部悲剧,描写古代一位君王,积累了大量财富,却遭到无数苦难的打击,最后一切——包括他的奴隶——全都毁灭了。显然,金钱不能买来幸福;萨丹纳帕露斯描述自己被物质财富所累时,哀叹道:

你以为除了鲜血和锁链之外,就没有暴虐吗?罪恶的钳制——奢华生活的空虚和邪恶——懒惰——冷漠——邪恶沉湎于声色的怠惰——带来了千万的暴君,它们的残忍,胜过了一位严苛的主人最恶劣的行径无论在他自己看来多么严厉和苛刻⑦。

拜伦暗示说,我们任何一个人都可能落入客观物质这位暴君的网罗中,或者发现自己因为沉迷其中,从而也变成为暴君。但是,德拉克罗瓦的绘画将这位国王的死转化成为一个盛大的景观,用性和暴力的戏剧化形象,使得灭亡变得戏剧化了,画面散落着闪闪发光的财宝。德拉克罗瓦对于拜伦剧作的改写,否定了原作的道德说教,观众被邀请参加一场充满色欲的酒神节,而不是思考毫无节制地渴望物质财富和感官享乐的恶果。

按照本雅明的逻辑,沃尔返回到德拉克罗瓦的画作当中,看到了一个变得公开的私密时刻。沃尔将德拉克罗瓦的《萨丹纳帕勒斯之死》描绘成“现代公开性的肇始”,将它同当代的现象联系起来:“广告和电影重新清楚地表达了这种意义体系,重新肯定了高雅艺术与商业景观中作为消费者的观众操控之间固有的联系”⑧。抛开作品的照明和尺寸不谈(《破房子》接近8英尺宽,这又是对原作的仿效),沃尔对德拉克罗瓦的作品的重演是断然不会引起别人注意的。女人色彩光鲜的衣服和饰品看起来更像是未来时代的垃圾。我们在这里看不出发生过什么野蛮的行径,只有最终的结果。原作中苍白可怕的人物已在摄影家的构图中削弱并归纳为几何平面。

随后一年完成的《致女性图》(1979年),越是长时间观看就越发令人困惑不解,是眼花缭乱的思索与凝视的光影交错。一个女人站在空荡荡的摄影棚里的背景前,这是通过其正常的透视而确定的:房子的角落似乎从照片延伸开来,指向后墙上完全处在中心位置的窗子。这种笛卡尔式构图(也暗示出对文艺复兴时期透视方法的研究)由于与照片平行的许多线条得到了强化——装有板条的天花板,网状的电子装置以及勾勒出整个空间的金属管道,伸长的闪光灯三脚将整个画面分成三个部分。沃尔站在右侧,手持一台大相机的快门,相机摆在完全中心的位置,在房子透视消失点的视线之内。如果人们看到沃尔拿着用来拍摄《致女性图》的照片这个动作,他肯定是从镜子里开始拍摄的——它并没有反射出观看的人,而是用相机冷漠机械的凝视取代了他(或她);我们在被拍摄的同时便完全被略去了。

《致女性图》创作于爱德华·马奈《女神游乐场的酒吧间》(1881—1882年)之后,这幅作品一直是研究和争议的对象。对于具有马克思主义倾向的艺术史家来说,这幅作品是对本雅明所描绘的那种日益涌现出来的商品文化的警示。女人茫然的凝视暗示了她从她工作的那个热闹的场面中疏离出来。当然,她那身奇怪的正装使得她看起来不像是一个具体的人,而是某一种类型,也就是一个由服务业构成的新型阶级:一个有抱负的下等阶层从业者,他们的装束、言谈和仪表都得到了调教,以便与他们所服务的那些人相接近(现在也是一样的:零售业务员得到的工资很低,但是却被要求通过他们的衣橱和外表来体现公司的“生活方式”)。在她面前的吧台上,有一排商品:装着水果的银盘,香槟酒和啤酒,所有这些用一种新开张店铺展示的方式摆出来,就是为了诱惑消费者。(在拱廊前面,没有“商业推销”,一切都被掩饰起来,从场景中清除出去;一个世纪的展现,就是前一时代的混乱。)

马奈远远背离了他同时代的人,将充斥着酒馆的人们描绘成为一种模糊的背影,这一群人面孔模糊,缺少透明,丧失了个人特征,使得他们看起来仿佛是处在幻境效应的迷惑之下。就像在沃尔的照片中一样,一种看似不可能的事却发生了:尽管女人茫然地看着观众,而其背影却显出一个男消费者,其他的角度都缺失了,也许是在订购什么东西。在讨论模仿马奈绘画的东西时,沃尔说:“我想要对它作出阐释,人物这种非常出色的摆布,男人和女人,在每天的工作环境中,也在盛大场景的环境下,也就是马奈所面对的这种娱乐的生活状态”⑨。在诠释《女神游乐场的酒吧间》时,沃尔没有明确地提及这幅作品中可以看到的商品文化,而是吸引观众去留意那种使原作变得如此引人注目的背影。在解释《致女性图》的艺术史来源发生的变化时,沃尔说:“这也是电影被重新拍摄的翻版。同样的剧本被重新拍摄,前一部电影的外观、风格和符号语言都服从于新版本中的诠释”⑩。《致女性图》这个标题也暗示了一种慷慨大度地对待相对立的性别的举动。就像《破房子》一样,沃尔的“重造”删去了原作中的华丽壮观,以便提出当代有关性别的争议,以及《致女性图》在拍摄时灌注了艺术手法——特别是摄影的那种凝视。用电影来讨论与马奈相关的作品,我们也可以推想沃尔所指的不仅仅是摄影,也包括劳拉·莫尔维(Laura Mulvey)当时刊登在1975年秋的《银屏》杂志上的无处不在的短评,“视觉愉悦与叙事电影”。在文中,莫尔维借助心理分析的理论,主张在好莱坞流行电影中对女性的描写使得她们成为男性凝视的对象,剥去了一切中间的东西。在《致女性图》中,沃尔用一个直接——甚至有些苛刻的凝视的女性人物,替代了马奈的侍女所缺失的观看。沃尔的照像机是单眼的,但是比例却很奇怪,加深并且强化了她具有挑衅性的目光,颠覆了莫尔维有关被动女性的定式,将我们套进一只复合之眼的十字准线中。


四、全景摄影及其先驱们

在整个80年代,沃尔的作品开始不再如此直接地反映艺术家对于资本主义景观的创造表现出的伦理关注,并用19世纪的名作来对它加以描绘,而是着眼于资本主义对于当代的影响上。这段时期大部分作品都有着对事件进行戏剧化摆布的特征,有沃尔亲眼目睹的,也有他想象出来的,由那些显然被他们的经济地位剥夺了权利的人们来扮演。这只是在《牛奶》(1984年)、《Trân Dúc Ván》(1988年)、《说故事的人》(1986年)以及《赶逐》(1988年)这些作品中出现的几个要素之一。我们在这里看到了近似于电影的摄影作品,显然同沃尔对于商品文化的兴起持续的兴趣联系在一起,但是关注于它对当下的负面表现上(并使之戏剧化):《牛奶》中无家可归者突然的狂怒,《赶逐》中被警察赶出家园的家庭戏剧化的重建。

当沃尔返回到19世纪的景观时,他所用的方法反映了他的叙事本能。我最近在纽约当代美术馆看到沃尔的艺术生涯回顾11,就沃尔90年代的作品而言,《修复》(1993年)是定位其早期作品的罗塞塔之石。《修复》是一幅长达到16英尺巨幅照片,它的比例反映出它的主题:一群工人在清洗和修理著名的布巴基大壁画,这是卡斯特在1881年与他的助手一同绘制的巨幅环场壁画,描绘了在普法战争(1870—1871年)中法国军队受到严重打击后退却的场景。

作品被安置在一个巨大的环形大厅——中央有一个平台,观众可以在这里沉浸于周遭历史场面的景观之中——布巴基大壁画是19世纪这种形式的视觉艺术的出色典范——本雅明将它同幻境效应联系在一起。作为早期电影的先驱,全景摄影是19世纪主要的流行娱乐,正如艺术史学家谢利·理斯(Shelly Rice)所写的:“在19世纪中期,欧洲和美国的每一个大城市都以展示定期更换的全景摄影的永久建筑而自夸。观众在支付了入场费之后,经过一条黑暗的甬道,进入位于环形照片中央的平台上,平台大约有22码高,周边大约有153码,提供了一处风景、城市景观或著名战斗场面的环景”12。他们允诺要让观众完全沉浸在幻想当中,而全景摄影为观看者提供了必要的娱乐,就是从他们日益增加的疏远感中获得娱乐,结合了林林总总的视觉幻境的愉悦和力量(我们今天在当代艺术中看到的最近的例证,可能是安德烈·古尔斯基的摄影作品了,尺寸无法想象的大,根本看不到拼贴后的透视,具有史诗般的规模)。

在沃尔的《恢复》中,我们看到全景摄影处在一种破败的状态。修复者沉浸在对修复对象的思考上,凝视着远处观众看不到的壁画的一部分。沃尔没有通过绘画重返资本主义景观的开始,而是将其衰亡戏剧化。艺术家自己解释说:“全景摄影突出地涌现出来,然后又迅速地消失了,这个事实表明,它们是一种与深刻的需要相呼应的实验,也就是对可以环绕在观众周围、让他们置身于一种壮观幻象之中的媒介的需要”13。尽管这个具体的全景场面可以修复,但是全景摄影本身,连同它们所代表的视觉体系,显然在今天的世界上不再有任何价值了。反过来说,全景摄影已变得难以捉摸,散布到数码、电视和电影娱乐当中,它那种使人不安的力量通过其形式的无穷多样性而大大加增了。沃尔在70年代晚期到现在的作品中越来越多的戏剧化成分反映了视觉艺术领域的这一变迁,而沃尔也从对早期景观的探索,转向了透过与电视和电影联系起来的手法,使他对经济差距的焦虑戏剧化。这些影响是对当下景观的批判,还是同谋,这是必须考虑的问题。

五、结束语/问题

在现代美术馆观看沃尔的展览,我还产生了其他一些问题。从第一次看到他的照片算来,已经过去很多年了;他早期作品中表达的许多焦虑——有关摄影同它所捕捉的时刻的关系,有关凝视所具有的削弱观看对象的力量等等——看起来它们现在都已经找到了答案。如果他的灯箱连同它们拍摄出来的细节丰富、焕发光彩的照片无法完全吸引我们,这会使我们有勇气在它们面前构筑一个批判的立场吗?如果我们没有像沃尔那样,手边放着艺术史年鉴和哲学年鉴,又会怎样?我们还能赏识他的作品吗?如果把他的作品部分地视为对于资本主义景观的根源和结果的图解式分析,沃尔的照片(至少是上面讨论过的)是否还能激发我们重新思索我们同当今商品文化的关系呢?

注释①杰夫·沃尔有关他的摄影作品《模仿者》(Mimic)的谈话,引自《类型、荧光、自由:杰夫·沃尔访谈选》(Typology,Luminescence,Freedom: Selections from a Conversation with Jeff Wall),载于《杰夫·沃尔:随笔访谈选》(Jeff Wall: Selected Essays and Interviews)(纽约现代美术馆,2007年)第197页.

②这个称谓来自1977年道格拉斯·克里姆帕在纽约艺术家空间策展的“图片”展。具有讽刺意味的是,不论舍曼还是普林斯都没有参加这次展览,但是这次展览的名字却成为一群挪用或结构流行影像的艺术家们的代名词。

③参看露西·李帕德《6年:1966年至1972年的艺术对象反物质化》(纽约Praeger出版社,1973年)。

④参看彼德·加拉斯(Peter Galassi)《非正统》(Unorthodox),载于《杰夫·沃尔》(Jeff Wall)(纽约现代美术馆,2007年版)第15页。我在本文中大量引用了加拉斯这篇出色的文章。

⑤居伊·德波《景观社会》(纽约红与黑出版社,1977年版)。法文版出版于1967年。

⑥沃尔特·本雅明《拱廊计划》(The Arcades Project),罗伊·台德曼(Roy Tiedmann)主编,霍华德·爱兰德(Howard Eiland)、凯文·麦克洛琳(Kevin McLaughlin)翻译,(波士顿大学出版社1999年版),引自伊斯特·雷斯利(Esther Leslie)《沃尔特·本雅明的拱廊计划》(Walter Benjamin’s Arcade Project).

⑦《萨丹纳帕勒斯》(Sardanapalus)第一幕第二场。引自Quote extracted from http://www.everything2.com/index.pl?node_id=642319⑧杰夫·沃尔《破房子,致女性图》(The Destroyed Room,Picture for Women)(1981年),引自加拉斯文章第25页。⑨《类型、荧光、自由:杰夫·沃尔访谈选》,参见《杰夫·沃尔:随笔访谈选》(纽约当代美术馆,2007年)第187—188页。

⑩同上引书,第187—188页。11.《杰夫·沃尔》,纽约当代美术馆,2007年2月25日至5月14日。12. 谢利·理斯《公元19世纪》,载于《美国艺术》(1993年12月),网上可查找http://www.findarticles.com/p/articles/mi_m1248/is_n12_v81/ai_1463823613. 引自克莱格·布尔内(Craig Burnett)《杰夫·沃尔》(Jeff Wall)(伦敦特德出版社,2005年)第65页。

[20楼] guest 2010-12-13 14:44:18
杰夫·沃尔(Jeff Wall) 1946年生于加拿大温哥华,现在温哥华生活工作。
  
杰夫·沃尔说“美丽总是与希望相伴相随,艺术正如司汤达所说,是一个幸福的诺言。”

  杰夫·沃尔似乎是在履行这个幸福的诺言。60年代,学习艺术史的沃尔对活跃于温哥华的前卫艺术产生了极大的兴趣,并决心以摄影为工具表达他自己的概念化思想。70年代,他以色彩鲜艳、构图完美的大型广告灯箱作品一举成名,并由此在国际艺术舞台保有一席之地。然而,耀眼的美总是非常脆弱的,逐渐地一些具有明显或潜在暴力倾向的因素开始出现在他的作品中。在他1982年创作的“Mimic” 和1991-92年创作的“死亡战士的对话”中,我们深深感受到这种暴力因素的存在。就像1986年创作的“思想者”参考艺术大师罗丹的同名雕塑一样,沃尔的许多早期创作,都直接与艺术史上的名作有关。他从大量的摄影图片、电影以及现代主义艺术中汲取营养,以期描绘他那以城市生活为主的现代故事。他近期的许多作品的拍摄都是在工作室中进行,演员按照他的设计进行表演,最后用计算机进行合成。在沃尔的作品中,我们时常感受到一种强烈的压力,在时间停留的瞬间,我们周围的空气似乎也在凝固。

杰夫·沃尔(JeffWall)擅长像导演那样预先把场景设计成戏剧化场面,然后才开始拍摄,精心刻画当代西方社会生活的各个侧面。在拍摄后,沃尔还把相关的背景与照片在电脑中合成,更重要的是沃尔的每一幅作品几乎都在模仿艺术史上的某一幅名作,企图寻找历史和当代的某种关联。他以精心构造的人工现实、源于生活却又经过高度提炼的虚构情节来呈现社会现实,由此引发对摄影本质的思考,摄影的真实性、摄影与绘画的界限、艺术品位高低之间的界限等多方面的问题。杰夫·沃尔1946年出生于加拿大温哥华。他以一种审慎的眼光进行创作,从而引导观众以新的方式来看和理解其摄影作品。本届上海双年展策展人郑胜天认为:“杰夫·沃尔是上世纪70-80年代最重要的摄影家,他的照片极度细腻,1张照片要拍3个月,而且1000张照片才能出1张成品。他的作品不是一般含义上的摄影,而犹如单个画面的电影巨制,这种独创性的风格和手法大大扩展了当代摄影的空间。”


1977年他使用布景摆设的方法创作了第一件黑白摄影作品,从此向摄影领域拓展。随后他又以色彩鲜艳、构图完美的大型广告灯箱作品一举成名,并由此在国际艺术舞台保有一席之地。但这已经不能满足他的创作热情,他的作品开始衍生出人文内涵,大多涉及普遍而深刻的社会和政治主题,一些具有明显或潜在暴力倾向的因素开始出现在他的作品中。在他1982年创作的《Mim-ic》和1991—1992年创作的《死亡战士的对话》中,我们深深感受到这种因素的存在。
此后,沃尔在世界各国的主要美术馆与画廊举办了许多个展,并参加了许多团体展览,1997年,参加了卡塞尔文件展。
据本届双年展策展人之一郑胜天介绍,沃尔本次为双年展特别推荐了自己近年来的5幅最新作品,其中一幅名为《考古现场》巨幅照片中,白人考古学家在温哥华岛上的印第安土著遗址挖掘古物,而作为助手的印第安人土著只能在一旁旁观,两人的角色互换表达出沃尔对加拿大社会中种族、身份的思考,同时具有简单情节的作品也反映出沃尔对“照片应当叙事”的摄影观点。在这幅描述日常场景的巨幅照片中,每一个角落、每一个小细节都异常清晰,这是因为沃尔拍摄了近千幅同一场景的照片,从中剪切、拼贴成最后的作品,但精良的后期处理让整幅作品浑然一体,疵瑕不露。细致入微的照片如同19世纪绘画,充满历史的厚重感。
[21楼] guest 2010-12-13 14:47:58

什么是摄影的本质?
编译顾铮
文章来源:《艺术世界》杂志
---杰夫.沃尔谈摄影

沃尔1946年出生于加拿大的温哥华。197O年,毕业于不列颠哥伦比亚学院艺术系,获得硕士学位。197O-1973年,在伦敦大学的考德鲁特美术研究所学习。1976-1987年,任加拿大温哥华萨伊蒙.阿莱沙大学艺术中心副教授。1978年,在温哥华的诺瓦画廊展出灯箱作品《被破坏的房间》。此后,在世界各国的主要美术馆与画廊举办了许多个展,并参加了许多团体展览。1997年;参加卡塞尔《文献展览X》,首次发表黑白(heibai)摄影作品。他现为不列颠哥伦比亚学院艺术系副教授。

问:人们一般认为你作品的代表形式是彩色透明片乌灯箱。但最近你展出了黑白(heibai)摄影作品。

答:实际上从我开始以摄影的方式做作品以来,我就一直在考虑黑白摄影这个问题。本来在1960年代的时候,大家都已经接受了纪实摄影基本上是黑白摄影这种看法,我就是从那时开始从事摄影的。但是过了十几年,我开始了彩色摄影,因为我对绘画效果产生了兴趣。不过,我已经明白了摄影一直有两兄弟:彩色与黑白。我一直对黑白摄影这个事物的特质抱有兴趣。灯箱在彩色摄影中也是一种特殊事物,它可以使人充分感受到光的存在。可是,就"光"而言,我发现,在某种本质意义,上黑白摄影最为完美。透明片与黑白摄影不是与光关系最密切的媒介吗?此外,只是从观念上来说,做一做与至今为止一直在做的工作不同的工作,也令人高兴。二十多年前开始考虑这事,终于下了决心要做,为此作了一两年的准备,在1996年开始了黑白摄影。现在,我己经把黑白摄影看成是自己工作中永久的一个部分了。摄影真可说是一种复杂的媒介。有人说彩色摄影好,有人说黑白摄影更纯粹。总之,有各种各样的说法。但是,我认为这样考虑问题的方式有点不大对。就我来说,不管是黑白摄影还是彩色摄影,都说明了摄影各种各样的可能性,这当中蕴藏着许许多多的探索方向。比如说,想要印放黑白摄影作品可以制作出地道的黑色来;而如果是透明片,就只能制作出"相对程度的黑色"来。也就是说,无论从技术讲,还是从经验讲,这都是完全不同的两种事物、采用黑白摄影这种方式,就可以做彩色透明片无法做的事。我不认为黑白摄影是"陈旧事物"仅仅是"不同"而已;黑白不仅仅是"有色彩的事物的相反"还是在色彩的"延长线上"的某种事物,我对在这个方向上的工作深感兴趣。

问:你的初期作品经常被人从与绘画的关系方面来论说…

答:摄影对复杂的形态,如相互缠绕的花草树木、流水,各种偶然的形态等显示出特别的兴趣。在摄影术发明之前,某些景况我们绝对不能"观看"。比如说,我对北斋(葛施北斋,1760-1849,日本江户时代的浮世绘大画家--译注)的一幅狂风大作的版画发生兴趣,是因为用被吹飞起来的纸来表示空气的流动,从美术史来说,在摄影术发明之前以这种方法作提示的艺术家也是有的;可是在摄影术发明后,我们不就拥有了对事物的新看法了吗?比如,飞溅的牛奶图像,在摄影术发明之前我们决无可能看到,这是在摄影媒介出现以后才第一次有了这种可能的。也就是说,摄影术创造了新的观看世界的方式。这就是作为艺术形式的摄影的经典性表白,而我认为这种说洁至今仍然是真实的。说到摄影在美术史上的地位。摄影史与摄影的关系等,我认为,我自己的摄影可以在摄影之前,亦即与绘画相似之处展开工作,也可以不是在这样的地方开始工作。摄影继承了绘画制作的思考方式,在摄影之前,绘画是以素描与着色的方式制作,但现在出现了摄影,绘画仍然在不断制作。这两个时代一直是联系在一起的也就是说,摄影继续看摄影发明以前绘画所做的事。在这个意义上,摄影一直在模仿绘画。摄影模仿绘画,而且必须如此。这个事实是摄影重要的一个方面。有人说"摄影模仿绘画的可能性不会有",可我想说没有这回事。以前关于摄影的主导性看法是,摄影没有模仿任何事物、应该找出摄影独特的形丈等等,我的看法不同,我觉得这是可以思考的问题,作为摄影的独特形式之一,必然要继承以前的所谓绘画式的思考方式,模仿在摄影中也被继承了下来。新的同时必然有对旧事物的继承,对摄影这个媒介来说,新与继承性这两种特质都是摄影的中心问题,现在这成了摄影的内部矛盾,也是非常引人入胜的事。我认为,所有从事摄影工作的人都置身于这个本质矛盾之中。说到过去发生的问题,主要原因是从事摄影工作的许多人,只想与摄影的一个方面,即摄影完全是从过去解放出来的事物这一方面发生关系,他们只对这一点有兴趣。这个问题产生于摄影术发明之初,是从"摄影与所有事物都不一样"这个观点产生的问题。当然,这些人也做了非常好的工作,但他们认为好像不用理会我现在所说的问题。我认为两个问题都应该认真对待,而且在摄影模仿过去、模仿绘画的时候,摄影家也能够作为摄影家来做画家做过的事。我想要做的工作是无法以那种传统定义来确认的工作,比如"摄影与别的艺术样式都不一样"或者说"摄影是记录"等在不接受这种观念的同时又接受它们,也就是说通过采纳各种观念来从事创作。看了我的作品,你们会明白我还大量接受了基于纪实摄影传统的观念。

问:你的作品看上去是以纪实摄影的样子出现的,但实际上作品中的一些地方是由电脑作了严密的人工合成。对你来说,数码处理有着什么意思?

答:数码技术现在正在重写摄影的定义。摄影是一种由照相机的前半部分与照相机的后半部分来接受各种影像的事物。所谓的前半部分就是镜头,是成像部分,后半部分则是保存所成的像的装置。虽然有人认为"摄影就是镜头",但其他还有些事物也使用了镜头,因此也有人认为"摄影就是保存"当然。摄影其实与这两个方面都相关。数码技术改变的是照相机的后半部分。从某种意义上来说,这是主要的方面,而且在继续发展中。摄影所全力以赴的是事物的瞬间,而快门则决定了摄影成其为摄影。从某种意义上说,"某个瞬间"这种说法产生于定义摄影的、完全是现实的某个瞬间,然而,数码合成的情况下就不存在这样的瞬间了。在数码合成里有"瞬间"存在不过是一种幻想,在某种程度上,这已经破坏了由快门来决定的摄影,而且也破坏了摄影与时间有特别的构造关系的想法。这么一来,摄影就与其他事物更接近了。比如说印象派的绘画吧,画家要花几个小时、几个月来画一张画,但人们认为这画捕捉了某个瞬间,当然这是幻想。通过数码合成、摄影就与这类事物更相似了。摄影是"瞬间"的幻想。也许关于摄影已经用不着去做种种实验了,这样可就太没有意思了。摄影的形态在不断变化中。比如说,像我刚才说的,"瞬间是理解摄影本身的方式的一种可能性。"而且没有瞬间也是理解摄影的另一种可能性。这使"摄影是什么,这个问题变得比传统的定义更为深奥、更为意味深长。我对定义本身没有兴趣,我感兴趣的是我们现在仍然在探索的这个媒介的复杂性。摄影还只有一百六十年的历史,它还是个新事物,我们还不能理解它真正的意义。我认为在现在这个时候与摄影发生关系是一件好事。

问:对于摄影这个媒介新加上的数码的可能性,可以从外部赋予什么意义?

答:现在还有人认为不用电脑加工是一件好事,而要坚守摄影的经典特色的人也还有许多,这也是可以理解的,因为具有经典特色的摄影作品非常美丽。这个特色是不能少的。说不制作纯粹照片什么的是没有理由的,如果不想制作,却也没有说应该使用数码技术的意思。在商业摄影与新闻摄影的现场可以使用数码照相机了吧,但即使改变了某一方面,用传统的方式依赖胶卷也是可能的,这个事实也是不会改变的吧?如果不生产胶卷,会有就此事相互对话的场面出现,但胶卷不存在这件事至少到目前为止不会发生吧?在1970年代,许多从事摄影的人想与自己是摄影家的这个想法斗争。他们想把自己看成"使用摄影手段工作的艺术家"。说到摄影家,就成了要到某个地方去拍摄照片的人,而且是到编辑说"去"的地方。我们可不是这样。然而,摄影家就是以摄影这个媒介做某种事的人,因此,就摄影来说我对什么是可以做的,什么是不可以做的这一点很有兴趣。这个边界是在哪里呢?
[22楼] ARTzhenzhen 2010-12-14 16:57:20

JAFF WALL
MARCH 13 - APRIL 24, 2010


FIGURES ON A SIDEWALK, 2008



FLORIST'S SHOP WINDOW. VANCOUVER, 2008



HEADSTONE ON AN OSSUARY, SICILY, 2008



JEANETTE IN WIRTZ' GARDEN, 2009



PLAYGROUND STRUCTURE, 2008


MEN MOVE AN ENGINE BLOCK, 2008



PAWNSHOP, 2008



SEARCH OF PREMISES, 2009



SEARCH OF PREMISES, 2009



SIPHONING FUEL, 2008



TWO EAT FROM BAG, 2008

Marian Goodman Gallery is pleased to announce an exhibition of recent and new photographs by Jeff Wall which will open on Saturday 13th March and will be on view until Saturday 24th April.
Marian Goodman画廊将展出杰夫沃尔的最新作品,展览时间为3月13日星期六到4月24日星期六。

The exhibition will include new pictures in both color and black and white which explore the potential for neo-realism and the 'near-documentary' in photography. These elements constitute the core of Wall's practice over the past several years and find their origin in events witnessed or in the documentary tradition.
展览将包括彩色和黑白图片,以新的探索为新现实主义的潜力和“接近纪录片”的摄影。这些元素构成了沃尔过去几年间得创作核心,这些在他目击得事件和纪录片传统中都可以找到源头。

[23楼] ARTzhenzhen 2010-12-15 01:04:14

Vancouver Art Gallery

JEFF WALL: Hometown Hero
OCT 25 2008 TO JAN 29 2009


Jeff Wall The Pine on the Corner 1990 Collection of the Vancouver Art Gallery
杰夫沃尔 作品:角落的松树,1990 温哥华美术馆收藏


With major solo shows at London’s Tate Modern, New York’s MoMA, Berlin’s Guggenheim and Mexico City’s Tamayo Museum over the past two years, it’s clearer than ever that Jeff Wall’s international superstar reputation is well-sealed.
But what about representation in Wall’s hometown? In Vancouver, he’s had nary a major museum show since 1990.
在过去的两年中,杰夫沃尔的主要个展在伦敦的泰特美术馆、纽约的MOMA,柏林的古根汉和墨西哥城的Tamayo博物馆,他的国际声誉比之前更为显著,好象超级明星那样。
但是沃尔在家乡的名声怎么样? 在温哥华,他自90年之后就没有再举办过个展




Jeff Wall Outburst 1989 Collection of the Vancouver Art Gallery
杰夫沃尔 作品:迸发,1989 温哥华美术馆收藏

Now, thanks to some recent acquisitions—two in February, two in June and one in September—it seems the Vancouver Art Gallery is making up for lost time. From last week through to the end of January, it’s offering visitors a chance to look at what is now the world’s largest public collection of Wall’s photo-based art.
现在,归功于最近的几次收购——2月收藏了2件,6月收藏了2件,9月收藏了1件。温哥华美术馆似乎在弥补它错过的时光。自上周起至一月底,美术馆为参观者提供了一睹世界最大规模的公开收藏,展出沃尔以照片为主的艺术作品。


Jeff Wall Backpack 1981-82 Collection of the Vancouver Art Gallery
杰夫沃尔 作品:背包旅行 1981-82 温哥华美术馆收藏

The exhibit, called simply “Jeff Wall: Vancouver Art Gallery Collection,” has nine of the gallery’s 11 Wall works on display, ranging chronologically from 1981–82’s Backpack to 2007’s War Game. The latter work, along with other recent acquisitions Concrete Ball, Children and River Road, have never been exhibited in British Columbia before.
此次展览,简单的命名为“杰夫沃尔:温哥华美术馆收藏展”,其中展出了11件收藏作品中的9件。按照时间顺序,从1981-82年间的作品“背包旅行”到2007年的“战争游戏”。最新的作品,和另一些收藏品“混凝土球”,“孩子们和河之路”,这些都不曾在英国展出过。



Jeff Wall War Game 2007 Collection of the Vancouver Art Gallery
杰夫沃尔 作品:战争游戏 2007 温哥华美术馆收藏


Jeff Wall Concrete Ball 2002 Collection of the Vancouver Art Gallery
杰夫沃尔 作品:混凝土球 2002 温哥华美术馆收藏

Three of the newer acquisitions—Basin in Rome 2, Children and River Road—were gifted to the Vancouver Art Gallery by British Columbia philanthropists Michael Audain and Yoshiko Karasawa. Gallery director Kathleen Bartels says that these gifts "will remain in the Gallery's collection in perpetuity as a legacy for the people of British Columbia and Canada." Earlier this year, in May, Jeff Wall was also presented with the $30,000 Audain Award for Lifetime Achievement.
3件更近一些的收藏——罗马盆地2 孩子们与河之路,是不列颠哥伦比亚省的慈善家 麦克尔奥丁和唐泽(Yoshiko Karasawa)赠与温哥华美术馆的礼物。美术馆总监凯瑟琳芭特尔说:“这些礼物将永久列入美术馆收藏,并作为共同的艺术遗产来分享。今年的早些时候,在5月,杰夫沃尔还获得了3万美元奖金的奥丁终身成就奖。



Jeff Wall from Children 1988 Collection of the Vancouver Art Gallery
杰夫沃尔 作品:来自孩子们 1988 温哥华美术馆收藏


Jeff Wall River Road 1994 Collection of the Vancouver Art Gallery
杰夫沃尔 作品:河之路 1994 温哥华美术馆收藏

Given that the Vancouver Art Gallery was key in jumpstarting Wall’s career, it’s good to see them get back to form. In 1970, Wall was included in the gallery’s exhibition “955,000,” which was guest curated by Lucy Lippard. In the mid-1980s, the gallery began acquiring then-new, now-classic works like Bad Goods. And in 1990, the gallery showed the first large-scale solo exhibition of Wall’s backlit transparencies.
如果说温哥华美术馆是沃尔艺术事业的快速启动的关键一步,看到这些作品回归展出也是颇具意义的。在1970年,沃尔参与露西丽帕德在美术馆策划的展览“955,000” 。在80年代中期,美术馆开始收购当时的新作品,而在现在已经成了经典之作的“不良品”。在1990年,美术馆首次举办了沃尔的大型个展“沃尔背光胶片”。



Jeff Wall Bad Goods 1985 Collection of the Vancouver Art Gallery
杰夫沃尔 作品:战争游戏 1985 温哥华美术馆收藏

Though photoconceptualism no longer rules the roost in Vancouver, and its painting, performance and sculpture scenes are (quite excitingly) growing, there’s no denying Wall’s ongoing importance both at home and abroad. It's satisfying to see so many works now on tap to support that legacy. (750 Hornby St, Vancouver BC)
虽然画面的概念论在温哥华不再是王道,其绘画、表现和雕塑的场景都在不断增长,不可讳言他在国际和国内的声誉。能一次性看到这么多他的作品真是一件很让人满意的事情。(霍比街750号,温哥华)



Jeff Wall Basin in Rome 2 2003 Collection of the Vancouver Art Gallery
杰夫沃尔 作品:罗马盆地 2003 温哥华美术馆收藏

返回页首

[快速回复] (HTML代码不可用)[高级回复]
请输入验证码: +jdlfjdlfljl12l12jl+*ljld- + +zdfn,n,/,/,;k1234-353;kdf;kdf;+*ljld- 6 (请输入计算结果)
表情
发言前,请仔细阅读并同意以下注意事项,未注册用户请返回社区首页注册。
1.请自觉遵守:Art-Ba-Ba论坛免责声明
2.请尊重网上道德;
3.自觉遵守:爱国、守法、自律、真实、文明的原则;
4.遵守互联网电子公告服务管理规定 及中华人民共和国其他各项有关法律法规;
5.严禁发表危害国家安全、破坏民族团结、破坏国家宗教政策、破坏社会稳定、侮辱、诽谤、教唆、淫秽等内容的作品;
6.承担一切因您的行为而直接或间接导致的民事或刑事法律责任。
7.Art-Ba-Ba所有帖子仅代表作者本人意见,不代表本社区立场。
8.转载文章请注明出自“Art-ba-ba中国当代艺术社区(www.art-ba-ba.com)”。如是商业用途还请联系原作者。