@博雅艺术讲——档案:重构历史

历史号:访客,发布日期:2019-09-08,阅读:301;评论:0 ,栏目:历史解密

原题目:@博雅艺术讲——档案:重构汗青

The Archive:

Rewriting Histories

档案:重构汗青(节选)

文 / Eva Respini 译 / 西毒

从照片被发明以来,它曾经称为档案的代名词了,现在最常见的档案文件就是照片。照片的特征十分契合档案用来纪录、分类以及整顿常识的功用。档案拍照由纪录立功案件、考古发明等等社会事宜生长而来, 平日用于永久性的档案贮存,赋予汗青以可靠性和证据支撑,并增进了人类学、社会学和科技的生长。

拍照师从拍照术发明之际便开始摸索照片与证据、汗青和信息的关系。在曩昔的四十年中,因为照片的普及性、大批收集信息的出现,以及数码影象的持续增殖,同时作为主体和情势的档案酿成一个众矢之的。经过对档案文件和逻辑构造体系的从新诠释和再利用,艺术家们应战了档案的权势和重要性。

当中一种计谋是转化官方档案的语境,并制造新的叙事,从而质疑拍照的真实性。加利福尼亚艺术家Larry Sultan和Mike Mandel配合拍摄的“Evidence”就是这类创作方式的前驱。艺术家从公共和私家档案中梳理了四十万张照片,从中选出九十九张照片作为终究成书和展览的聚集,从而发明出一中神奇、风趣,乃至布满幽默感的叙事构造。

而有些艺术家商量的是照片重现汗青的局限性,德国艺术家Michael Schmidt的“U-NI-TY”创作于柏林墙倾圮的第二年,他聚集了公共和私家的影象将同一后的德国形象化,并商量了热情彭湃的德国人背后的身份危急。

中国艺术家海波的系列作品“他们”,当中交错了时候和影象,从小我角度审阅了文化大革命,每一对照片都含有一张文革期间红卫兵合影和一张当代版本的合影,这以明显对照凸显了曩昔三十年中国社会的当代化,特别是西方化历程。

二十世纪末和新世纪初,公共和小我范畴之间的界限愈来愈恍惚,艺术家开始使用小我肖像去表现公共事宜。在系列“May, June, July, August”中,艺术家Lorna Simpson从一本ebay买来的相册开始,在这本1957年的相册中,一位不出名的洛杉矶女人在照片中摆出各类海报女郎的姿态,艺术家模拟照片中的场景和姿态从新归纳了快照内容,赋予它们以差别的格和谐新的公共本能机能。

Carrie Mae Weems

American, born 1953

卡丽·梅·维姆斯

From here I Saw What Happened and I Cried. 1995

Thirty-four chromogenic color prints with sandblasted text on glass (10 shown)

Gift on behalf of The Friends of Education of The Museum of Modern Art, 1997

Taryn Simon

American, born 1975

塔林·西蒙

Chapter I, A Living Man Declared Dead and Other Chapters I-XVIII. 2011

Three pigmented inkjet prints ( cm)

Gift of the Fundacion Almine y Bernard Ruiz-Picasso, 2012

Gilles Peress

French, born 1946

吉尔·佩雷斯

The Silence. 1994

Twenty two gelatin silver prints (six shown)

Gift of Susan and Peter MacGill, 2007

Hai Bo

Chinese, born 1962

海波

The No. 6. 1999

Two chromogenic color prints. each (60.9×87.6 cm)

The Family of Man Fund, 2008

Bertien van Manen

Dutch, born 1942

博蒂·范·梅南

Munich, Germany, from the series Give Me Your Image. 2002-05

Chromogenic color print (32.2×48.2 cm)

E. T. Harmax Foundation Fund, 2005

Gay Block

American, born 1942

盖伊·布洛克

Adele Defarges, France, from the series Rescures: Portraits of Moral Courage in the Holocause. 1988

Chromogenic color print (57.4×47 cm)

Gift of the artist, 1994

Lorna Simpson

American, born 1960

劳娜·辛普森

May, June, July, August #8. 2009

Twelve gelatin prints (12.7×12.7 cm)

Aquired through the generosity of The Contemporary Arts Council of The Museum of Modern Art, 2010

Akram Zaatari

Lebanses, born 1966

阿克朗·扎塔利

After They Got the Right to Arms. Fourteen Young Men Posing with Guns. Early 1970s/2006

Siteen gelatin silver prints (28.8×28.8 cm)

Fund for the Twenty-First Century, 2012

Christian Boltanski

French, born 1944

克莉丝汀·博尔塔斯基

The Storehouse. 1988

Seven gelatin silver prints with seven electric lamps and 192 tin biscuit boxes containing cloth fragments (211.2×375.8 cm)

Jerry I. Speyer Mr. and Mrs. Gifford Phillips, Barbara Jackson, and Arnold A. Saltzan Funds, and purchase, 2989

Carlos Garaicoa

Cuba, born 1967

卡洛斯·加赖科亚

Untitled ( 2004

Two gelatin silver prints, one with thread and pins (100.3×150.5 cm)

Fund of the Twenty-First Century, 2005

Walid Raad

Lebanese, born 1967

瓦利德·拉德

My neck is thinner than a hair: Engines. 1996-2004

One hundred gelatin silver prints (24×34 cm)

Fund for the Twenty-First Century, 2004

Michael Schmidt

German, 1945-2014

迈克尔·施密特

U-NI-TY. 1991-94

163 gelatin silver prints (thirty-one shown)

Horace W. Goldsmith Fund through Robert B. Menschel and purchase, 1998

Zoe Leonard

American, born 1961

佐伊·伦纳德

Analogue. 1998-2009

342 chromogenic color prints and 70 gelatin silver prints

Aquired through the generosity of The Contemporary Arts Counil of The Museum of Modern Art, 2013

David Wojnarowicz

American, 1954-1992

大卫·沃纳洛维次

Weight of the Earth, Part I. 1988

Fourteen gelatin silver prints (99.1×104.8 cm)

The Family of Man Fund, 1991

Roni Horn

American, born 1955

罗尼·霍恩

Still Water. 1999

Eighy offset lithographs (81.6×57.5 cm)

Aquired through the generosity of Kathy and Richard S. Fuld, Jr., 2007

Olafur Eliasson

Danish and Icelandic, born 1967

奥拉维尔·埃利亚松

Jokla Series. 2004

Fourty-eight chromogenic color prints (36×54 cm)

Aquired through the generosity of Jerry I. Speyer, Marie-Josee Kravis, and Micheal Lynne, 2006

Hans-Peter Feldmann

American, born 1969

汉斯-皮特·费尔德曼

11 Pictures. 1973

Artist's Book (9.7×9.8 cm)

The Museum of Modern Art Library, New York, 1986

Takuma Nakahira

Japanese, born 1938

中平卓马

C-084, from the series Circulation: Date, Olace, Events. 1971

Gelatin silver print, printed 2013 (32.1×48 cm)

David H. McAlpin Fund, 2014

Larry Sultan

American, 1946-2009

拉里·苏尔坦

Evidence. 1977

Artist's book (23.5×225.5 cm)

The Museum of Modern Art Library, New York, 1987

Rachel Harrison

American, born 1966

雷切尔·哈里森

Voyage of the Beagle. 2007

Fifty-seven pigmented inkjet prints (twelve shown)

Fund for the Twenty-First Century, 2007

Phil Collins

British, born 1970

菲尔·柯林斯


free fotolab. 2009

Eighty 35mm slides (four shown)

Fund for the Twenty-First Century. 2011

Jan De Cock

Belgian, born 1976

简·德·库克

Denkmal 11, Museum of Modern Art, 11 West 53 Street, New York, 2008. Diptych 23, Module CCCXX, Module CCCXXI. 2008

Two chromogenic color prints (133×79 cm)

Fund for the Twenty-First Century, 2008

BOYA PRIZE

〡术〡奖

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