论文部分内容阅读
我们一开始就在与文化传统的断裂和失败的现代性中。这个无法选择的事实,某方面来说是我们的起点。这让我想到鲁迅因为在日本求学时,看到日本人拍摄中国砍头的刑罚幻灯片,刺激了他后来的文学创作,这也是我认为“被摄影者的历史”中重要的一刻,一个通过观看的折射所创造“重新叙事”的行动。另外蒋渭水临终前与家族、同志的合照,也同样是一个关于凝视的重要一刻,那是一个有意识穿越当下摄影机,向未来说话的凝视,被摄影者将自身做为主体且发言的影像。这两个例子:鲁迅是由观看者转为叙述者,蒋渭水由被摄者转为凝视者。这两种态度,某方面构成我想延续的精神,一种具反转能力的观看精神——《郑慧华与陈界仁对谈——充满想象,并且顽强的存在!》,选自《艺术与社会》
We were right in the beginning with the fragmentation and failure of the cultural traditions of modernity. This unselectable fact is, in some ways, our starting point. It reminds me that when Lu Xun was studying in Japan and saw the Japanese filming the punishment slides of Chinese beheadings to stimulate his later literary creation, which is also an important moment in “the history of the photographer” I think, A “re-narration” action created by viewing refraction. In addition, Jiang Weishui’s dying picture with his family and comrades before dying is also an important moment about staring. It is an image of a conscious person who speaks through the present camera and talks to the future, and takes himself as the main subject. These two examples: Lu Xun is converted from viewer to narrator, Jiang Weishui from the photographer to gaze. These two attitudes, one aspect of which I want to continue the spirit of a reversal of the ability to watch the spirit - “Zheng Huaihua and Chen Jiren dialogue - full of imagination and tenacious existence!”, From “Art and Society”