Pay tribute to Andreas Gursky
2017 Single-channel video, color, sound 07’24" In Rhein II (Andreas Gursky 1999), Andreas Gursky removes factories near the riverbank by means of post-production technology so that the processed photograph presents a pristine riverscape. This idea of detachment generates a unique angle of observation and brings the viewed object to the foreground. The object of this photograph is the essence of the River Rhine rather than the scene under the camera lens. This eidetic reduction in a sense demonstrates a more authentic River Rhine to the audience. Similar to the composition of Rhein II, this artwork uses close-up shots of railway tracks and ambient sound recording, featuring a monorail in the countryside. The curve of the audience’s senses are intensified by the partial close-up shots of the rapid passing of the rumbling, noise-making train but shortly return back to ease while the train travels afar. Sometimes, tiny insects crawl across the seemingly static screen. Without any post-processing, this artwork filters the distraction by the closely zooming-in and condenses the scenario into a simple close-up of the partial. The pursuit of purity makes the screen project to the intuitive observation of the materiality of the rail. Subsequently, the railway which signifies the weight and advancement of the industrial age, is transformed from the product of the steel forging to the simple geometric images of the digital world. As the question Milan Kundera raises through Parmenides’ inquiry: “the lightness/weight opposition is the most mysterious, most ambiguous of all.” The mathematical formula on the screen has no weight. |
向Gursky致敬
2017
單頻道錄像,彩色/有聲
07’24”
Andreas Gursky 1999年的攝影作品Rhein II中,藉由後製技術除去現場河岸的工廠等,將畫面處理得異常乾淨,使這件寬幅攝影產生一種抽離的視角,攝影的對象於是在凝視中走向前景。這個攝影的對象,即為萊茵河的本質,而非鏡頭所見的現場。這是對攝影進行了一次本質上的還原,它使觀眾的目光看見一個比現場更為真實的萊茵河。
猶如Rhein II的畫面構圖,作品中,鐵軌的特寫及環境收音,這是一個鄉間的單軌路段。當轟隆隆的火車經過,局部的特寫構圖使觀眾的感官瞬間放大,隨後又歸於平靜。
幾乎靜止的畫面偶爾有小蟲子路過,畫面沒有經過修改,原封不動的再現火車經過的實況。只是這個再現抽離了旁枝,只再現一個放大的局部,它把場景給純粹化了,使畫面直觀的投向鐵軌的物質性。
隨後,象徵著工業時代重量、鋼鐵鍛造技術的鐵軌發生質變,它變身成為數位世界的簡單幾何圖形。如同米蘭.昆德拉藉由巴門尼德斯的提問:「輕與重的對立是所有對立中最為神秘、最模擬兩可的。」這些螢幕上的數學公式,輕得毫無重量。
2017
單頻道錄像,彩色/有聲
07’24”
Andreas Gursky 1999年的攝影作品Rhein II中,藉由後製技術除去現場河岸的工廠等,將畫面處理得異常乾淨,使這件寬幅攝影產生一種抽離的視角,攝影的對象於是在凝視中走向前景。這個攝影的對象,即為萊茵河的本質,而非鏡頭所見的現場。這是對攝影進行了一次本質上的還原,它使觀眾的目光看見一個比現場更為真實的萊茵河。
猶如Rhein II的畫面構圖,作品中,鐵軌的特寫及環境收音,這是一個鄉間的單軌路段。當轟隆隆的火車經過,局部的特寫構圖使觀眾的感官瞬間放大,隨後又歸於平靜。
幾乎靜止的畫面偶爾有小蟲子路過,畫面沒有經過修改,原封不動的再現火車經過的實況。只是這個再現抽離了旁枝,只再現一個放大的局部,它把場景給純粹化了,使畫面直觀的投向鐵軌的物質性。
隨後,象徵著工業時代重量、鋼鐵鍛造技術的鐵軌發生質變,它變身成為數位世界的簡單幾何圖形。如同米蘭.昆德拉藉由巴門尼德斯的提問:「輕與重的對立是所有對立中最為神秘、最模擬兩可的。」這些螢幕上的數學公式,輕得毫無重量。