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花儿 — 荒木经惟 Flower – Araki Nobuyoshi

花儿——荒木经惟 flower-araki nobuyoshi 展览时间:2012年4月28日-5月28日 date:Apr.28– May.28 2012
地點: 北京市朝阳区酒仙桥路2号798东街8502信箱 100015, 亦安畫廊
Venue: #8502, 798 east street no.2 jiuxianqiao rd., chaoyang district, beijing, china, AURA Gallery
生的饥渴

黄亚纪

乱葬岗的彼岸花,雌蕊在遍红的死的极地枯萎,犹如老去游女的私处。1967年,荒木经惟带着白色背幕,在三轮老家的净闲寺拍着彼岸花,为他与花最初的相遇。2004年,荒木在花上着色,如为棺木中的母亲涂上口红般,在生命被死亡吸允干净前,拍下遗照。黑色背景衬托死的冶艳,像黑暗中盛开的火焰,像色情中的凶暴,像被解剖开的内脏。滴垂下的颜料,是生的饥渴。

摄影在摄影消失之处,达到摄影的顶点。被荒木涂上颜料的摄影竟因此更为真实,被绘画破坏的照片成了一面镜子,狂暴的镜面下闪烁生与性的光辉。「色情花」亦如此,被颜料湿漉的蕊与瓣,超越官能的情色,它们既是破坏,也是礼赞。在荒木的环形闪光下,欲望的eros(生、性、此岸)、tanatos(死、彼岸)两极,回归表里一体。「所谓的活著,就是由生而死,对生与死的爱,就是摄影。」

阳子他界后荒木最先拍摄的,就是成为废墟阳台上凋谢的花束。2007年5月17日阳子冥诞,荒木献给亡妻一千张「爱之花」:逝世时病床旁的木兰,春分时与啤酒一起献给阳子淫荡盛开的郁金香,将阳子爱喝的可乐瓶涂成白色后插上宛如男根的火鹤花。花所象徵的生与死,生与死间的幸与不幸,使荒木成为了摄影家,不也是人世间的全部?

「阳子疑是子宫肌瘤而动了手术,最后却发现是子宫肿瘤,医生说最多只剩半年生命了。只是这种话,我无法向阳子开口。我几乎每天都抱着花束到医院看她,因为,我太爱阳子了。」

「丈夫为了安慰这样的我,总是抱着生气勃勃的大束鲜花来探病,那要两手才能抱起的向日葵真是太漂亮了,等丈夫离开后我看着像火焰燃烧般的鲜黄向日葵,我感受到丈夫的姿态、丈夫的体温、丈夫的气味,所以我总是一直看着。那时我深深体会到了人的思念是存在的,真的存在的,而且可以疗愈疲惫者的身体与心灵。我无法止住滚滚流下的泪水。」

看著「花儿」展出作品,荒木说,这些花现在看来有股怀念的感觉。

a hunger for life

In the mass grave, the higanbana’s pistil faded among the dead polar, which like aging prostitute’s private parts. In 1967, Araki Nobuyoshi took pictures of higanbana at Net Free temple with a white board, this was his initial meeting with the flowers. In 2004, Nobuyoshi painted on the flowers as if he put on lipstick for his mother in the coffin, he took his mother’s last photo before her life was suck totally by the death. Black setting set off gorgeous of death, just like flames blooming in the darkness, like fierceness in the eroticism and dissected internal organs. Colors dripping from the flowers are hungers for life.

The painted works were therefore even more real, the works destroyed by the painting became a mirror, under which, glittering the splendor of life and sex. Erotic flower is the same, dampened pistil and petal, which beyond the senses, they are destruction, and praise as well. Beneath Nobuyoshi’s annular flashlight, desired life, death, sex, the shore and the other side combined to a whole. What is called aliveness is from being to death, the love of life and death is photography.

After Yoko died, the first things that Araki Nobuyoshi took are the withered flowers. On 17th of May, 2007, Yoko’s birthday, Araki presented one thousand of love flowers for his wife, the magnolia, the tulip and the anthurium, which symbolize the life and death, between which fortune and misfortune made Nobuyoshi became a photographer, isn’t it all in the world?

“Yoko performed an operation because of fibroid, but at last she was found to have uterine neoplasms. Doctor said she only had half a year left. But I cannot talk to her. Almost every day I went to hospital to see her with flowers, because I love her very, very much."

“In order to comfort me, my husband always brought a bunch of flowers are full of vitality to see me, the sunflowers are so beautiful. After my husband left, I looked at the yellow sunflowers, feeling his posture, temperature and smell, so I kept on looking at them. Deeply I felt miss do exist, really. It can cure the body and mind of the patients. I cannot stop the tears rolled down my cheeks."

“Looking at the works, these flowers remind me of a plenty of memories," Nobuyoshi said.

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關於【紳揆】

「藝隨心至,心至藝成」一向是我們對藝術的看法及心得,藝術本身應當没有形式上的限制,只要用心感受,藝術其實存在於我們生活上每一個細節,藝術本身也應當不受天資所限,只要用心創造,每一個人其實都能造出值得欣賞的藝術品。藝術之所以能修心養性,便是這個道理,亦可說得上是每一個人文社會上最佳的教化工具之一。在此理念上,【紳揆】以網上形式出現並成為一個以藝術文化為主題的平台,希望藉以推廣藝術及多建立一個渠道讓有興趣人士發表其藝術作品。

取名「紳揆」,就是希望此平台能藉著藝術分享讓每個讀者培養出溫文爾雅的態度及性情,而”Magaristo”則是”magazine” 與”aristocrat”的合併字而已。

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