艺术与真实——从徐冰的《蜻蜓之眼》说开去

发布时间：2018-05-10 11:58

本文选题：现成品 + 拾得物　；参考：《文艺研究》2017年08期

【摘要】：徐冰最近创作的《蜻蜓之眼》是一部奇特的电影。它不仅挑战对于电影的习惯看法,而且挑战对于艺术和真实的一般理解。与传统艺术侧重模仿和再现不同,当代艺术直面真实,现成品艺术就是直接采用生活中的拾得物的艺术。鉴于《蜻蜓之眼》采用的镜头都是拾得的,也可以说它是一部现成品电影。由于采用的镜头全部来自监控录像,它不可避免会与真实发生关系,从而不同于从公映影视作品中选取镜头的现成品电影。但是,徐冰并没有留恋内容的真实性,而是反其道而行之,将真实的镜头剪辑成虚构的故事,从而与纪录片拉开了距离。在观看《蜻蜓之眼》时,观众会体验到真实与虚构之间的张力,在半梦半醒之间思考生活世界的构成。
[Abstract]:Xu Bing's most recent film, the Eye of the Dragonfly, is a strange film. It challenges not only the conventional view of film, but also the general understanding of art and truth. Different from the traditional art, the contemporary art faces the reality directly, the present finished art is the art that uses the life to pick up the material directly. Since the dragonfly's eye is picked up, it is a finished film. Since all the cameras used come from the surveillance video, it will inevitably have a relationship with the reality, which is different from the existing finished film which selects the lens from the film and television works. However, Xu Bing did not cling to the truth of the content, but did the opposite, cutting the real scenes into fictional stories, thus distancing himself from the documentary. When watching the Eye of the Dragonfly, the audience will experience the tension between reality and fiction, and reflect on the composition of the world of life between half sleep and half waking.
【作者单位】：北京大学艺术学院、美学与美育研究中心;
【分类号】：J905

【相似文献】