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当虚拟比实体还要真实

时间:2011-09-28 19:51:12  来源:  作者:

当我步入位于纽约市切尔西区的佩斯画廊(Pace Gallery)时,给我留下的第一印象是,“这一切在网上会不会更好些呢?”有一面墙展出的是佩内洛普·昂布里科(Penelope Umbrico)的作品,站在落日前的人(上图),数量庞大的照片占据满满一墙,这是她通过在照片分享网站Flickr上搜索标签为“sunset”的照片而制作出来的。另一处,大卫·伯恩(David Byrne)的“民主在行动”是一组屏幕,展示的是不同国家的国会议员扭打做一团的照片。埃米利奥·查佩拉·佩雷斯(Emilio Chapela Pérez)的“据谷歌……”是一组按照“艺术”、“共产主义”以及“金钱”等主题进行分类的装订成厚厚一册的相片集,每一册都包含有谷歌图像搜索根据相关的关键词想到的图片。然后还有克里斯多夫·贝克(Christopher Baker)的“喃喃的研究”,25台粘附在墙上的热敏印刷机源源不断地吐出一条条包含有情绪符号的推特消息,像“grrr(哎呀!)”、“ewww(恶)”和“argh(啊!)”。卷纸在地板上堆积如山,好像一条巨长的意大利粉条。
The exhibition "Social Media", which opened at Pace yesterday with a panel discussion with five of the artists, is—as the title suggests—a compilation of art about social media, with works dating back up to a dozen years. It immediately raises a problem: what do you lose, and what do you gain, when you take a medium that is inherently dynamic, interactive and virtual, and turn it into the frozen, unresponsive and all-too-physical form of exhibits in a gallery?
昨天在佩斯开幕的“社交媒体”展,正如其名字所示那样,是一场社交媒体艺术的剪辑,这方面的工作要追溯到十几年前。与之一并开幕的还有一场有五位艺术家参与的专题讨论会。它马上引发了一个问题:当你采取天生就是动态、具有交互性且是虚拟的媒体形式,并将之转化为刻板的、没有响应的、且一切均过于实体化的画廊展览形式时,你的得失是什么?
At first blush, you lose a lot more than you gain. Many of the works feel rather like hesitant, jolly, ho-ho-look-at-what-those-online-folk-are-up-to experiments. Also most are compilations of material from the web, which means that each one could be a website, probably already is a website, and certainly would work better as one.
乍一看,你的失去要比收获要多很多。这些作品里面很多给人的感觉更多的是像一种犹豫中进行的玩笑性质的实验,是想用嘻哈的态度看看网上那些家伙在捣腾些什么。还有这些大部分都是网上的材料的剪辑,这意味着每一个都有可能是个网站,可能已经是个网站,而且作为一个网站来运作的话当然会更好。
There are, for instance, already websites devoted to pictures of sunsets and to people fighting and to tweets about any subject under the sun. You could generate Mr Chapela Pérez's encyclopaedia on Google itself, and it would be both a lot more extensive and a darn sight more portable. Even the works that are not merely the products of automated search results, such as Miranda July and Harrell Fletcher's "Learning to Love You More" (right), a compilation of pictures sent in by users in response to various assignments (the one on display here asked them to pick a person who was in the news that day, and take a picture of themselves acting as that person at another moment in the day—one young man is Dick Cheney staring morosely into the fridge after mixing up Venezuela and Peru at a press conference), lose much of their point when they stop being an open-ended, participatory experiment online and become a fixed series of images on a gallery wall.
比如说,现在已经出现了专门提供日落图片的网站,让大家可以对太阳这个主题下的任何东西争执不休、微博不停。你自己就可以在谷歌上创建一个像佩雷斯先生那样的百科全书,而且其范围将会宽泛得多,移动性便携性也要好得多。即便是那些不仅仅是通过自动搜索结果创作出来的作品,如米兰达·朱莱(Miranda July)和哈雷尔·弗莱彻(Harrell Fletcher)的《学会爱你更多》,那是一组图片的汇编,图片是由用户应各种指配任务投递而来(这里展示的是请他们挑选出一个上当天新闻的人物,然后在当天找一个时间扮演此人并自拍—有一位年轻人扮演的是迪克·切尼(Dick Cheney)愁眉苦脸地盯着冰箱的情景,那天切尼在记者招待会上被委内瑞拉和秘鲁搅得焦头烂额),但是当这些照片被固定在画廊的墙上成为一系列呆板的图片时,就不再是一项开放分享式的实验了,从而令其逊色不少。
But that's a superficial criticism. The point here is not the content, which requires little or no artistic judgment to generate, but the way it's presented. So what is gained in that presentation? Ms Umbrico, well aware of this problem, argues that her sunset pictures act in a very different way on a wall than on a computer screen. The sheer size of the wall, which allows so many pictures to be displayed together, mocks the uniqueness and sense of place that all of the photographers were trying to bring to their sunset moments. "Now they're all nowhere," she says. Likewise, the relationship between the viewer and the viewed, which on the web is egalitarian—we're all just nodes on a network—becomes much more hierarchical in a gallery.
但这是一种肤浅的质疑。这里的要点不在于内容,它几乎不需要或者需要很少的艺术判断就能创造,而在于形式,展示的形式。那么从这样一种展现方式中我们收获了什么呢?昂布里科小姐对这个问题有着清醒的认识,她提出,她的日落图片艺术用一种迥异于电脑屏幕的方式展现在墙上。墙的庞大使得如此众多的图片得以展示在一起,模仿着那种摄影师试图带给日落时分的空间感及独特性。“现在这一切均化为虚无了”,她说。同样地,那种在网上是对等的参观者和被参观者之间的关系—双方都只不过网络的一个节点而已,在画廊里则变得更为层次化了。

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