因為背上的中藥把我熱醒，忽然想起還沒把三九貼拿下來，於是便爬起來撕了貼布。
再躺下去的那瞬間，一個畫面須臾閃過腦海。那 是一條無人街，可以直直通往火車站前的大馬路，旁邊有一棟正在興建的飯店，玻璃一片片組成光彩奪目的面，不規則的架構則是顯出這座城市儘管杵在準則裡，卻 每個人都在嘗試有所不同作為。我扛著黑白圓點，被撐得很龐大的提包，手拉著塞滿各式東西的行囊，一度覺得自己會來不及，沒辦法到車站或者機場，沒法子走到 下一個城市，也許乾脆就此生活在哪一個長得像聖誕老人的家裡，每天看著牆壁上掛的老樹木老鹿頭度日。
可是，領 著我回家的念頭，還是要我前行。紅燈的時候，我站在路口，再次看了一眼哥本哈根，三天前，我還在阿姆斯特丹的機場潰堤，後來還不是坐了十三小時的野雞車， 挺了過來，來到哥本哈根。沒到冷冷清清的Tivoli，倒走訪路人介紹給我，很安靜卻怪誕的街頭小區，一個人像孤獨的學蠧，坐在店裡拍照喝咖啡，觀察身邊 的人用陌生的語言說些芝麻蒜皮的家務事，外頭建築物的玻璃牆上貼了新銳藝術家的作品，他走訪這社區的每個平民小戶，拍下失婚的男人/貧窮的一家/刺青的情 侶/正在做黑道的兄弟/靠領失業救濟金度日的老人/幸福的新婚情侶，我聽得見這小區甩門關窗戶的聲音，雖然見不太到許多人，可是他們的身影都被刻畫在那幾 片玻璃牆上頭了。人生，模樣，記憶，標籤，幸與不幸。可是誰也說不準，我這個過客是否分析得有理。
冷風刮著臉，我騎著腳踏車嘯過移民區或者布爾喬亞區，最終還是回到原點，在那個初次乍到的地方離去。
看了一眼左方斜斜照過來的夕陽，每一個斑馬線上的路人，都變得模糊，只有形狀。但，我知道鏡子裡的自己越來越清晰。
Saturday 25 December 2010
Friday 10 December 2010
囚禁
我可能做了一個錯誤的決定。
所以才會徬徨失落，像一個失了重心的陀螺，旋轉再旋轉以後，即將要墜落。
那些有興趣的議題，在我耳際揮之不去。可能不是害怕自己沒辦法做出什麼，而是害怕以後只是一個糖衣的製造者，必須要用美麗甜蜜的形容詞來包裝出一則狀似華麗的文章，可是自己內心齟齬卻無法釋放在任何一處。
然而，我明知道這塊土地生存的不只有穿著Prada的惡魔，但筆端卻沒辦法選擇自己要什麼，彷彿背後是一塊荊棘，一幅史丹利庫柏力克的電影分鏡，爆裂性的古典樂悠揚地在空氣裡化為分子，憂愁的家暴傷者、沒有辦法與我們溝通的外籍勞工、校園裡被遺忘的霸凌兒、堅持理想的搖滾客、聲音從沒被聽見男人或者女人，我們的自由或者被囚禁，那些畫面都不再行進。
只是畫面，只是被凝固在平面裡的畫面。
我一直認為美麗佳人，能給讀者的不只是流行，但慢慢地，我已經分不出Elle、Vogue、Marie Claire。才不過工作七天，我每天都在想倫敦，我都在想自己閱讀過什麼，曾經有過什麼理想，為什麼我再也沒辦法很單純地聆聽明星說話。
是不是，我已經沒辦法回去過去的日子了......
所以才會徬徨失落，像一個失了重心的陀螺，旋轉再旋轉以後，即將要墜落。
那些有興趣的議題，在我耳際揮之不去。可能不是害怕自己沒辦法做出什麼，而是害怕以後只是一個糖衣的製造者，必須要用美麗甜蜜的形容詞來包裝出一則狀似華麗的文章，可是自己內心齟齬卻無法釋放在任何一處。
然而，我明知道這塊土地生存的不只有穿著Prada的惡魔，但筆端卻沒辦法選擇自己要什麼，彷彿背後是一塊荊棘，一幅史丹利庫柏力克的電影分鏡，爆裂性的古典樂悠揚地在空氣裡化為分子，憂愁的家暴傷者、沒有辦法與我們溝通的外籍勞工、校園裡被遺忘的霸凌兒、堅持理想的搖滾客、聲音從沒被聽見男人或者女人，我們的自由或者被囚禁，那些畫面都不再行進。
只是畫面，只是被凝固在平面裡的畫面。
我一直認為美麗佳人，能給讀者的不只是流行，但慢慢地，我已經分不出Elle、Vogue、Marie Claire。才不過工作七天，我每天都在想倫敦，我都在想自己閱讀過什麼，曾經有過什麼理想，為什麼我再也沒辦法很單純地聆聽明星說話。
是不是，我已經沒辦法回去過去的日子了......
Thursday 9 December 2010
female artists recommended from favorwire
History is written by the winners. As Meghan O’Rourke’s recent Slate essay points out, in the literary and cultural worlds, those winners still are — more often than not — men. That’s not because of any native advantage in intelligence or ability, but because of what O’Rourke calls “unconscious gender bias” and our unwillingness to accord “accomplishment and authority” to women as freely as we recognize these qualities in men.
Nevertheless, unequal status notwithstanding, there is more room at the cultural table today than there was in the chauvanist world of 50 years ago. Indeed, blatant sexism is why so many of the artists in Seductive Subversion: Women Pop Artists, 1958-1968, up through January 31 at the Brooklyn Museum (and originally organized by Sid Sachs at Philadelphia’s University of the Arts), received little attention when they were actively making work. But O’Rourke’s “unconscious gender bias” is why so few institutions, academic or otherwise, have paid them any mind in the decades since. We spoke to Catherine Morris, the Curator of the museum’s Sackler Center for Feminist Art, about ten fantastic women Pop Artists from the show that you’ve probably never heard of.
Idelle Weber’s terrific black and yellow paintings evoke the era of checker cabs, smoky back rooms, and the Long Island Railroad club car. Along with her paintings and sculpture, Weber’s set of nine Lucite blocks, imprinted with scenes straight out of Mad Men (men in suits, holding cigarettes) is a don’t-miss.
Idelle Weber, Munchkins I, II & III, 1964, acrylic on linen, 72” x 120” (in three panels). Courtesy of the artist.
Like Warhol and Lichtenstein, Marjorie Strider made bold-colored paintings of “pinup girls.” But Strider satirizes the usual overemphasis on physical assets by turning parts of her paintings three-dimensional – the pinup girl’s breasts in Triptych II (Beach Girl), 1963, for instance, barely encased in a yellow bikini top, literally pop off the canvas.
Strider was well-known during the ’60s, says Morris, and inspired the now-infamous Pop Art exhibition First International Girlie Show, held in January 1964 at New York’s Pace Gallery.
Marjorie Strider, White Linear (Lilies), 1964, oil and mixed media, 61 1/2” x 48”. Abrams Family Collection
“The history of Pop Art has been gone over and polished to a high sheen,” says Morris. But there’s “a whole history of footnotes that hasn’t been explored.”
To wit: prior to Seductive Subversion, Morris says that she “knew very little” about Rosalyn Drexler, whom she calls “an incredible painter and an incredible Pop voice from the period.” Indeed, Drexler’s cinematic, large-scale paintings encapsulate the Pop aesthetic: bright, bold, with more than a hint of a “commercial” influence.
Austrian-born Kiki Kogelnik was also little-known. Her works, at once dangerous and seductive, include a hand-painted, once-live bomb, as well as paintings depicting male and female figures, bones, and scissors.
Rosalyn Drexler, Home Movies, 1963, oil and synthetic polymer with photomechanical reproductions on canvas, 48 1/8” x 96 1/8”. Courtesy of Hirshhorn Museum and Sculpture Garden, Washington, DC
During her short life, British painter and actress Pauline Boty created bold-colored, large-scale paintings of celebrities, as well as darker, political works about the Vietnam War and JFK’s assassination. Though she showed her paintings in British galleries, and was even included in Ken Russell’s 1962 documentary of emerging Pop Artists, Boty’s work largely disappeared from view following her untimely death at 28 from cancer.
In part that’s because one of her brothers, evidently grief-stricken, stockpiled Boty’s paintings in a barn. Making matters still worse, Boty’s husband, Clive Goodwin, died suddenly of a cerebral hemorrhage in the mid-’70s. As Alice Rawsthorn explained in the Guardian, “There was no one left to ensure that the critics and curators who would write the ‘official’ accounts of the 1960s art scene over the next two decades would remember to include Pauline Boty.”
Pauline Boty, With Love to Jean Paul Belmondo, 1962, oil on canvas, 48” x 59 7/8”. Collection of Nadia Fakhoury, Paris
Nevertheless, unequal status notwithstanding, there is more room at the cultural table today than there was in the chauvanist world of 50 years ago. Indeed, blatant sexism is why so many of the artists in Seductive Subversion: Women Pop Artists, 1958-1968, up through January 31 at the Brooklyn Museum (and originally organized by Sid Sachs at Philadelphia’s University of the Arts), received little attention when they were actively making work. But O’Rourke’s “unconscious gender bias” is why so few institutions, academic or otherwise, have paid them any mind in the decades since. We spoke to Catherine Morris, the Curator of the museum’s Sackler Center for Feminist Art, about ten fantastic women Pop Artists from the show that you’ve probably never heard of.
Idelle Weber’s terrific black and yellow paintings evoke the era of checker cabs, smoky back rooms, and the Long Island Railroad club car. Along with her paintings and sculpture, Weber’s set of nine Lucite blocks, imprinted with scenes straight out of Mad Men (men in suits, holding cigarettes) is a don’t-miss.
Idelle Weber, Munchkins I, II & III, 1964, acrylic on linen, 72” x 120” (in three panels). Courtesy of the artist.
Like Warhol and Lichtenstein, Marjorie Strider made bold-colored paintings of “pinup girls.” But Strider satirizes the usual overemphasis on physical assets by turning parts of her paintings three-dimensional – the pinup girl’s breasts in Triptych II (Beach Girl), 1963, for instance, barely encased in a yellow bikini top, literally pop off the canvas.
Strider was well-known during the ’60s, says Morris, and inspired the now-infamous Pop Art exhibition First International Girlie Show, held in January 1964 at New York’s Pace Gallery.
Marjorie Strider, White Linear (Lilies), 1964, oil and mixed media, 61 1/2” x 48”. Abrams Family Collection
“The history of Pop Art has been gone over and polished to a high sheen,” says Morris. But there’s “a whole history of footnotes that hasn’t been explored.”
To wit: prior to Seductive Subversion, Morris says that she “knew very little” about Rosalyn Drexler, whom she calls “an incredible painter and an incredible Pop voice from the period.” Indeed, Drexler’s cinematic, large-scale paintings encapsulate the Pop aesthetic: bright, bold, with more than a hint of a “commercial” influence.
Austrian-born Kiki Kogelnik was also little-known. Her works, at once dangerous and seductive, include a hand-painted, once-live bomb, as well as paintings depicting male and female figures, bones, and scissors.
Rosalyn Drexler, Home Movies, 1963, oil and synthetic polymer with photomechanical reproductions on canvas, 48 1/8” x 96 1/8”. Courtesy of Hirshhorn Museum and Sculpture Garden, Washington, DC
During her short life, British painter and actress Pauline Boty created bold-colored, large-scale paintings of celebrities, as well as darker, political works about the Vietnam War and JFK’s assassination. Though she showed her paintings in British galleries, and was even included in Ken Russell’s 1962 documentary of emerging Pop Artists, Boty’s work largely disappeared from view following her untimely death at 28 from cancer.
In part that’s because one of her brothers, evidently grief-stricken, stockpiled Boty’s paintings in a barn. Making matters still worse, Boty’s husband, Clive Goodwin, died suddenly of a cerebral hemorrhage in the mid-’70s. As Alice Rawsthorn explained in the Guardian, “There was no one left to ensure that the critics and curators who would write the ‘official’ accounts of the 1960s art scene over the next two decades would remember to include Pauline Boty.”
Pauline Boty, With Love to Jean Paul Belmondo, 1962, oil on canvas, 48” x 59 7/8”. Collection of Nadia Fakhoury, Paris
- Greek-born sculpture and multimedia artist Chryssa “had one of those typical European love/hate relationships with American pop culture,” says Morris. Partly as a result, Morris says, she was one of the first artists to use neon in her work.
Another pioneer here is British artist Jann Haworth, who is credited with creating some of the earliest “soft sculptures” – which sound exactly like what they are. Frank, Dog, and The Maid appear together here, in a funny/sad tableau that seems like the opening scene to a drama about a lonely older man, his younger, very attractive maid, and his loyal, homely dog. In other words, Pretty Woman. Also, Maid in Manhattan.
Haworth also collaborated with her husband on the album cover for Sgt. Pepper’s Lonely Hearts Club Band, which includes her soft sculptures of Shirley Temple and an old woman.
Chryssa, Car Tires, 1962, oil on paper, 38” x 23 1/5”. Abrams Family Collection.
Although May Wilson had an abiding interest in becoming an artist, it was her son who exposed her to the “downtown scene.” Inspired, at 61 she “moved to the Chelsea Hotel,” says Morris, to realize her dreams.
For the pieces included here, Wilson took pictures of herself in photo booths, affixed her face to ridiculous or silly portraits, and then applied these pastiches to postcards and other found objects. The results are alternately surreal, hilarious, and profound.
May Wilson, Ridiculous Portrait (Queen Elizabeth), c.1965-72, collage, 8 1/2” x 10 1/8”. Courtesy of William S. Wilson and Pavel Zoubok Gallery.
Martha Rosler’s photomontages skewer the sexist roles ascribed to women during the period — maid, “bombshell,” perfect hostess (which aren’t too far off from idealized notions of femininity today). Although well-known, Rosler typically isn’t associated with Pop Art. Yet, says Morris, Rosler’s work “is very much about Pop ideas.”
Martha Rosler, Vacuuming Pop Art, 1967-72, photomontage, 20” x 24”. Courtesy of the Artist and Mitchell-Innes & Nash, New York.
May Wilson, Ridiculous Portrait (Queen Elizabeth), c.1965-72, collage, 8 1/2” x 10 1/8”. Courtesy of William S. Wilson and Pavel Zoubok Gallery.
Martha Rosler’s photomontages skewer the sexist roles ascribed to women during the period — maid, “bombshell,” perfect hostess (which aren’t too far off from idealized notions of femininity today). Although well-known, Rosler typically isn’t associated with Pop Art. Yet, says Morris, Rosler’s work “is very much about Pop ideas.”
Martha Rosler, Vacuuming Pop Art, 1967-72, photomontage, 20” x 24”. Courtesy of the Artist and Mitchell-Innes & Nash, New York.
墨索里尼的情人
照我平日一向只願意看90分鐘電影的習性，周二這天，簡直是破天荒看了兩部140分鐘的電影。
墨索里尼的情人Vincere
當時會選這部片的原因，單純是因為聞天祥推薦，總之像是吃了顆定心丸，覺得肯定不會看到壞片。事實上，它的確讓我覺得兩小時多的電影，絲毫沒有失神，甚至一改我對近代義大利電影沉淪的印象。
看完回家查了IMDB以後，方才知道導演Marco Bellocchio是義大利老將，打從1961年開始拍戲，演員、編劇出身的Bellocchio，就是在電視上看到關於墨索里尼情人的故事，發現資料寥寥無幾，方才決定把這故事改編，搬上大銀幕。
精彩的是，Bellocchio也找來許多歷史資料片段、錄音檔，讓過去與現在的剪接，流動得渾然一體，歷史片段並不沉悶延宕，反而因為墨索里尼的聲音、音樂，把節奏調動得更加明快，映對出他時時刻刻在變化與發酵養大的野心，一再推進。
女主角同樣是一時之選，Giovanna Mezzogiorno，演過愛在霍亂蔓延時、帕勒摩獵影，她演出情人的瘋癲仇恨跟癡迷。在故事前半段，她把東西全都賣了，就為了資助墨索里尼，在情慾與愛交雜之間，臉部的線條極為柔和，連床戲都拍得極好，彷彿兩人之間不是欲而是愛。但，到了後半段，被拋棄與嫌棄以後，她堅定決心要墨索里尼認帳、認兒子的眼神，在公眾場所裡撩起裙襬，被精神病院院長質問的一場戲，許多細微的表情跟眼神，從理智瞬間到瘋狂，Giovanna演得絲絲入扣，也絕對不是年輕新一代義大利偶像演員能演出來的戲碼。
以下則是摘錄自國家電影電子報
《電影筆記》專訪了導演馬可․貝洛凱歐，讓我們來看一看。
導演何時對伊妲․達爾瑟的故事感興趣呢？原來，導演也是在電視上看到一部紀錄片《墨索里尼的祕密》(Le Secret de Mussolini)，才知道有伊妲․達爾瑟這一號人物。他說，市面上一堆墨索里尼的傳記，提到伊妲․達爾瑟這個人也才不過幾行句子而已。義大利男導演法布黎吉歐․羅倫提 (Fabrizio Laurenti) 跟義大利裔美國籍男記者江法藍科․挪瑞利 (Gianfranco Norelli) 一起在美國搜尋檔案，因為那些檔案無法在義大利尋得；然後才拍成那部紀錄片。馬可․貝洛凱歐覺得這段只到一九一七年的戀情值得拍成電影，於是就在看過紀錄片之後的一年，正式展開《祕密戀人》的前製作業。
馬 可․貝洛凱歐認為這不僅僅是一位女人的故事，而是能夠透過她來講義大利的故事。墨索里尼年輕的時候，曾經是投入社會主義運動的青年，就是在這個時候，他吸 引住伊妲․達爾瑟；但是到一九一四年秋天（也就是第一次世界大戰開戰後不久），墨索里尼背叛了社會主義的路線，轉而支持中立路線，或說轉而支持義大利參 戰，支持和法國結交成聯盟。墨索里尼甚至還曾經被指控「被法國人收買」(être acheté par les Français)，因為他所辦的報紙宣揚力抗德國。
墨索里尼在一九一三、一四年間，很被未來主義 (le futurisme) 吸引，認為戰爭的必要性即是要摧毀過去，即使是摧毀過去中的美麗的事物。
伊 妲․達爾瑟後來幾近是被軟禁，這讓馬可․貝洛凱歐能夠繼續實驗他的美學：政治跟心理治療之間的關係。伊妲․達爾瑟絕不投降，因此她是一位永遠都在抗議的女 人，因此也就是一位超級麻煩的人物，所以，在現實中，她後來被安置在醫院裡面被軟禁，目的就是要摧毀她。導演希望伊妲․達爾瑟這一角色，能夠像他好幾年前 片《早安，黑夜》(Buongiorno, notte) 一樣（該片處理一九七○年代的極左派暴力），「從內部來向我們呈現這些歷史事件」。
背景模糊、前面突然爆發暴力，「永遠都有在這之前跟之後的敵對立場，每一個立場都意謂著某些很精確的東西。我只是要在這之間注入影像而已。」
墨索里尼的情人Vincere
當時會選這部片的原因，單純是因為聞天祥推薦，總之像是吃了顆定心丸，覺得肯定不會看到壞片。事實上，它的確讓我覺得兩小時多的電影，絲毫沒有失神，甚至一改我對近代義大利電影沉淪的印象。
看完回家查了IMDB以後，方才知道導演Marco Bellocchio是義大利老將，打從1961年開始拍戲，演員、編劇出身的Bellocchio，就是在電視上看到關於墨索里尼情人的故事，發現資料寥寥無幾，方才決定把這故事改編，搬上大銀幕。
精彩的是，Bellocchio也找來許多歷史資料片段、錄音檔，讓過去與現在的剪接，流動得渾然一體，歷史片段並不沉悶延宕，反而因為墨索里尼的聲音、音樂，把節奏調動得更加明快，映對出他時時刻刻在變化與發酵養大的野心，一再推進。
女主角同樣是一時之選，Giovanna Mezzogiorno，演過愛在霍亂蔓延時、帕勒摩獵影，她演出情人的瘋癲仇恨跟癡迷。在故事前半段，她把東西全都賣了，就為了資助墨索里尼，在情慾與愛交雜之間，臉部的線條極為柔和，連床戲都拍得極好，彷彿兩人之間不是欲而是愛。但，到了後半段，被拋棄與嫌棄以後，她堅定決心要墨索里尼認帳、認兒子的眼神，在公眾場所裡撩起裙襬，被精神病院院長質問的一場戲，許多細微的表情跟眼神，從理智瞬間到瘋狂，Giovanna演得絲絲入扣，也絕對不是年輕新一代義大利偶像演員能演出來的戲碼。
以下則是摘錄自國家電影電子報
《電影筆記》專訪了導演馬可․貝洛凱歐，讓我們來看一看。
導演何時對伊妲․達爾瑟的故事感興趣呢？原來，導演也是在電視上看到一部紀錄片《墨索里尼的祕密》(Le Secret de Mussolini)，才知道有伊妲․達爾瑟這一號人物。他說，市面上一堆墨索里尼的傳記，提到伊妲․達爾瑟這個人也才不過幾行句子而已。義大利男導演法布黎吉歐․羅倫提 (Fabrizio Laurenti) 跟義大利裔美國籍男記者江法藍科․挪瑞利 (Gianfranco Norelli) 一起在美國搜尋檔案，因為那些檔案無法在義大利尋得；然後才拍成那部紀錄片。馬可․貝洛凱歐覺得這段只到一九一七年的戀情值得拍成電影，於是就在看過紀錄片之後的一年，正式展開《祕密戀人》的前製作業。
馬 可․貝洛凱歐認為這不僅僅是一位女人的故事，而是能夠透過她來講義大利的故事。墨索里尼年輕的時候，曾經是投入社會主義運動的青年，就是在這個時候，他吸 引住伊妲․達爾瑟；但是到一九一四年秋天（也就是第一次世界大戰開戰後不久），墨索里尼背叛了社會主義的路線，轉而支持中立路線，或說轉而支持義大利參 戰，支持和法國結交成聯盟。墨索里尼甚至還曾經被指控「被法國人收買」(être acheté par les Français)，因為他所辦的報紙宣揚力抗德國。
墨索里尼在一九一三、一四年間，很被未來主義 (le futurisme) 吸引，認為戰爭的必要性即是要摧毀過去，即使是摧毀過去中的美麗的事物。
伊 妲․達爾瑟後來幾近是被軟禁，這讓馬可․貝洛凱歐能夠繼續實驗他的美學：政治跟心理治療之間的關係。伊妲․達爾瑟絕不投降，因此她是一位永遠都在抗議的女 人，因此也就是一位超級麻煩的人物，所以，在現實中，她後來被安置在醫院裡面被軟禁，目的就是要摧毀她。導演希望伊妲․達爾瑟這一角色，能夠像他好幾年前 片《早安，黑夜》(Buongiorno, notte) 一樣（該片處理一九七○年代的極左派暴力），「從內部來向我們呈現這些歷史事件」。
背景模糊、前面突然爆發暴力，「永遠都有在這之前跟之後的敵對立場，每一個立場都意謂著某些很精確的東西。我只是要在這之間注入影像而已。」
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