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觀看的方式:藝術的可能性 遠大於此

2017/1/4 — 21:55

作者提供圖片

作者提供圖片

作家China Miéville提出,1972年BBC播放的電視片集Ways of Seeing (也是剛過身的藝評大師John Berger的傳世之作)中有一個精采至極的片段,是電視被發明至今,有過最美妙的一幕之一。

在倫敦National Gallery拍攝,站在Leonardo da Vinci的畫作The Virgin of the Rocks前,John Berger說:

'Take this original painting in the National Gallery. Only, what you are seeing is still not the original.’ (「讓我們看這幅在國家藝廊的真跡。不過你看到的並非真跡。」)

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他先指出經電視複製傳到觀眾眼中的,已不是原作。然後他轉變聲音說:

'This painting by Leonardo is unlike any other in the world...It isn’t a fake. It’s authentic. If I go to the National Gallery and look at this painting, somehow I should be able to feel this authenticity. ...It is beautiful for that alone.’ (「這幅達文西的畫作獨一無二,它不是假的。它是真跡。當我去國家藝廊看這畫作,我會感受到它的真實性。…這點本身就是美麗的。」)

廣告

但這是他故意說出,裝作自己很動容的幾句。鏡頭一轉,聚焦在John Berger的面孔,他轉回用自己堅定的聲音說:

‘Nearly everything that we learn or read about art encourages an attitude rather like that.’ (幾乎所有我們可學到或讀到關於藝術的東西,都在鼓勵這種對待藝術的態度。)

這句異常震撼。然後他開始一步一步在電視觀眾前作更有力的解構:

'...but why is it so important to preserve and display this drawing?...it's acquired a new kind of impressiveness, but not because of what it shows, not because of the meaning of its image. It's become mysterious again, because of its market value, this market value depends upon it being genuine. And now, it's here like a relic in a holy shrine... (…但為何保存和展示這畫作如斯重要?…它重新獲得打動人的力量,但並非因為展示了什麼、並非因為這影像。它重新變得神祕,因為其市場價值,基於它是真跡而確立的主場價值。現在,它像聖殿中的聖物般被展示。…)

...A lot more is possible, but only if art is stripped of the false mystery and the false religiosity that surrounds it. This religiosity is always linked with cash value, but always invoked in the name of culture and civilization, is in fact a substitute for what paintings lost when the camera made them reproducible.' (…藝術的可能性遠大於此,不過它虛假的神秘感和宗教性必須被去除。因文化和文明之名,那跟金錢價值扣連的宗教性會被召喚,這都是用來取代攝影機被發明後、繪畫可被複製後失去的東西。)

這段話,應該被更多人讀到。無論論者是否認為Ways of Seeing已經陳舊,到了二十一世紀,這段要傳達的訊息,還是那樣強而有力,且還遠遠未夠被接受。

創作和接收藝術,應由這精采的見解作起點。

 

參考原文:

China Miéville,‘Reproductions Distort’: A Note on the Culture Industry

上述提及的片段

 

 

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