访谈 --- Francesco Vezzolli 弗朗切斯科.韦佐利
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[楼主] 嘿乐乐 2008-07-12 06:45:38

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Francesco Vezzolli
弗朗切斯科.韦佐利

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上图:弗朗切斯科.韦佐利
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你是正确的(如果你认为你是)


内容来源于 FlashArt online.com
胡筱潇/译


弗朗切斯科.韦佐利 (Francesco Vezzolli ) --- 著名意大利艺术家
海伦娜.孔塔瓦 (Helena Kontova) --- flash Art 杂志主编


在参加今年的“Performa”的艺术家中 ,弗朗切斯科。韦佐利重现了他的名为“你是正确的(如果你认为你是)”的第一次的现场表演,这场著名的演出重新制作了由诺贝尔文学奖获得者,小说家路易格。皮兰德罗(Luigi Pirandello)编导的戏剧,于去年2007年10月27日在纽约的所罗门。R。古根海姆(Solomon R. Guggenheim Museum)美术馆首映。好莱坞明星凯特。布兰切特(Cate Blanchett)和娜塔莉。波特曼(Natalie Portman),埃伦。波斯挺( Ellen Bursty),彼得。萨斯加尔德(Peter Sarsgaard),大卫。斯特雷泽恩(David Strathairn),伊莱恩。斯齐基(Elaine Stritch)和戴安。威斯特(Dianne Wiest)等,在这一演出中组成了演员小组。

海伦娜。孔塔瓦(HK):克里斯。迪奥(Christian Dior);凯特。布兰切特; 缪克西亚。普拉达;娜塔莉。波特曼;拉里。高古轩(Larry Gagosian);伊尔。古根海姆(il Guggenheim):这些人是布里特。伊斯顿。埃利斯(Bret Easton Ellis,美国小说家)原作的影射吗?当皮兰德罗遇到《美国狂魔》(American Psycho)的时候会发生什么?

弗朗切斯科。韦佐利(FV):如果皮兰德罗现在还活着,也许他会自己来写《美国狂魔》…

HK:你感到更接近于《美国狂魔》里的角色的精神状态或皮兰德罗的作品中的存在主义的问题吗?

FV:为了阐释福楼拜(Flaubert) ,我可以说,“我是彭扎夫人(la signora Ponza,皮兰德罗的角色)…”,我常被问道:我是否个人把自己定位在自己的有关名流文化的作品的批评或辩论的领域,比如说皮兰德罗的戏剧“你是正确的(如果你认为你是)”(意大利文:Così è (se vi pare))中的女主人翁。我会如此回应:“我就是你相信会变成你想的样子的那个人…”顺便开个玩笑,我想艺术世界中的魅力和长时间的讨论都是在遭受剧烈的精神分裂症…我试图去反映最忠诚的可能的方式…。”

HK:除了重新制作的《戈尔•维达尔的卡尼古拉》 (2005)的宣传片,你从没有制作过一个影片的宣传片,传达与交流成为你“媒体游戏”的首选媒介。“看民主主义”(2007)(Look at Democrazy)和“你是正确的(如果你认为你是)”最近在纽约的古根海姆美术馆展出。在公众参与者间,譬如,我们可以看到尤玛。瑟曼(Uma Thurma和布鲁克。舒尔兹(Brooke Shields)。每一件事都伴随着非常精心安排,并在新艺术(Art Nouveau)的瞬间的展现出来。现在韦佐利你依然是“弗朗切斯科。韦佐利演出”的舞台监导吗?

FV:为了让这个以真实故事为题材的电视节目的试片不公开透露,我们找了一家罗马的电视节目制作公司。为了一部影片从未存在过的宣传片,我从好莱坞那里联系到了一家电视节目制作公司,来建立一场竞选活动。为了找一个从不存在的总统候选人,在华盛顿我利用我自己布什和克林顿的顾问的身份。为了一场从未存在过的戏剧奇观开幕的夜晚,我从纽约雇佣了一个活动组织者。每一次舞台监导像“短暂的幽灵”一般换不同的人,但我希望成果总是保持超现实的…

HK:1917年,在米兰的奥林匹亚第一次展示“你是正确的(如果你认为你是)”之际,皮兰德罗向他的姐妹写信:“这真正成为一场伟大的胜利。不为掌声,但为我让观众震惊,迷惑,愤怒,和绝望。你不知道我多么享受它!”你有这样写过吗或者只是皮兰德罗写过?

FV:我选择了这句话来介绍那晚上的节目。是皮兰德罗写的它,但是我可以自己再来写这句话。特别是演出的时候,我看到摄像机的屏幕,看到观众的脸…

HK:在第一次演出“你是正确的(如果你认为你是)”的8年后,皮兰德罗又将它展示了一遍,几乎把它所有的一切都改变了。如果你必须再次展示你的版本,你会改变什么呢?

FV:作为一个现场表演,我将不会再做一遍。它可能会再创造相同效果,让观众和演员的距离疏远了。

HK:你能向我揭示为什么能让凯特。布兰切特娜塔莉。波特曼在古根海姆美术馆参与你的现场演出?是通过你的品德人格还是通过你计划的创意?你是如何这么接近这些难以接近的人呢?你的方法是什么?

FV:我用不同的方式联系他们,我试着用诚挚的敬佩给他们写信,并给他们寄去非常多的鲜花,让他们相信我。没有人会相信这样会成功,但是我确实不得不说他们接受了我。也许他们总是习惯收到同样的作品建议,这些建议想让事情变得不同,甚至只是为了一天的事情,也许确实是刺激的机会,但是这只是我的假设…

HK:从你和Veruschka一起工作的时间开始,到和娜塔莉。波特曼一起工作,你见名人的方式有什么改变吗?

FV:我要求名人们参与我的作品,因为我相信他们的出现是不可缺少的,是描绘我面对真实的方式。这几年我和他们打交道的方式没有改变过

HK:从曾经盛极一时的名人到当下最热门和最被叫好的好莱坞明星。你认为这些人是我们时代的典范吗?

FV:比典范更有意义,我可以说他们是我们时代的映射。名人可以创造歇斯底里,病态的好奇心,模仿的欲望,甚至让心智可靠的人也这么做。我不能表达我所有的对演员的态度,这些演员接受了我的邀请参加我的游戏:没有他们的共事,那么无法创造激情,我也不可能有如此大的喜悦。

HK:去年10月在纽约古根海姆的你的作品,我相信,你把现实,现场无数的表演和一种巨大的力量放在一起。在搬出这个计划后,你对作品的理解是如何改变的?

FV;刚开始我涉及到的只是保守的和怀旧的…现在他们让我成了“坏男孩”。这似乎对我来说,准备好了过程中的好的一步。

HK:你接下来的计划会让帕丽斯•希尔顿(Paris Hilton)参加吗?

FV:坦率的说,我不确定我要如何用帕丽斯•希尔顿。我感到她并不那么需要我,她的生活已经是真正的艺术了。

HK:当孕育一个作品时,你的出发点是作者,还是演员,还是一个点子,或者是预感,还是偶尔收到的一个秘密消息?

FV:我总是寻找我疯狂情绪的路线,并为一些我计划的现实的方面做探讨。这就是我最初的推动力的来源。

HK:你是如何建立起你的演员阵容的?自己独自进行还是有朋友或者合作者帮助?

FV:很久以前我的计划执行时就是和不同的人讨论,内容包括我的对演员的选择,试探这些不同的人的反应。我想这是我最近作品中的很大一部分,用最变化多端的方式坚持试探观众…我喜欢与公众相结合,我想在今后更多地探索我作品的这个方面。

HK:观众中的一些人成为作品的一部分:这个选择是战略上的还是偶然性的因素导致?

FV:我定义它为战略性的偶然…或者更恰当的是,我邀请所有人,我梦想他们参加,然后希望这个梦想成为现实…但是有时它可能也变成一个噩梦。

HK:你的表演基础建立在皮兰德罗的作品上,这是角色转换的一种诱导。在作者,演员,公众这些角色中,你是如何定位你自己呢?哪里让你感到最惬意?
FV:我不把我自己看作是一名影片或者戏剧的导演。我甚至不知道从哪里开始阅读一部影片的剧本,也不知道如何建立一个故事板。我喜欢把我自己想成一个疯狂的生产者,一个狂妄自大的生产者。


HK;什么是你最喜欢的以真实故事为题材的电视节目?
FV:《换妻》,意大利版的,不是美国版的那个

HK:你让名人富有争议,并有时用怜悯的方式去描绘他们。有人曾经试图阻止你的作品流通吗?

FV:一个美国演员参加了《戈尔•维达尔的卡尼古拉》的重新制作的试片的演出,并答应在威尼斯双年展中展示这个计划,但是随后他的律师让他退出。

HK:你是如何让莎朗。斯通(Sharon Stone)来参加“民主主义”的?根据你的经验,明星和当代艺术有什么关联?

FV;很幸运地,莎朗。斯通一开始便发现这个挑战非常有趣…好莱坞明星真正的问题是和代理机构及宣传机构合作,而这些机构总是不懂我的计划的自然状态。在最近几年里,我认为好莱坞已经开始越来越大兴趣关注艺术,但路依然还长。一些演员支持参加我的作品,也有很多不支持,也许我将会在其他地方搜索。

访谈中划线部分 -- 注释:

注:PERFORMA,是一个跨平台的非营利性艺术机构,致力于研究行为表演作为一种艺术形式在20世纪的发展,从而为21世纪的行为表演开辟新的发展方向。 PERFORMA 的部分使命是每两年在纽约组织一次行为艺术双年展,以巩固行为艺术作为一种全球当代艺术界的重要艺术形式。2005年的 PERFORMA 与国际上知名的美术馆、画廊、独立空间和独立策展人合作推出了多维度的表演,以及影像作品展示和学术研讨会。活动从哈林区到华尔街,25,000人参与了行为艺术节在纽约的20个场地的各种活动。此次活动在世界行为艺术领域获得极大关注,同时也为行为艺术在国际当代艺术领域探索了新方向的可能性。而这次 2007年的 PERFORMA07 是行为艺术双年展的第二届,将于2007年10月27日至11月20日在纽约举行。展览及活动地点 哈林区工作室美术馆(The Studio Museum in Harlem),华美协进社(China Institute),詹姆士•科恩画廊(James Cohan Gallery),美洲华人<

[沙发:1楼] 嘿乐乐 2008-07-12 06:57:30
原文:

FRANCESCO VEZZOLI
Helena Kontova

RIGHT YOU ARE (IF YOU THINK YOU ARE)

AMONGST THE ARTISTS who participated in this year’s Performa, Francesco Vezzoli  reated his first live performance entitled Right You Are (If You Think You Are), a remake of the famous play by Nobel Prize Laureate Luigi Pirandello, which premiered at the Solomon R. Guggenheim Museum in New York, last October 27, 2007. Hollywood stars such as Cate Blanchett and Natalie Portman, Ellen Burstyn, Peter Sarsgaard, David Strathairn, Elaine Stritch and Dianne Wiest composed the cast of this event.

Helena Kontova: Christian Dior, Cate Blanchett, Miuccia Prada, Natalie Portman, Larry Gagosian, il Guggenheim: is this a quotation of Bret Easton Ellis? What happens when American Psycho meets Pirandello?
Francesco Vezzoli: If Pirandello were alive today, maybe he would write American Psycho himself…

HK: Do you feel closer to the mentality of the characters in American Psycho or to the existential issues in Pirandello’s work?
FV: To paraphrase Flaubert, I would say, “I am la signora Ponza…” I am often asked if I personally locate myself on the critical or dialectical side of my work with respect to ‘Celebrity culture…’ And like the heroine of Pirandello’s play, Right You Are (If You Think You Are) [Così è (se vi pare)], I would like to respond: “I am the one you believe me to be…” Joking aside, I think the world of glamour and also the general debate in the arts are both suffering from a virulent schizophrenia… I try to reflect that in the most faithful way possible.

HK: Aside from Trailer for a Remake of Gore Vidal’s Caligula (2005), the trailer of a film that was never made, communication has become the preferred medium of your ‘media games.’ Look at Democrazy (2007) and Right You Are (If You Think You Are), which was recently presented at New York’s Guggenheim Museum. And among the public participants the likes of Uma Thurman and Brooke Shields could be found. Everything was accompanied by a very elaborate announcement, which winked at Art Nouveau. Is Vezzoli still the marketing manager of the “Francesco Vezzoli Show?”
FV: For the pilot of a reality show that will never air, we turned to a Roman television production company. For the trailer of a film that never existed, I contacted a production company from Hollywood to construct an electoral campaign. For non-existent presidential candidates, I availed myself of Bush’s and Clinton’s consultants in Washington. For the opening night of a theatrical spectacle that never existed, I hired an event organizer from New York. Each time the ‘ephemeral ghost’ of a marketing manager changes, but I hope the product always remains surreal…

HK: In 1917, on the occasion of the first presentation of Right You Are (If You Think You Are) at the Olympia in Milan, Pirandello wrote to his sister: “It has truly been a great success. Not for the applause, but for the astonishment, the bafflement, the exasperation and the dismay I caused the audience. You don’t know how much I enjoyed it!” Did you write that or did Pirandello?
FV: I selected this sentence to introduce the project on the evening’s program. Pirandello wrote it, but I could have written it myself. Especially when, during the piece, I looked into the monitor of the camera and saw the faces of the audience…

HK: Eight years after the first run of Right You Are (If You Think You Are), Pirandello presented it again, changing practically all the lines. If you had to present your version again, what would you change?
FV: I would never do it again as a live performance; it would be impossible to
recreate the same effect of estrangement in the public as well as the actors.

HK: Could you reveal to me why Cate Blanchett and Natalie Portman participated
in a live performance by Francesco Vezzoli at the Guggenheim Museum? By virtue of your ability to seduce or the originality of your project? And how do you get so close to such otherwise inaccessible people? What are your means?

FV: I contact them in various ways and I try to convince them by writing letters of sincere admiration and sending them the most excessive bouquets of flowers. Nobody will believe it, but I really wouldn’t be able to say why they accept. Perhaps they are so used to always receiving the same kind of work proposals that to try something different, even if only for one day, might seem like a really stimulating opportunity. But this is only my hypothesis…

HK: From the time you worked with Veruschka to working with Nathalie Portman, what has changed in your way of seeing celebrities?
FV: I ask celebrities to participate in my works because I believe their presence to be
indispensable to portraying my way of seeing reality. My way of relating to them hasn’t changed over the years.

HK: From has-been celebrities to the hottest and most desired star of Hollywood. Do you think these people are the models of our time?
FV: More than models, I would say that they are a reflex of our time. Celebrities are
capable of creating hysteria, morbid curiosity and the desire to emulate even in the most intellectually secure people. I cannot express the full extent of my gratitude to the actors who accept my invitation to participate in my game: without their complicity, creating the short circuit that amuses me so much would be really impossible.

HK: With your work at the Guggenheim in New York last October, you put together a real, live mega-performance, a kind of Herculean labor, I believe. After having
carried out this project, how has the perception of your work changed?

FV: In the beginning I was referred to as reactionary and nostalgic… Now they have
defined me as a ‘bad boy.’ This seems to me to already be a good piece of progress.

HK: Would you like it if Paris Hilton participated in one of your upcoming projects? For example, in a ballet?
FV: Sincerely, I am not sure how I could use Paris Hilton. I get the feeling that she
doesn’t really need me; her life is already a veritable work of art.

HK: When conceiving a work, is your point of departure an author or an actor, an idea, a hunch, or a tip you might casually receive?
FV: I always seek to channel my rage and disgust for certain aspects of reality into
my projects. This is where my initial impetus comes from.

HK: How do you establish your cast? Alone or with the aid of friends or collaborators?
FV: Long before I do my projects, I like to discuss them, including my choices
regarding cast, with different people and gauge their reactions. I think that a large part
of my most recent works consist in testing the audience in the most diverse ways… I
like interacting with the public and I would like to eventually explore this aspect of my
work more in the future.

HK: Some people among the audience beome part of the work: are such choices
strategic or is there an element of chance involved?

FV: I would define it as a strategic chance… or rather, I invite all the people I dream of
having participate, and then hope that the dream comes true… but sometimes it can also become a nightmare.

HK: Pirandello’s piece, on which your performance was based, is an invitation to
switch roles. The author, the actors, the public. How do you situate yourself among
these roles? Where do you feel most comfortable?

FV: I don’t see myself as a film or theater director. I wouldn’t even know where to begin to read a film script or how to construct a storyboard. I like to think of myself as a mad producer and megalomaniac producer.

HK: What is your favorite reality show?
FV: Wife Swap, the Italian version, not the American one.

HK: You render celebrities controversial and portray them in sometimes pathetic
ways. Has anyone ever tried to prevent the circulation of<
[板凳:2楼] guest 2008-07-13 02:57:46
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[地板:3楼] guest 2008-07-16 13:49:42
我是正确的?
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