Bill Viola 比尔·维奥拉Bill Viola 比尔·维奥拉Bill Viola 比尔·维奥拉
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[楼主] 嘿乐乐 2006-07-17 02:45:31
Bill Viola

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比尔·维奥拉是国际公认的视像装置艺术先驱。从艺三十多年以来,他先后创作了150余件录像、音像装置、电子音乐表演以及电视和广播艺术作品。在艺术家层出不穷的今天,比尔·维奥拉以他的博学和对当代高科技传媒的熟练掌握在国际艺坛牢牢地站稳脚跟,并成为闻名世界的视像魔术大师。30多年来,比尔·维奥拉始终致力于通过录像手段研究和探索人类那个看不见的精神世界,梦、记忆与联想、情感世界、生与死都是他所要表现的主题。其作品在表现生、死、潜意识等人生最根本、最普遍的经历的同时,也表达了他对生命、宇宙与时间的思考。维奥拉的作品主题鲜明,表现深刻细腻,技术手段先进,是艺术与高科技的完美结合,具有强力震撼力。   近20几年来,维奥拉的作品频繁地奔走于世界各地,在著名的博物馆和画廊展出。2003年1月24日,他的以"感情"为主题的新世纪新作展又在洛杉矶的"保罗·格蒂博物馆"拉开了帷幕。4月27日结束格蒂的展览之后,全部作品还将奔赴伦敦等地继续巡回展的旅程。参展的13件录像作品全部为艺术家在新世纪的创作,其中12件是以情感为主题的系列作品,另一件创作于2000年的巨作--"新世纪的五个天使",也被艺术家以"表现情感的另一种方式"为由列在参展名单之列。这些作品是艺术家多年来在当代艺术的禁区--人类精神--中奋力探索的心血结晶,也是他在经历了1997-1998年的反思期和在格蒂研究院做访问学者的研究成果的演化。

  比尔·维奥拉1951年生于美国纽约,1973年Syracuse大学实验工作室(Experimental Studios)毕业。70年代期间,作为欧洲第一批录像艺术工作室的技术指导,维奥拉在意大利的佛罗伦萨工作了整整18个月。此后,他开始周游世界,先后在所罗门岛、爪哇、巴厘岛和日本等地停留,对当地传统的表演艺术进行深入细致的研究和记录。1980至1981年,在日美文化交流基金的赞助下,维奥拉与妻子在日本生活了一年,其间他不仅以客座艺术家的身份在索尼公司旗下的Arsugi研究实验室从事创作和研究,并且师从禅宗大师Daien Tanaka学习佛教。1984年,维奥拉在美国圣地亚哥动物园做客座艺术家,参与"动物意识"研究与创作计划。1995年,作为美国艺术家的代表,维奥拉参加了第46届威尼斯双年展,作品《埋葬的秘密》(Buried Secrets)在美国厅展出。1997年,美国纽约惠特尼美术馆为他举办了大型作品回顾展--"比尔·维奥拉:25年的回顾"。在长达两年的时间里,该展览先后在美国及欧洲的6个博物馆展出,维奥拉的艺术引起举世瞩目。

  豪放不羁是人们对艺术家生活的总体认识,然而,比尔·维奥拉似乎是一个例外,他的生活甚至可以用苦行僧来形容。作为一个基督教信徒,比尔·维奥拉不仅认真研究过基督教的各种文献,还对印度教、佛教以及禅宗等东方宗教的教义与文献都有所研究。自从1980年拜师研究禅宗以来,他一直兢兢业业,严格修行,不论是家中事物,还是工作事宜全权交给她的妻子打理。

  对于维奥拉来说,1997-1998年是他生命旅程中至关重要的一年,其间他不仅经历了人生中的两件大事--父亲去世和长子诞生,事业发展也进入了休整期,他似乎走在了一个岔路口,个人的艺术向何处去一时期成为一直萦绕在心头的一个问号。正在此时,格蒂研究中心邀请他去做访问学者,该中心本年度的研究课题是"感情的表现",重点研究在漫长的艺术史中,人类情感是如何被艺术家们演绎与表现的。在充分利用格蒂丰富的研究资源的同时,维奥拉发现自已似乎已经陷入格蒂美术馆的藏品之中,而对于中世纪和文艺复兴时期的收藏,维奥拉倾注的时间与精力更是不计其数。

  刻苦的钻研终于取得了丰硕的成果,展览"感情"中作品的诞生就与这一年的辛勤劳作必不可分。在格蒂结束了一年的研究后,维奥拉的记事本上已经写满了关于未来作品的思考。从2000年开始的第一件创作,三年来维奥拉共创作了20件以情感为主题的系列作品。这些作品几乎涉及了人类七情六欲的所有情感,其中许多作品业已被世界的一些重要博物馆收藏。在本次巡回展中露面的作品有格蒂委托创作的《紧急情况》(Emergence)。这是该作品的首次公开展出,与作品同时展出的还有一个纪实性电影短片"比尔·维奥拉和他的'紧急情况'",这个电影短篇也是由格蒂委托摄制的,作者是马克·基德尔(Mark Kidel)。值得一提的是,格蒂曾经有一个不展览当代作品的明文规定,此次展览维奥拉的视像作品确实是博物馆的一次勇敢的破例。同时,由于维奥拉的这些作品几乎都是对古代作品的新形式的传译,因此主办展览的几家博物馆认为,对于那些对当代艺术怀有敌意的观众来说,维奥拉的作品会引导观众从一个全新的视角重新体味经典作品的无穷魅力。在随展览出版的作品集中,维奥拉这样写道?quot;那些老作品只是一个导火线。我并不是要将它们挪用或重组,而是要走进作品之中……与作品中的人物相伴左右,感受他们的呼吸。最终变成他们精神与灵魂的维度,而不是可视的形式。我的初衷就是要到达感情以及感情自然流露的根本。在我70年代接受艺术教育时,这是一个不能涉足的禁区,今天依然如此。"《惊讶五重唱》(The Quintet of the Astonished),是系列作品的第一件,是伦敦国家画廊(National Gallery)在2000年委托维奥拉创作的。该作品的创作灵感完全来自该画廊的藏品《嘲弄基督》(Christ Mocked)。这是一幅创作于中世纪(1490-1500)的宗教题材作品,作者是尼德兰(荷兰)画家耶罗尼姆斯·博斯(Hieronymus Bosch)。象系列中的其他作品一样,维奥拉邀请了专业演员从事该作品的表演创作。对他来说,这是一个新的尝试。在构图上,维奥拉参考了绘画作品对人物的安排,但并没有完全照搬或挪用。五个表演者紧紧地靠在一起,但身体的相依并不能掩盖内心的孤独,它们在相同的物理空间,不同的心灵空间,同时演绎着人类不同的情感:欢喜、悲伤、愤怒、恐惧、。最先进的投影设备的使用,不仅展现出了一幅幅色彩纯正,图像清晰的画面,也强化了作品对博斯原作的色彩和戏剧化表现语言的夸张模仿,演员的激情生动的表演是作品获得成功的重要因素。从某种角度上说,维奥拉的作品不再是个人创作的成果,其中不仅有演员的表演,还有一整套的拍摄班底的辛勤劳作,再次印证了当代艺术的群体创作性。

  《沉默的高山》(Silent Mountain)创作于2001年,是通过在墙面上的两个并排安置的同样大小的等离子显示器播放的双联录像作品。艺术家的创作灵感来自于中世纪的另一幅绘画作品--《圣母领报》(The Annunciation)。该作品创作于1450-1455年,作者是尼德兰(荷兰)画家迪里克·鲍茨(Dieric Bouts)。两个在不同的时空表演的演员,似乎处在一个共同的对话空间,他们情感交融,共同经历着极限的情感发泄。"这是我在无声的《沉默的高山》中记录下的最撕心裂肺的吼叫",比尔维奥拉说。

  《凯瑟琳的房间》(Catherine's Room)是一个5联录像作品,5个仅有一本书大小的并排画面同时出现,展示主人公凯瑟琳(演员表演)--一个虔诚的信徒--整个一天的孤独生活。安德烈亚·迪巴托罗(Andrea di Bartolo)创作于1393-94年的一幅作品是艺术家创作该作品的原始素材。

[沙发:1楼] 顶帖超人 2006-07-20 06:08:26
顶啊!! 钱啊!!
[板凳:2楼] 顶帖超人 2006-07-19 05:53:56
开始赚钱!! 我顶!!
[地板:3楼] 嘿乐乐 2006-07-19 06:07:51
[4楼] 嘿乐乐 2006-07-19 06:08:32


[5楼] 嘿乐乐 2006-07-18 07:14:24
The Messenger

1996

Video/Sound installation

Ed. 3/3

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The Messenger, 1996 Detail of Installation in Durham Cathedral

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The Messenger, 1996 Detail of Installation in Durham Cathedral

Originally commissioned for Durham Cathedral by the Chaplaincy to the Arts and Recreation North East England

Edition 1 The Chaplaincy to the Arts and Recreation in North East England;
Edition 2 The Bohen Foundation, New York; promised gift to the Soloman R. Guggenheim Museum, New York.
Edition 3 Albright-Knox Art Gallery

Collection Albright-Knox Art Gallery, Buffalo, New York

Sarah Norton Goodyear Fund, 1996
[6楼] 嘿乐乐 2006-07-18 06:04:05
[7楼] 嘿乐乐 2006-07-18 06:02:04
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Bill Viola, I Do Not Know What It Is I Am Like, 1986
Video, 90 minutes
[8楼] 嘿乐乐 2006-07-18 05:59:42
Mater, 2001
Diptych, video on LCD flat panel displays
Edition 4/5.
40.7 x 65.5 x 4 cm
[9楼] 嘿乐乐 2006-07-18 06:01:19
[attachment=94882]
Hall of Whispers, 1995
Video/sound installation: 10 custom made projectors, 10 laser disc players and speakers
Edition 1/2 Ten channels of black-and-white video projected five each onto opposite walls of darkened hallway; ten channels of amplified mono sound
300 x 760 cm
[10楼] 嘿乐乐 2006-07-18 05:57:14
Going Forth By Day: First Light

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Going Forth By Day: First Light, 2002
Video/sound installation, dimensions variable. Photo: Kira Perov
[11楼] 嘿乐乐 2006-07-18 05:41:53



[12楼] 嘿乐乐 2006-07-18 05:23:32
Angel’s Gate

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Angel’s Gate, 1989
Videotape
Lent by the artist
A succession of individual images are punctuated by long, slow fades to black. The image sequences, including fruit falling from a tree, a candle being extinguished, a family having a flash photograph taken, appear as a series of openings or momentary glimpses into nature's essential gestures which, like thoughts, are destined to fade and themselves disintegrate into obscurity and oblivion.
[13楼] 嘿乐乐 2006-07-18 05:20:43
Passage

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Passage, 1987
Video/sound installation
Edition 1: San Francisco Museum of Modern Art; Accessions Committee Fund: gift of Mr. and Mrs. Donald G. Fisher, Susan and Robert Green, Pamela and Richard Kramlich, and Mr. and Mrs. Brooks Walker, Jr.
A long narrow corridor leads to a small inner room where a large projection fills an entire wall. A videotape of a child's birthday party is being played back in extreme slow motion, taking seven hours to unfold. The room architecture places the viewer uncomfortably close to the image, and the deep rumbling sound of the slowed children's voices fills the space. An architectural structure enclosing time, the hallway and viewing room frame an image that transcends human scale in both time and space, placing the child's birthday party in the internal, subjective domain of ritual, memory and emotive association.
[14楼] 嘿乐乐 2006-07-18 05:18:12
The Reflecting Pool

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The Reflecting Pool, 1977-79
Videotape
Lent by the artist
A man emerges from a forest and stands before a pool of water. He leaps up and time abruptly stands still. From this point, all movement and change in the otherwise still scene is limited to the reflections and undulations on the surface of the pond. Time becomes extended and punctuated by a series of events seen only as reflections in the water. The emergence of the individual into the natural environment becomes a baptism into a world of virtual images and indirect perceptions.
[15楼] 嘿乐乐 2006-07-18 05:15:56
Reasons for Knocking at an Empty House

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Reasons for Knocking at an Empty House, 1982
Video/sound installation
The Art Institute of Chicago; Restricted gift of Barbara Bluhm, Mrs. Thomas H. Dittmer, Ruth Horwich, Susan and Lewis Manilow, Marcia and Irving Stenn, Dr. and Mrs. Paul Sternberg, and Lynn and Allen Turner, through prior acquisitions of the Leigh and Mary Block Collection
A heavy wooden chair stands empty in front of a TV monitor. The monitor shows a man in close-up as he struggles to stay awake and alert. The room is silent. Headphones on the chair reveal his inner body sounds of breathing and swallowing, with multiple voices heard in the background engaged in stream-of-consciousness chatter. At random intervals, the man is struck violently from behind by an unseen figure, causing a loud explosion of sound to momentarily burst out from two loudspeakers in the room.
[16楼] 嘿乐乐 2006-07-18 05:14:04
Room for St. John of the Cross

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Room for St. John of the Cross, 1983
Video/sound installation
The Museum of Contemporary Art, Los Angeles; The El Paso Natural Gas Company Fund for California Art
Through a window in a black cubicle in a black room, a small color monitor on wooden table is visible. The monitor displays a color image of a tranquil snow covered mountain. A voice quietly reciting the poems of the Spanish mystic St. John of the Cross can barely be heard from within. Outside, a large image projected on the wall shows black-and-white images of snow covered mountains in constant wild, chaotic movement. A loud roaring sound fills the space like a storm. St. John's poems often describe love, ecstasy, flying, and passage through the dark night. They were written while he was held prisoner in a tiny windowless and cell and tortured by the Inquisition for nine months in the year 1577.
[17楼] 嘿乐乐 2006-07-18 05:12:07
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The Stopping Mind



The Stopping Mind, 1991
Video/sound installation
Exhibition copy; original in the Museum für Moderne Kunst, Frankfurt
Still images appear on four large screens mounted parallel to the four walls of the room. A voice is audible at the center of the space quietly whispering a continuous chant that describes the passive loss of bodily sensation in an unknown black space. At random intervals the images simultaneously burst into movement, momentarily coming to life in violent frenetic motion and loud roaring sound. They abruptly become silent and still again as frozen frames, until the next burst of activity once again brings them to life. The room continues in a continuous cycle of sustain and release, as memory and experience constantly interact within the larger stream of the perpetual movement of individual consciousness.
[18楼] 嘿乐乐 2006-07-18 05:09:50
The Sleep of Reason




The Sleep of Reason, 1988
Video/sound installation
Carnegie Museum of Art, Pittsburgh; Museum Purchase: Gift of Milton Fine and A.W. Mellon Acquisition Endowment Fund
A black-and-white monitor on a wooden chest shows a close-up view of a person sleeping. At random intervals the lights in the room cut out and large violent images appear on the walls as loud roaring sounds fill the space. After a few seconds, the lights come on and the room abruptly returns to normal, as if a momentary glimpse to another, parallel world has appeared, revealing a dark underside to the familiar well-lit environment.
[19楼] 嘿乐乐 2006-07-18 05:08:03
He Weeps for You

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He Weeps for You, 1976
Video/sound installation
Edition 2: Collection of Pamela and Richard Kramlich; courtesy Thea Westreich Art Advisory Services
A drop of water emerging from a small brass valve is magnified by a video camera and projected on a large screen. The close-up image reveals that the viewer and a portion of the room are visible inside each forming drop. The drop swells and finally falls, and a loud sound is heard when it lands on an amplified drum. The entire room and persons in it are subject to the cadence of the falling drops, which continue in infinite repetition and reflection.
[20楼] 嘿乐乐 2006-07-18 04:59:22
[21楼] 嘿乐乐 2006-07-18 05:01:46
Man of Sorrows




Bill Viola, 2001
Color video on LCD flat panel
19 3/8 in. (h) x 15 in. (w) x 6 in. (d)
[22楼] 嘿乐乐 2006-07-18 05:06:44
Slowly Turning Narrative


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Slowly Turning Narrative, 1992
Video/sound installation
Edition 2: Los Angeles County Museum of Art; Modern and Contemporary Art Council Fund
A large rotating screen shows a man's face in black-and-white on one side and a series of color images on the other. One side of the screen is mirrored, and it reflects the viewer's own image, as well as the projected images which travel across the walls of the room as the screen turns. A voice recites various states of being and actions in a continuous repetitive chant. The entire space becomes an interior for the revelations of a constantly turning mind absorbed with itself.
[23楼] 嘿乐乐 2006-07-17 03:35:45


Heaven and Earth, 1992 [attachment=94741]
Video installation
Artist's Proof: Collection of the artist

两个木头圆柱从天花板和地面延伸出来,中间有个几寸的间隔。间隔中是两个突出的面对面不相碰的黑白显示器。上面的显示器里是个面临死亡前的老婆婆的脸部,而下面显示器里放的是一个只有几天大小的婴儿脸。画面十分的宁静,整个装置放在一个很小的空间里。由于两个显示器都是玻璃质料,他们会互相反映,老人和婴儿的脸会看似重叠包含再一起。

Two wood columns extend from floor to ceiling, separated by a gap of several inches. At this gap, the exposed tubes of two black and white video monitors are positioned facing each other and not touching. The upper monitor shows an image of an old woman's face on the verge of death, and the lower monitor shows the face of a new baby only days old. The images are silent and the entire structure is enclosed in a small room. Since the surface of each monitor screen is glass, the reflection of the image on the opposing screen can be seen through the surface of each image, with the birth-face and death-face reflecting and containing each other.

[24楼] 嘿乐乐 2006-07-17 03:47:56
Bill Viola
«The Threshold»







点击以下连接观看录像

录像 1

录像 2

录像 3

在这个装置里维奥拉关注的是观众对身体和精神的关系,沉思和行动及内在和外在的现实。制造了一个内在和外在方面非常清晰的空间,他建立了一个界限,在这里从一个现实象征到另一个现实象征的片刻将成为观众的中心体验及他意识的主要目标。
为了达到那个黑暗的空间,观众需要经过沉静,但是视觉上又面对非常(高声)的,川流不息的电子资料。在这里,他将会发现面对的是巨大、模糊的打在3个内部墙上的正在睡觉的只有头部和上半身的3 个人头图像。当观众观察这些睡眠者时会 “深入的聚精会神,他会被卷入了自己冥想的状况中,外在和内在的界限在这里交叉了,这个通道也扮演并解释了至上的空间形式。”两个领域都普遍存在于他们各自的方式:然而对维奥拉来说,这两方面也同时是这个世界的真正感觉,虚无的形而上的见界。


«In this installation Bill Viola is concerned with making the spectator aware of the connections between body and mind, contemplation and action, inner and outer reality. Creating a space with very distinct inner and outer aspects, he establishes a threshold sitzation, in which the moment of crossing from one symbolic reality into another becomes the central event in the spectator‘s experience and the principal object of his consciousness. [...] The spectator has to pass through the silent, but optically very ‹loud› electronic flow of data, in order to reach a dark space. Here, he will find himself confronted by the vast, blurred p_w_picpaths of the heads and upper torsos of three sleeping figures, projected on to three of the inner walls. [...] As the spectator observes the sleepers‘ deep self-absorption, he is drawn toward a state of meditative immersion in his own being. The threshold between outer and inner contemplation is thus crossed, and this passage is both enacted and comprehended in a consummately spatial form. [...] Both realms are ubiquitous in their own way; and, for Bill Viola, each is also, in the truest sense of the word, the vanishing point of a metapysical horizon.»

(source: Ursula Frohne in: Heinrich Klotz (ed.), Contemporary Art, exhib. cat., Museum for Contemporary Art/Center of Art and Media, Karlsruhe, 1997, p. 273f.)
[25楼] 嘿乐乐 2006-07-17 05:21:48
Fire Woman

2005


[attachment=94743]


Fire Woman (2005), is an image seen in the mind’s eye of a dying man. According to Viola: ‘when the flames of passion and fever finally engulf the inner eye, when the realisation that desire’s body will never be met blinds the seer, the reflecting surface is shattered and collapses into undulating wave patterns of pure light’. A large projection installation on a vertical screen with five channels of sound, Fire Woman opens with a darkened silhouette of a female figure standing before a wall of flame. After several minutes, she moves forward, opens her arms, and falls into her own reflection, disappearing beneath the surface of the image.
[26楼] 嘿乐乐 2006-07-17 05:23:02
Purification

2005

[attachment=94744]
In Purification (2005), a man and a woman independently undertake the ritual preparations for symbolic sacrifice required for their transformation and rebirth. This process methodically unfolds in seven contiguous image sequences across a time span of fifty minutes. The individual sections are: The Approach; The Arrival; The Disrobing; Ablutions; Basin of Tears; The Dowsing; and Dissolution. The images are projected side by side as a large diptych on two adjacent screens mounted to the wall.

在净化里,一对男女独自的采取为了转化和重生的象征着牺牲的仪式准备。这个程序有系统的7个画面每隔50分钟在邻近的画面展开,这些单独的部分是:接近,到达,脱衣,清洗,泪盆,浸水和分解。画面被安置在邻近的定在墙上的大幅双折画面上。
[27楼] 嘿乐乐 2006-07-17 04:25:39
[wmv]http://mfile.akamai.com/2699/mov/jpgetty.download.akamai.com/2699/getty_sm0116/violaemergenceE_056.mov[/wmv]
[28楼] 嘿乐乐 2006-07-17 04:42:44
Tiny Deaths, 1993

Video/sound installation



在一个完全黑暗的空间里放置3个巨大的投影。他们出现在感知的界线外,仅仅在黑暗中出现。人的轮廓慢慢的在一个吵闹的现场里形成一个黯淡的黑色轮廓。安静的,每一个模糊的声音都可以在每个画面中清晰的被听见。

Three large projections appear on the walls of a completely dark room. They exist at the threshold of perception, barely visible in the darkness. Human forms gradually emerge as dim silhouettes on a field of noise. Quiet, indecipherable voices are heard by each image. At random intervals, a light source slowly appears on one of the figures, increasing until the illumination rapidly accelerates to suddenly consume the whole body in a burst of saturated white light. The peak light momentarily illuminates the room and washes out the other two projections. All returns abruptly to darkness until one of the other projected figures moves through the same transformation.
[29楼] 嘿乐乐 2006-07-17 04:55:08
THE SLEEPERS

INSTALLATION 1992

[30楼] 嘿乐乐 2006-07-17 04:56:32
过往作品

Information 1973 - 30 min

Red Tape 1975 - 30 min

Playing Soul Music to my Freckies
A Non Dairy
Creamer
The Semi-Circular Canals
A Million Other Things
Return
Migrations 1976 - 7 min

He weeps for you 1976

Four Songs 1976 - 33 min

Junkyard Levitation
Songs of Innocence
The Space Between the Teeth
Through Mass Individuation
Palm Trees on the Moon 1976/78 26 min 06

Chott el-Djerid (A portrait in light and heat) 1979 - 28 min

Sodium Vapor 1979 - 15 min 4

The Reflecting Pool 1977/80 - 62 min

The Reflecting Pool 1977/79 - 7 min
Moonblood 1977/79 - 12 min 48
Silent Life 1979 - 13 min 14
Ancient of Days 1979/80 - 12 min 1
Vegetable Memory 1978/80 - 15 min 13
Hatsu Yume (First Dream) 1981 - 50 min

Reasons for Knocking at an Empty House 1983 - 19 min

Anthem 1983 - 11min 30

Piece for St John street 1983

Reverse Television – Portraits of Viewers 1984 - 15 min

The Theatre of memory 1985

I Do Not Know It Is Am Like 1986 - 89 min

The sleep of the reason 1988

The Passing 1991 - 54 min

The stopping mind 1991

Nantes Triptyc 1995

The sleepers 1997

The arc of ascent 1992

Stations 1995

Veiling* 1995

Deserts 1994 - 29 min

Memory Surfaces and Mental Prayers 1997 - 26 min 06

The Wheel of Becoming
Morning After the Night of Power
Five angel for the millennium 1999

The Passions 2001
[31楼] 嘿乐乐 2006-07-17 04:58:00
THE VEILING

1995





Images of a man and a woman moving through a series of nocturnal landscapes are projected into parallel layers of loosely suspended translucent cloth. They each appear on separate opposing video channels, and are seen gradually moving from dark areas of shadow into areas of bright light. The cloth material diffuses the light and the figures dissipate in intensity and focus as they penetrate further into the scrim layers, eventually intersecting each other on the central veil. Recorded independently, the images of the man and the woman never coexist in the same video frame. Only the light from their images intermingles in the fabric of the hanging veils.
[32楼] 嘿乐乐 2006-07-17 05:04:04
Anthem

Videotape, colour, stereo sound, 1983
11.30 mins



点击观看录像

Anthem is a post-industrial lamentation, structured on the single piercing scream of a young girl as she stands in the vast chamber of Union Station in Los Angeles. Viola relates this structure to the form and function of religious chants, particularly Gregorian chants (using a harmonic scale in a resonant hall) and Tantric Buddhist chants (ritual exorcism and conversation with demons). The original scream is extended in time and shifted in frequency to produce a scale of harmonic notes that comprises the soundtrack, to which Viola juxtaposes p_w_picpaths of materialism -- industry and the worship of the body, giant oil pumps and the beating human heart, cars streaming along a freeway and blood flowing through veins, modern surgical technology and tree branches in an ancient forest. The anguished scream cuts through the corporeality of the body and contemporary culture as a living organism. For Viola, the piece is a ritual evocation of "our deepest primal fears, darkness, and the separation of body and spirit."
[33楼] 嘿乐乐 2006-07-17 05:18:56
Buried Secrets, The Greeting


The Greeting 1995 naar Jacapo da Pontorno, Lavisitatione 1528-1529



点击这里观看视频

The Greeting, 1995
Video/sound installation
Artist's Proof 2: Whitney Museum of American Art, New York; Partial and promised gift of an anonymous donor P.4.95
A large projection screen mounted to the wall shows two women engaged in conversation when they are interrupted by the arrival of a third woman. A slight wind comes up and the light subtly shifts as the new woman arrives to greet her friend, ignoring the third woman. As the two embrace, she leans and whispers something to her friend, further isolating the other woman. With an underlying awkwardness, introductions are then made and pleasantries exchanged between the three. The image is composed in the manner of a traditional religious painting of The Visitation. The action is presented in extreme slow motion, allowing the nuance of every fleeting glance and gesture to become heightened and remain suspended in the viewer's conscious awareness. None of the women's actions or intentions are explained or become apparent, and the event remains an ambiguous, speculative gesture in constant circulation.

一个打在墙上的巨大投影呈现了两个正在谈话时的女人而谈话却被第三个女人打断。轻风吹过,一线光很巧妙的照在正迎接她的朋友的女人身上,忽视了站在后面的第三个女人。当前两个人拥抱后,其中一个女人倾向另一个人偷偷的在她耳边轻语,孤立了后面的女人。潜伏的尴尬,三个人最后才拥抱和问候。这个画面由传统的天降祸福为主题的古典画组成。整个画面的行动极度缓慢,让观众们有意识的观察每一个细微短暂的一瞥和手势。每个女人的行动和意图都没有被解释,整个事件是模糊的,循环的让我们去揣测。
[34楼] 嘿乐乐 2006-07-17 05:20:21
Isolde’s Ascension
2005



[attachment=94742]
[35楼] 嘿乐乐 2006-07-17 05:28:08
The Darker Side of Dawn

2005

[attachment=94745]
[36楼] 嘿乐乐 2006-07-17 05:42:24
Sweet light

1977



点击这里观看录像

Memory Surfaces and Mental Prayers is a collection of works that address the desire to transcend the perceptual and cognitive structures of experience. Viola describes The Wheel of Becoming as concerning "the notion of the parallel nature of reality, that is, simultaneous events separated in space." A mandala-like form, divided into four quadrants, unifies four events by four individuals in four separate spaces. These alternately converge and separate through timed camera movements, coincident actions and common elements of the landscape.

The title of The Morning After the Night of Power refers to a passage of the Koran in which angels descend from the heavens to impart the divine inspiration to followers. The central p_w_picpath of the tape is a blue vase standing motionless on a table. This object is framed by a dramatic interplay of light, shadow and movement, which is registered by a fixed camera over an extended period of time. Writes Viola, "As the condensed stillness of pure duration becomes activity, events hover at the edge of awareness until a final culminating action of transcendent liberation."

Using a camera moving along a predetermined path to create the effect of a simulated zoom, Sweet Light refers to the seduction of illumination, focusing on the phototropic vision of a moth. Writes Viola, "A moth emerges from a discarded letter as the spirit of a dead thought and -- after an attempted flight to freedom -- an individual appears, is inexorably drawn into the source of light, and consumed."
[37楼] 嘿乐乐 2006-07-17 05:44:27
Tempest (Study for The Raft)

2005

[attachment=94746]
[38楼] 嘿乐乐 2006-07-17 05:47:07
Dissolution

[attachment=94747]






[39楼] 嘿乐乐 2006-07-17 05:51:04
Remembrance

[attachment=94748]
[40楼] 嘿乐乐 2006-07-17 05:52:10
Unspoken (Silver and Gold)

[attachment=94749]
[41楼] 嘿乐乐 2006-07-17 06:10:56






[42楼] 嘿乐乐 2006-07-17 06:14:08
Catherine's Room











Working with Bill and his wife Kira, I have never in my life experienced such a generosity of spirit, sense of true compassion, depth of feeling or profound intelligence. I can confidently say that my experience is not unique, that all of the actors who worked on "The Passions"(many of whom are friends and fellow colleagues) felt the same way about Bill. This may not seem like a great or special quality. But working in the entertainment industry and the art world, we are accustomed to the self-centered directors who treat actors indifferently. From the first day I worked with Bill, he made me feel that I was his equal. Period. I felt as if he opened a door and allowed me to share my life experience in theater, music and art. He listened to my ideas and made me feel entirely comfortable. He provided a safe place for deeply emotional and challenging work.


With all of us, he shared his source materials - paintings, poetry and historical texts - so that we could understand the forces that motivated and inspired him. After working with him for year, he told me that he wanted to do a piece about a nun…about a woman who lives a contemplative life. It was a solo piece and he asked me to "collaborate" with him in creating it, which was extremely generous of him. He had a very clear idea of what he wanted to do. Catherine's Room was based on a 14th Century predella by Andrea di Bartolo and showed 5 scenes in the life of St Catherine in which the Saint is seen praying and receiving stigmata. Bill's idea was to do five video panels that would show the "interior life" of contemporary woman. My contribution was to share basic stage craft and tell Bill that this modern Catherine needed activities - simple tasks that she could perform…….washing her face, doing yoga, sewing, eating an apple…. through these tasks the viewer would learn about her character and her world. Bill decided what those activities were and how they would be staged.


Making Catherine's Room took five days to shoot and was a grueling process. Bill and I had to create and block a new performance for camera each day. The shot was a single, continuous take that lasted twenty minutes. If I made a mistake, we had to begin again. It took enormous patience for Bill to work with me to choreograph my performance while of crew of twenty professional camera, set and make up people stood by. He never lost his temper or said a sharp word to me. On the fourth day of shooting, I left the set in tears to call my husband. I was distraught because we were trying to conceive and I had just learned that we had not succeeded, again. Exhausted by the filming and the emotional roller coaster of hormonal treatments, I didn't think that I could continue the disciplined work of filming. Bill asked me what was wrong, I told him, and then he said to me "Well do you want to do this?" and there was no anger in his voice, even though hundreds of thousands of dollars were riding on my decision. He just simply asked me if I wanted to keep working. I heard the calm in his voice and felt permission to do what I needed to do.


All during the shooting of Catherine's Room, I had used Bill as my model for the character. I studied the way he handled objects, the focused way he went through the most simple task. Now I studied him to see how I would make this decision. The answer came, but from deep within me. I felt in that moment that I had learned from Bill about a resource, a place within oneself that is reached down into when you know that you must continue and move forward. Call it "will" or "guts" but until that moment in my life, I had never flexed that muscle. I found it working with Bill.


Working with Bill has been one of the most profound learning experiences of my life. He showed me how to access my inner strength, my grace and so gave me courage. He taught me the value of my own ideas.


Time and again, Bill spoke of the transformative power of art. He was ecstatic after a good take because he knew that the film would ultimately be in a museum where people would benefit from seeing it. This may sound egotistical, but it is selfless. All you have to do is hug Bill after he has finished working on the opening of a major exhibition. When you hold him, you feel that he is spent, completely drained and that is because of the care and focus he gives to every moment and every person. Crew member, curator and collector alike, Bill creates and lives to acknowledge our shared humanity.

Catherine’s Room, 2001
Color video polyptych on five LCD flat panels mounted on wall (15 X 97 x 21/4”)
[43楼] 嘿乐乐 2006-07-17 06:20:38






















[44楼] 牛屄 2006-07-17 09:06:53
[img]http://vsq.cn/pic6621/tu04/zgyghl.gif[/img]
[45楼] guest 2006-07-17 09:09:06
[quote]引用第34楼嘿乐乐2006-07-17 14:20发表的“”:





.......[/quote]
34楼的这个作品我有幸见过原作,的确牛逼!
[46楼] 嘿乐乐 2006-07-17 02:47:20


Bill Viola, Union, 2000, color video diptych on two plasma display flat-panel monitors, 102.8 x 127 x 17.8 cm, Don and Mary Melville and the Sarah C. Garver Fund, 2001.101.

Bill Viola, widely recognized as a leading voice in video art, has been a pioneer in the use of the medium since the 1970s. His work frequently reflects his deep engagement with art and spirituality and often bears a formal and emotional kinship to late Medieval and Renaissance art. Union (2000), the first work by the artist to enter a public collection in New England, is installed in the Medieval gallery alongside works whose heightened emotional realism is similar to that which served as the artist's inspiration.

In Union, two flat display screens hanging side by side on the wall like framed paintings depict a nude female and male struggling in unison to reach upward. Although they undergo a shared “emotional wave,” the figures experience this intensity in isolation, never responding to one another. Viola's “study of suffering and ecstasy” is a visual record of conditions under which the mind and body become one (a union common to spiritual and sexual experiences). In video, Viola translates the single moment of traditional painting and sculpture into an action unfolding over time. The silent presence of the Viola and the figures' gestures—presented in ultra-slow motion—echo the attenuated body language and emotional gazes of many of the religious subjects in the Medieval gallery, including a crucified Christ, a mourning Virgin, and the Agony in the Garden.
[47楼] 嘿乐乐 2006-07-17 02:49:00
The Passions



'Bill Viola: The Passions'
Bill Viola's new work explores the power and complexity of human emotions. Visually stunning and psychologically gripping, Viola's works are at the cutting edge of technology but they are also deeply rooted in the art of the past.

Using actors, shown in silence and extreme slow motion, 'The Passions' probe and reveal the nature of overwhelming emotion.

Gesture and Detail




Bill VIOLA 'The Passing' 1991, video, National Gallery of Australia, Canberra, purchased 2005, © Bill Viola, photograph: Kira Perov

Four Hands suggests another focus. Four sets of hands – a young boy’s, two middle-aged people’s and those of an elderly woman – run through a gamut of gestures; some are familiar and others rhetorical, some are associated with prayer or supplication, while others resemble Hindu and Buddhist mudras. The use of a range of ages implies a continuous tradition, the teaching of the young by the old, the sequence of gestures complementing but also departing from one another. Elsewhere, in his earlier video work The Passing, by paring back to the simplicity of black and white Viola reminds us of the inevitably of life, which should be cherished and celebrated.

Four Hands and other works from The Passions are also reminders of the complexity of the communication that is possible through our hands – from deaf signing and narrative sequence to traditions of gesture in three-dimensional form. Viola’s use of extreme close-up draws attention to the elegance and sculptural qualities of this part of the human body. The hand gestures of The Bodhisattva Avalokiteshvara represent a visual vocabulary that is seen and understood by adherents of the Buddhist and Hindu faiths. Just as Christian saints serve as intermediaries between humans and God, a bodhisattva postpones Buddhahood in order to guide those seeking enlightenment, thus embodying compassion and benevolence. Viola references diverse art historical traditions and the history of human societies and cultures.
[48楼] 嘿乐乐 2006-07-17 02:50:17
The Crossing

[attachment=94738]




Bill Viola
Still from The Crossing, 1996
Video/sound installation

'The Crossing' 是个利用水和火两种元素作为象征迁灭的大型的录像和录像装置,力量的转换,相应的象征了我们在经历最深情感中时的自我放弃和转变。

'The Crossing' (1996) is a large-scale video and sound installation which uses the elemental symbols of water and fire as annihilating, transforming forces, with parallels to the abandonment and transformation of self we experience when consumed by the deepest emotions.
[49楼] 嘿乐乐 2006-07-17 02:50:45
The Crossing



Bill Viola
Still from The Crossing, 1996
Video/sound installation










[50楼] 嘿乐乐 2006-07-17 02:51:56
[attachment=94740] Bill Viola

[attachment=94874]
Passage, 1987
Video/sound installation
[51楼] 嘿乐乐 2006-07-17 02:53:01
Bill Viola
A 25-Year Survey


  The San Francisco Museum of Modern Art is presenting an ambitious 25-year survey of the video art of Bill Viola. The retrospective exhibit includes fifteen of Viola’s creations, providing a powerful experience that will be completely new to most viewers.
  An entire floor of the museum has been subdivided into a series of meandering rooms in which the works are installed. The museum has avoided adding labels and narrative to the works, with the effect of encouraging active viewer response and interpretation. The last room does give background information about the exhibit, but instead of using traditional means, the curator presents a display of the artist’s own notes and working drawings.
  This approach is both refreshing and appropriate. Each of these unique works places you in a space where various video media are the primary sources of light. The large, dark spaces are part of the experience, focusing attention on the multimedia presentation while still allowing you to move freely around. If at first the works are jarring or even shocking, you almost immediately are drawn into the environment, becoming a part of it. The medium challenges you to pause, observe, and reflect. Some of the videos run for several hours, so each visitor will see a slightly different version of the presentation.
  We think of art as existing in three dimensions, but video art uses the dimension of time as an integral part of the medium, adding the welcome challenge of the complexity of a fourth dimension. The visual and temporal variables of the videos are further punctuated with the aural. Sounds as disparate as the soft breathing of sleep and the loud clanging of machinery are juxtaposed, arresting your mind like a meditation bell. The sounds make you notice the images flickering across the screens and monitors, images in slow motion, trapped in boxes or projected larger than life. Ordinary images seem more profound, and, of course, some of the images themselves are extraordinary.
  In a work from 1992, Heaven and Earth, two black and white video tubes face each other, mounted at the ends of wooden columns. On the upper monitor is a video of the artist’s mother on her deathbed. On the lower monitor is a video of his infant son, only a few days old. The videos reflect into each other, a meditation on birth and death and the connections between generations.
  Another compelling work, Passage, dates from 1987. A long narrow corridor leads to a small room where a large video projection fills the entire wall. The videotape is of a child’s birthday party played in slow motion. The smallness of the room forces you uncomfortably close to the image as you hear the slowed rumbling of the children’s voices. The exaggerated proportions and slow motion give this room a fascinating, surreal quality.
  The spirituality of Bill Viola’s work draws inspiration from Christian mysticism, Zen Buddhism, Balinese and Javanese music, Sufi poetry and many other sources. He uses everyday images and, by drawing attention to the ordinary, and to neutral states of mind such as sleep or stillness, he opens inner doors to our own psyches. Using the familiar and modern medium of video he creates an intimate and moving experience.
                                                        - Jerry Becerra
[52楼] 嘿乐乐 2006-07-17 02:59:06


《忧伤》
[53楼] 嘿乐乐 2006-07-17 02:59:56


《投降》
[54楼] 嘿乐乐 2006-07-17 03:00:28


六个头》
[55楼] 嘿乐乐 2006-07-17 03:01:23




The Silent Sea, 2002
Colour video on LCD flat panel mounted on wall
Ed. 5/5
44 x 71 x 6 cm







《惊讶五重唱》
[56楼] 嘿乐乐 2006-07-17 03:02:18
Emergence (2002)

"Images have their life because they're untethered and free-flowing" - Bill Viola







《紧急情况》



'Emergence' 是一个奇怪及有趣的经历,部分原因是他的想象是既熟悉又出乎意料之外的。录像的投影看上去像个祭坛大小:水源上的十字暗示了祭坛的前沿,而那些看上去过分清晰的布景及豪华、丰富鲜艳的服装唤起了文艺复兴时期的绘画。那个升起来的青年和正在哭泣的两个女服侍来之艺术的世界,而不是普通的经验。

除了在历史绘画里,这些动作似乎不是很常见。这里它反映了哀悼和埋葬的传统场面的颠倒,类似复活,除了自人们死去后奇迹显然不是完整的。

'Emergence' is a strange and gripping experience, partly because the imagery is both familiar and unexpected. The projected video picture is the size of an altarpiece and looks like one: the cross on the wellhead suggests an altar frontal, and the spare clarity of the setting and rich, vivid colors of the costumes evoke High Renaissance paintings. The rising of the man and the grieving ministrations of the women come from the world of art, not ordinary experience.

The action, however, is hardly familiar, let alone a restaging of a historical painting. What happens resembles traditional scenes of the Lamentation and Entombment, but in reverse. It also resembles the Resurrection, except that since the man appears to be dead, the miracle is evidently incomplete.

[57楼] 嘿乐乐 2006-07-17 03:03:08




《观看》
[58楼] 嘿乐乐 2006-07-17 03:03:50


《沉默的高山》
[59楼] 18禁 2007-10-16 15:36:29
[s:323]
[60楼] 中國少先隊 2008-01-11 05:42:28
[s:323]
好好學習天天向上
[61楼] guest 2008-12-08 22:00:17
为什么 没有中文 ?靠
[62楼] gy871021 2009-06-03 12:04:20


111!!
大师11
[63楼] ARTzhenzhen 2010-11-29 14:52:12

UPCOMING EXHIBITIONS AND EVENTS


NORTH AMERICA



February 15 - June 15, 2011
Man of Sorrows (2001), "Passion in Venice," Museum of Biblical Art, New York

November 13, 2010
Conversation, Rubin Museum of Art, New York

October 31, 2010 - January 31, 2011
Anthem (1983), "The Artist's Museum," Museum of Contemporary Art, Los Angeles

March 13 - July 13, 2011
H.H. Dalai Lama: A Blessing (2005), Bodies of Light (2006), "The Missing Peace: Artists Consider the Dalai Lama," San Antonio Museum of Art



EUROPE

March 15 - June 15, 2011
Man of Sorrows (2001), "Semaines de la Philosophie de Lille," Palais des Beaux-Arts of Lille, France



ASIA

November 20, 2010 - January 10, 2011
Ablutions (2005), "Shan Shui," Beijing Center for the Arts, China

September 11, 2010 - November 20, 2010
The Reflecting Pool (1977-79), Bodies of Light (2006), "All things flow and nothing is permanent," Busan Biennale, Busan Museum of Modern Art, South Korea



MIDDLE EAST

November 27, 2010 - January 22, 2011
Reverse Television--Portraits of Viewers (1983), "Selected works from the Centre Pompidou's New Media Collection," Herzliya Museum of Contemporary Art, Herliya, Israel



[64楼] ARTzhenzhen 2010-11-29 17:57:24

CURRENT EXHIBITIONS AND EVENTS

NORTH AMERICA


June 12, 2010 - February 6, 2011
Memoria (2000), "Vital Signs: New Media from the Permanent Collection," San Jose Museum of Art, San Jose, California






May 1, 2010 - January, 2011
Eternal Return (2000), "Figuratively Speaking: A Survey of the Human Form," Bellagio Gallery, Las Vegas, NV



EUROPE

October 2, 2010 - January 9, 2011
Chott el-Djerid (A Portrait in Light and Heat) (1979), "The Moderna Exhibition 2010," Moderna Museet, Stockholm, Sweden


September 1, 2010 - January 9, 2011
Becoming Light (2005), Ablutions (2005), "Water," Zimmerli Art Museum, New Brunswick, NJ







September 1, 2010 - October 30, 2010
The Quintet of the Astonished (2000), Two Women (2008), "Bill Viola: The Quintet of the Astonished," Urban Video Projest, Syracuse University, Syracuse, New York


Bill Viola’s ‘The Quintet of the Astonished’ brings rich history of pioneering video art in Syracuse full circle
Friday, October 15, 2010




Bill Viola shares a moment




July 26, 2010 - April 26, 2011
An Instrument of Simple Sensation (1983), "Still/Moving," The Israel Museum, Jerusalem


July 22, 2010 - November 7, 2010
Anima (2000), "Le Macchine della Meraviglia. Lanterna magica e film dipinto, 400 anni di cinema ,"Le Sale delle Arti, Piani Alti della Reggia, Venaria Reale, Torino, Italy


June 11, 2010 - March 20, 2011
Reasons for Knocking at an Empty House (1983) "Don't Look Now," Kunstmuseum Bern, Switzlerland

展览介绍链接:http://www.kunstmuseumbern.ch/index.cfm?nav=1245,1397&SID=2&DID=9&aID=288


May 28, 2010 - October 31, 2010
The Greeting (1995), "Bilder in Bewegung Künstler & Video/Film" Museum Ludwig, Cologne, Germany


May 27, 2010 - January 23, 2011
Il Vapore (1975), "Space, " Foundazione MAXXI, Rome, Italy


May 9, 2010 - December 10, 2010
The Reflecting Pool (1978-79), "Knock on wood: Tales from the forest," Virserums Konsthall, Sweden


Video-Bill Viola




ASIA

September 28 – semi-permanent installation
The Veiling (1995), “Blackbox”, Leeum, Samsung Museum of Art, Seoul, South Korea




AUSTRALIA


October 7, 2010 - February 23, 2011
The Raft (2004), "Bill Viola: The Raft," Presented in association with the Melbourne International Arts Festival; Australian Centre for the Moving Image (ACMI), Melbourne


Image:The Raft (May 2004), production still, photo Kira Perov




October 8, 2010 - November 28, 2010
ThePassing (1991), "Mortality," Presented in association with theMelbourne International Arts Festival; Australian Centre forContemporary Art (ACCA), Melbourne


[65楼] guest 2010-12-05 18:04:26
穿越时空的灵魂之旅 ---比尔. 维奥拉的影像世界



初次看到比尔. 维奥拉的作品是在2001年的夏天。当时我正在伦敦圣马丁艺术学院学习。英国的夏天白昼时间很长,往往到晚上8点多钟太阳还没落山,下午下课后不愿很快回到有些冷清的单身公寓,便经常一个人来到位于泰晤士河南岸的泰特现代艺术博物馆看展览。有一次,我看到一个名为《南特的三屏影像》Nantes Triptych的影像装置作品,立即被它的画面深深打动了,这部作品由三个屏幕的影像组成,第一个屏幕上是一位正在分娩过程中的妇女,第三个屏幕记录着另一位临终前的苍老妇人,中间的屏幕是一个在水中缓慢漂浮的人。也许与当时那个特定的时间和地点有关系,以至我现在很难形容自己当时看到这部作品时的情绪。只觉得灵魂好像突然间站到了一旁审视着自己的身体。再观察周围的观众,丝毫也没有平日里面对当代艺术作品时充斥了好奇而又略显茫然的表情,大家肃穆地观看,然后默默地转身离开。毕竟,以如此直接而突兀的方式面对生与死的重大主题,必然会在瞬间引起每个人对个体生命的思考。与这部令人震撼的影像作品邂逅也让我以一种难忘的方式记住了比尔. 维奥拉这个名字。
比尔. 维奥拉1951年出生于纽约,他是使VIDEO艺术在当代艺术领域登堂入室的奠基人之一,早在70年代他就开始使用流动影像为载体来探索生命意识的感知现象,并以此作为达到“自觉”的途径。他的作品关注宇宙观层面的人类经验——生,死,存在。比尔. 维奥拉有基督徒的宗教背景,又长年研习禅宗佛教,这让他的艺术能够同时植根于东、西方的艺术与精神遗产。“生”,“死”,“存在”这些重大的哲学、宗教命题构成了维奥拉的艺术主体,他的作品尤其强调我们注意到“有限的生命是人类的基本特征”,“人类本质上是一种时间的生物”,维奥拉认为VIDEO(流动影像)艺术最适合用来表现这些主题,正是因为流动影像作为一种使用时间的媒介而具有的“暂时性”,他的作品是试图将VIDEO的媒介特性用于“生”,“死”,“存在”等主题的“视觉化”的尝试。
维奥拉提出“艺术是认识的一个分支”,但是,他并不认为自己的作品是某种理论认识的实践,而是将他的影像创作等同于“精神修行”,这种修行的目的是为了取得两种体验;其一,“生”到底是什么样的体验。其二,在“生”之体验中,我们应当如何去发问。在今天的世界,我们依赖科学来回答生活中的各种问题,所以,一方面,在日常生活中我们认为所有的问题都是可以被回答的,而另一方面,在我们的知觉层面,这些问题又是永远无法被回答的,尤其是有关“存在”的重大问题,维奥拉强调这些问题是没有答案的“古人把它们称为“迷”,它们是不能够被回答的,就像生与死都没有答案。它们是需要被体验的,也可以被接近和被学习,但是终究不可以被回答。”由此可以看到基督教神秘主义和伊斯兰教苏非派禁欲神秘主义对艺术家的影响。面对这些只能够被体验而不能够被回答的问题,例如,一个关乎人类“暂时性”存在的问题:“我们为什么出生又为什么死亡?” 维奥拉找到了一种自然的方式来发问:“我的母亲为何不在了?她究竟去了哪里?尽管科学告诉了我肉体停止功能的自然原因,但我依然要问这些问题,因为这些问题就像是火花,它们将激励你去发现和学习。”
维奥拉以影像的方式所进行的“精神修行”过程中一直在不间断地发问;
从1980年的单视频录像作品《蔬菜记忆》Vegetable Memory一直到2001年的影像装置作品《千禧五天使》Five Angels for the Millennium,一些特定的形象和画面在二十年的时间里被维奥拉以不同的方式多次重复使用,例如那漂浮在水中的人,新生的婴儿,临终前的老妇人。这些在不同作品中重复出现的画面构成了一个维奥拉式的视觉符号体系,它们不能被简单理解为一种重复的“影像叙事”,这些形象与画面在维奥拉的作品中更接近一种语言或标识系统中的构成元素。以重复的画面,不同的方式来提示一个万变不离其宗的主题:人类“暂时”的存在。一个比较典型的例子是在之前提到的《南特的三屏影像》中,新生儿与临终老妇人的影像被置于三屏画面的两翼,与中间屏幕里漂浮在水中的人的影像以局促的屏幕空间压缩式地呈现了生命短暂、痛苦的主题。在同时期的另一部影像装置作品《天堂与地狱》Heaven And Earth(1992)中,两台电视屏幕被面对面安装在从天花板和地板上延伸出来的两根木桩上,两个电视屏幕之间只有几英寸的间距,上方的屏幕中播放着那位临终前老妇人的面部影像,位于下方的屏幕中正在播放新生儿的面部影像。同样的视觉符号,在这部作品中以同样局促的物理空间代替了《南特的三屏影像》中被压缩的平面空间,去阐述同一个有关生命和存在主题。
在比尔. 维奥拉的单视频录像作品中,我最欣赏其创作于1991年的《经过》The Passing,生与死,光与暗,瞬间与永恒,梦境与现实,意识与潜意识这些在维奥拉早期创作中出现过的对比主题在这部五十多分钟的作品里得以集中展现。  如果说在艺术博物馆看到影像装置作品感受到的震撼就象是在电影院看电影,那么在电视机屏幕中看单视频录像作品的感觉就象是靠在自家的沙发上慢慢观看一出连续剧。记得当时在圣马丁美院图书馆的影音室里借阅《经过》的录像带时,我重复观看了好几遍。这部作品的诗意的影像风格的确令我着迷,维奥拉使用黑白影像以梦境的方式展现一个个生活中的场景:婴儿的出生,母亲的死亡,嬉戏的儿童,生日的蜡烛,隧道中驶出的列车,穿梭于荒野的车灯…...在不同场景之间不停穿插着维奥拉标志性的缓慢漂浮在水中的人,时间变成一个虚无缥缈的概念,时间的进程随着影像的节奏进行着紊乱的变速运动,时而缓慢,时而凝滞,时而又倒转。存在、死亡、梦境、记忆都聚集在这个诡秘的时间进程中相互交织、延伸。
与影像内容同样值得称道的是这部作品的声音效果,水中的回响,睡眠时的呼吸声,自然界的声响,机器的轰鸣;声音的强劲表现力将影像的空间进一步放大,在对整个作品的气氛渲染上起到了关键的作用。维奥拉于1981年在日本创作的单视频录像作品《第一个梦》First Dream中也有同样出色的音效表现,作品中有一个火柴燃烧的场景令人印象深刻,划火柴时原本微弱的声响被放大了数倍,配合火柴划燃的特写镜头,在轰鸣中燃烧的巨大火焰将这部有关光与暗的作品渲染的气势恢弘。对声音效果的强调是维奥拉作品的一个特点,这显然与他声响工程师出身的技术背景有关。
维奥拉对精致画面、声音的要求以及对“意义”的探究似乎与当代艺术的潮流很不相符,尤其不符合“后现代艺术”的价值标准,但这恰恰从另一个角度解释了为什么维奥拉几乎是这个世界上最受欢迎和被最广泛的人群所接受的VIDEO艺术家。他的作品在全球范围拥有大量的观众;不像一般的当代艺术展览,到场者大部分是艺术家、策展人、专业媒体等业内人士,维奥拉在世界各地的展览都会吸引不计其数的人群慕名而来,人们在他的作品前长时间驻足不前,许多人甚至潸然泪下。



维奥拉的影像强调情感的感染力,强调作品视觉上精致、愉悦的观感,同时关注普遍意义上的精神价值。这种倾向在他近期的作品中表现地更加淋漓尽致,2001年的影像装置作品《千禧五天使》Five Angels for the Millennium使用高清视频设备在纽约长岛摄制完成,这部多屏影像装置作品由五个巨型高清投影屏幕组成,分别显示五个在水中上升和下沉的人物形象,五个屏幕的影像拥有各自的名称,分别是“离世天使”,“出世天使”,“火焰天使”,“升天天使”,“造物天使”。
在“离世天使”的影像中:一道光线照亮黑暗的水域中的人物缓慢下沉的轨迹。“出世天使”:将人物跃入水中的影像倒置,使其看起来就像是从蘑菇云状的泡沫中跃水而出。“火焰天使”中的景象十分壮观,神秘的光线将人物所在的整个水面渲染成深深的血红色。“升天天使”的影像是一个面朝下方,在水中缓缓浮起的人物。“造物天使”展现的是一只伸出水面挣扎的手臂,影像带有明显的受难意味。声音再次在这部作品中有着精彩的表现,在这部作品中,回荡在黑暗空间中含混的水声像是远处低沉的嘶吼,音量随着画面中人物的运动逐渐增强,极大地拓展出作品神秘而广阔的空间感。维奥拉使用了专业声响设计团队为《千禧五天使》制作后期音效,他认为声音不仅对于影像的体验至关重要,也是形成影像临时性空间结构的因素。
《千禧五天使》这组气势恢弘的作品具有强烈的宗教感染力,维奥拉使用几个符号化的场景传达宇宙观层面的人类经验:生,死,存在。《千禧五天使》在2002年被美国纽约惠特尼艺术博物馆,英国伦敦泰特现代艺术博物馆和法国巴黎蓬皮杜艺术中心以70万美金的成交价联合收藏。
比尔. 维奥拉作为当今世界最受推崇的艺术家之一,他的VIDEO艺术作品以丰富的视觉图像吸引着大量的国际观众。在当今的艺术界,艺术家的重要程度完全由一小撮专家和艺术组织认定。在这样的时代背景下,比尔. 维奥拉的成功显得尤其可贵,他的艺术是为所有人创作的,他的作品主题有关到人类的生命与宇宙的联系,有关人类的精神与根本性质。他再次将艺术回归到最初,最本质的关注生命的原点;其内涵涉及到普通人的情感与精神生活。然而维奥拉的艺术毕竟属于我们当今的时代:这使它看起来属于老套的价值观念,但同时他也使用最先进的媒介技术手段来实现他的新媒体影像创作:高速胶片,高清视频,液晶显示器,数码录音技术等等。维奥拉以他自己的方式来挑战西方半个世纪以来的“当代艺术传统”。


[66楼] guest 2010-12-05 18:15:02
比尔·维奥拉在James Cohan画廊个展“Bodies of Light”


2009年11月到12月,纽约James Cohan画廊展出美国艺术家比尔·维奥拉(Bill Viola)的个展“Bodies of Light”(光的实体),展览回顾了比尔·维奥拉二十年的创作,展出的作品包括艺术装置“Pneuma” (元气)和维奥拉最近的作品系列 “Transfigurations” (变形)的一部分。

“Pneuma” (元气)由占据了一个展厅的单色视觉装置组成,“Pneuma”原意来自于古希腊的概念“呼吸”,后来被逐渐演绎为“精神”和“灵魂”,代指某种无形的可以给宇宙带来生命的物质。

受这一复杂概念的启发,维奥拉创作了一组罕见而直观的形象。在展厅墙壁上悬挂的高清晰度屏幕上,维奥拉播放的是模糊的黑白图像,参观者可以辨认出一个孩子从大自然的云海中走出的景象,从而体会到对某种原初力量的比喻。










维奥拉在2007年的威尼斯双年展期间开始创作“Transfigurations” (变形)系列,“Transfigurations”的名称来自于12世纪伊斯兰神秘主义哲学家Ibn al’Arabi,这一系列影像作品探讨的是死亡现象和灵魂继续存在于现实世界的问题。此次展出的作品是“Transfigurations” 系列中的“Acceptance” (2008)、“Incarnation ”(2008)、“The Innocents” (2008) 和“Small Saints ”(2008)。




[67楼] guest 2010-12-05 18:16:13
表层之下的力量——比尔·维奥拉访谈

来源:hishehui 梁丽真/译

表层之下的力量——比尔·维奥拉访谈   访问人:耶尔格·楚特      被访人:比尔·维奥拉            耶尔格·楚特(简称耶尔格):你与欧洲文化第一次相遇是在什么时候?      比尔·维奥拉(简称比尔):从我被孕育的时刻起。我母亲出生在英格兰北部。我父亲的母亲是德国人,我的父亲是意大利人。他童年时在纽约,刚上学校时还不会讲英语。这就是美国别致又特殊的本性——欧洲的影子总是在你背后,不管你对此有没有意识。恰恰是这片被衍射的景观,这一片带尖角的阴影,这辐散射、变换、溶合但决不可靠的影像,强烈地吸引了那么多欧洲知识分子,从德·托克威尔到艾柯和鲍德里亚。      耶尔格:二十多年来,你大量不同的制作都涉及欧洲。关于原初对象和它的“阴影”的第一手材料是如何影响到你和你的作品的?      比尔:了解事物的本源当然很有趣,有时候也会显得可笑。但是,住在南加州并不会特别让我兴奋或者不安。当我在这里驾车,会在一条街上同时发现有正宗陶瓷瓦的西班牙式建筑,新英格兰的木结构房屋,英格兰都铎式大宅子,还有日本风格的建筑。或者,我会走进一间背景陈腐又古怪的购物商厦去买一只地道的意大利托斯卡纳皮包。而这时,一群背上绑著发动机的墨西哥人正忙著把室内的澳洲土生树木的落叶扫出门去。附近一家日本寿司店里,看不见的扬声器里正响著莫扎特的音乐。这很正常。我就是这样长大的。这种生活给我能量。我觉得,只有欧洲人才更关心这类环境可能会引发的“表达危机”。第一次到日本的时候,我会注意紧靠麦当劳快餐店的居然会是一座传统的佛塔。在那儿呆了一段时间后,我意识到日本人并不太为这种情况担心——他们饿了会去麦当劳;想祈祷时就跨进寺庙。      今天世界的物质文化的独特价值就是,作为一套影像,它不再是所有财产。它也不是民族的。它是无所不包的财产——所有时间,所有地点,所有物质或者风格,所有历史阶段。突出共通元素的不是外观,而是用途。们值就这样被界定了。这也就是为什么艺术在它的演化中会处于这样一个紧要关头,为什么许多艺术实践的方式表现为提问。这也就是为什么有那么多的不确定性。就像十三世纪的(Rumi)卢米说过的,“影像皆是谎言”;但也就像随后500年威廉·布莱克说过的,“被人相信的皆是真理的影像”。      耶尔格:这种处境会不会指引一种艺术家行动,或者,从基本的生存层面上来说,个人行动的进程呢?      比尔:重要的是并不是尝试去“解决”这些显而易见的冲突,而是要意识到它们是此时此地一些全新、生疏的状态的直接而可以预知的表达。这些状态并不是从地理、气候、成规或传统意义上来说的。在今天,起作用的真正控制力量在表层以下,正是它们创造了这些看来不协调的并置。它们是字母数字的,是信息的,经济的,并且最终是政治的力量。它们的背景是跨文化的,多民族的。正是因为我们仍然在表面层次观看景观,所以我们看不见那些正从下部上升的东西。它们似乎以一种毫无规律,互不相关的形式与我们的眼睛不期而遇,却实际上浑然一体地联系在一起,就在表层下面,去看见那些看不见的,这是二十世纪终结之前一种有待培养的重要技术。      耶尔格:你在23岁的时候曾经第一次在欧洲作长期逗留,那时是七十年代早期,当时你为意大利佛罗伦萨的艺术/图像/双录相工作室工作了一年半的时间。你的工作是否受到过那个文艺复兴发源地的古典环境的影响?      比尔:与那些成熟的,几乎化为本能的,并且植入我们的身体成为“常识”的智力思想相遇,总是很让人感兴趣的。文艺复兴时期那些先锋思想的效力在世界上每一个工业化国家都可发现,包括日本和远东。所以,在一定程度上,影响已经存在于那些地方了。从个人来说,我在那里最重要的是去感觉艺术史从书页上活生生地脱离出来,浸入我的皮肤。很可能是在那个时候,我第一次无意识地将艺术感受成与身体有关的事物。从大型的公共雕塑到教堂中与建筑融为一体的绘画,那个时期的许多作品是某种形式的装置——那是一种身体的、空间的、完全让人著迷的经验。进一步说,比起当代绘画,古典文艺复兴艺术在功能上更像是当代的电视——许多形象是为了在一个高度公共化的可视空间向那些没有受过教育的民众直接传播一些众所周知的故事。      耶尔格:你在佛罗伦萨停留期间从事了什么样的个人工作?      比尔:实际上,在佛罗伦萨期间,我把大量时间花在了前文艺复兴的空间当中——那些宏伟的大教堂和礼拜堂。当时,我被声音和音响深深地吸引住了,它们至今是我的作品中的重要基础。像多摩大教堂这样的地方对我是一个磁带录音机。最后,我在这座城市的许多宗教性建筑里作了一系列的音响录音。我强烈地感到,无论一个人的宗教信仰如何,中世纪大教堂里面那些巨大的,有回音的石厅会在他的内部产生难以抗拒的作用。声音似乎录载了那么多关于不可言喻的事物的感觉。作为人类智力和思想史的一个重要部分的声音和音响完全是物理现象。跟影像相比,声音有许多独特的性质——它萦绕角落,穿过墙壁。观察者在自己周围360度的范围内可以同时感觉到它,甚至身体被它穿透。不管你对音乐的态度如何,你无法否认这个石头演奏会在你的胸腔产生的响亮的撞击和身体的震动。当我发现我在接受一种波浪状的形式,当我发现存在一种反射和折射的全然空间的结构,在任何出现声音的空间都有一种音响的建筑,当我发现在任何空间都具有一种声音内容,一个核心的单音或者共振频率,我感到我辨认出了在看得见与看不见的世界之间,在抽象物、内部现象和外部物质世界之间存在的一个至关重要的关联。      这就是我个人和我的职业需要的桥梁。它为我敞开了许多原来被封闭的事物,包括我自己。这是一种成为一件事物和能量,成为一种物质和过程之间的元素性力量。像许多声音完全能够做到的那样,它绵亘在你聆听一首伟大的乐曲时能感到的微妙变化和压力波摧毁一件物体时的狂暴力量之间。它引导我走近空间,创造一种包括观看者在内的作品,这个作品包含一个处于表达之中的共同体,它同时在空间的各个点存在,但只能被个人从特定的位置感知。我开始用我的摄影机做视觉麦克风。我开始考虑录下“区域”而不是“观点”,我意识到这完全是一个内部,我开始把每一样事物看成一片区域,一件装置,从博物馆一间墙上挂满绘画作品的房间,到深夜独自在家坐下来阅读一本书的时候。      耶尔格:许多人对于电子影像和声音的身体效应并不信任。你在自己的作品和媒介的本质中为身体和身体感觉选择了什么样的地位?      比尔:长期以来,当身体被忽略为并且(或者)被摒弃为追求知识的重要工具的时候,这些新媒体的身体性是被严重忽视的(例如,在电影中,这种身体性被迫让位于文学/戏剧的控制力)知识分子圈强烈地怀疑那些通过身体向思想说话的事物。似乎他们明白,这个方向会最终导致打开一扇紧闭的门,这张门通向深层感情能量的禁区。而我认为,感情,正是那把使事物保持平衡的钥匙。如今它丢失了。必须尽快地找回它,把它放在一个正当的位置,放在人类思想的较高层次。那种只是“觉得好”的感性和感情中隐藏的危险已经相当明显了。就像美国哲学家雅各布·尼德尔曼说过的,忽视我们本质中的感情层面,我们就会将我们存在中的强大能量,将大多数人类的素质来源,将热情拒之门外。没有它们,就不可能存在真正的道德力量。      最近在卡塞尔的一次访谈中,提问者把我的作品描绘成“像好莱坞一样”运用“效果”,还暗示说,这些不过是次要的,感官的,暂时性的,甚至是有引诱力所以是危险的元素。我们必须改变那些陈旧的思想方法了,这种方法会使身心永远处在分离的状态。这些态度否定了世界文化对于思想、存在、自我的问题所作出的大量回应。例如,这些态度否认有250O年历史的佛教的正当性,还否认世界各地宗教沉思的不同原则的意义。没有这种通过身体理解并控制思想的方式,我们会发现,很有讽刺意味的是,今日西方的一个重要问题,就是因为缺乏凝聚的、发达的思想而产生的。正是因为过分强调身体不过是一个与任何深层功能分离的自我解释的装饰性形象,我们才忽略了去发展这种思想。      的确,从知识的观点看,身体机制的可怕部分在于,它纯粹是容易受影响的,大部分是不受控制的,即刻反应的,所以也就隔离在理性分析和逻辑思想的正常机制以外。对这一本质的误用和操纵的可能性相当大。如果不建立影像语言更广阔的文化语境,就可能存在大量误用,不论这种误用是由于无能,误解,还是由于那些未引人注意,未遭受批判的对形式的有意滥用。有可能,上述方面是一个暂时的过渡期的产物。在这个时期,我们正远离印刷和文字的方式,走人一个影像的世界,这个世界脱离了理性的推理,趋向一种联想的构型。今日文化最重要的挑战之一,从政治的观点看也是迫在眉睫、完全必需的挑战之一,就是如何使分析的技术使用影像的感觉的、生理的语言,使之成为一次事件,而非一样物体——一个不断变化、存活、生长的事件。      内尔·波斯曼发现,今天的大量媒介信息存在于一个超越真伪之外的区域,并对传统的、建立正确度的逻辑推论方法无动于衷或者毫无关涉。大学教育甚至也是不够的。在美国,里根——布什的媒介顾问,比如约翰·迪福和罗杰·艾力斯,已经成功地利用了人们对媒介基本处于蒙昧状态的处境——人们不具备足够的、正确的能力来准确解读电视,这种处于统治地位的媒介的全部信息内容,这对民主体制造成的政治后果是危险的。意味深长的是,成功解码电视广告和政治讯息所需的技术已经变得富有联想性,并正在艺术、而非推理的领域中延伸。艺术家的技术和知识和日常生活中的艺术教育被赋予一种新的重要性。      耶尔格:你的作品中存在与欧洲传统有关的严肃的元素,比如涉及绘画(戈雅、布希、维米尔等),尤其与那些相当传统的结构例如圣坛背壁装饰三联画(Man Nantes城三联画)有关。你对复述这些古典形式的兴趣在什么地方?      比尔:我认为自己属于艺术制作的漫长历史中的一部分。这个传统既包括我自己的欧洲文 化背景,也包括二十世纪东方和欧亚文化的扩展部分,甚至包括当下一种十九世纪法国式的后学术(Post-academy)先锋及其对传统的拒斥。我的确感到,在150年的演化当中,对传统的拒斥所得到的结果中存在一些严重的问题,这些问题与150年前的初始问题同样必需。特别值得注意的是,不要低估我们与东方文化的关联。      也不要忘记,我们这个世纪最伟大的里程碑之一是,一些非凡的个人,例如日本非专业的禅学学者铃木大拙和斯里兰卡艺术史学家A·K·Coomaraswamy,将古代东方知识传播到了西方。它的重要性与通过将摩尔人的伊斯兰文本翻译成西班牙文而把古希腊思想引人欧洲具有同样的地位。文艺复兴的发展,及其后的大规模工业化深化了欧洲与东方的联系,但又使它黯然失色。在这个航空旅行的时代,人们很容易忘记自己也曾经从堪察加半岛步行到伊比利亚。基督时代的耶路撒冷曾经有过佛教传士,使徒托马斯曾在印度生活过。      谈到我对古典三联壁画的运用,三联图像是一种古典形式。我对它的作用的兴趣在于它与欧洲基督教有关,它是从文化中衍生出来的图像,所以它属于大部分亲临欧洲观看它的人。我对把它作为一种引述,或者一种“被挪用的形象”不太感兴趣,因为我感到过分随意地在那条路上走下去,你就会越来越迷恋“引入”这一过程,“引用”这种方式,也就会对物体和材料潜存的力量丧失敬意,还会忽视挪用它们的首要目的是:转化。除了更多的技术原因以外,比如数字“三”的精致均衡,以及运用它来作比较性的对照和互动,从视觉特别是从时间的角度考虑,我对三联壁画形式的最终兴趣在于,它反映了一种"宇宙的"和社会化世界的观念:“天国——人世——地狱”,这种三重结构也就是欧洲思想意识结构的形象。将这些层面运用到当代本质的形象中去,会产生一些活跃的能量。      耶尔格:你的录像和装置中充满了象征性转化和原型意象。有些作品暗示了无意识幻梦,这让我们想起你曾提到过的瑞士心理学家C·G·荣格。这里面有什么样的关系呢?      比尔:首先,我认为认识到这一点是重要的:仅仅从我们的地方、地区,甚至“西方”或“东方”的文化角度来仔细审查事物的方式如今不能再被人接受了。我们在二十世纪末占据了一个优越的位置,这个位置使我们拥有前所未有的、巨大的、信手可得的智力资源,它们汇聚自世界各地,来自众多领域里的学者和翻译家的紧张劳动所创造的丰富多样的历史。任何就一套观念所作的有领悟力的估计和分析,都必须以它在世界文化中的位置为基础。      弗洛依德和荣格,欧洲心理学运动的贡献太伟大了。很多个世纪以来,它第一次启开了通向欧洲文明及人类精神的深层能量的大门。C·G·荣格尤其对世界文化及其先驱抱一种更开放的态度。作为一种精神的视觉考古学,他关于原型意象的理论是一种强大有力的模式,对艺术实践具有重要的暗示。尤其有意义的是这种作为古代文化的基本组成部分的理念——意象在个体内部具有转化性的力量,艺术能够清晰地表达一种疗救、生长或者完善的进程;简言之艺术是知识的一个分枝,是深层意义上的认识论,而非仅只是一种美学的实践。过去十年或更长时间以来,艺术世界的黯淡情境,艺术目标中广泛存在的陈腐、轻浮和空乏,主要归咎于那种狭隘的美学方式和这个以商品为基础的商业社会的极端发展之间的强大结合。      然而,我们不得不把荣格、弗洛伊德和其他人的作品看作世界的历史。在这个意义上,从对精神和自我本质的观照上看,以非物质为基础的亚洲文化比欧洲文化更加优异。世纪转折之际的心理学家代表了西方烛照内部世界本质的第一步,也是意义深远的一步。心理学家,比如杰姆士·希尔曼精谙东方思想的近期著作;以及二十世纪物理学家,比如魏尔纳·海森堡,对物质(作为宇宙自身的同义词,这个术语长期盘亘在西方大脑中)本质的极端结论,都代表了一种正在聚合的思想源流,这一源流将内部现实纳入对世界的重新界定,使西方科学的轨道向东方传统靠近,并表明观念的这种发展比弗洛伊德和荣格原来描绘过的进程更加卓越。数千年有关精神本质的佛教箴言,文本和哲学科学,大大超过了维也纳“精神分析学会”的成果记录。古代印度有关表象理论的文字和思考,在数量上大大胜过当代法国知识分子就同一主题从事的写作。再不应该找籍口来回避和忽视哲学、科学或艺术史当中的更宏大的图景。      耶尔格:为什么你的个人兴趣一直显著地集中在历史,尤其是宗教传统中的神秘主义者身上,而不是在过去主要的艺术家身上?      比尔:事实上,我能看到杰出的神秘主义者和艺术家之间的关联。我感觉我对神秘主义者的兴趣是从一些特定问题中生发出来的,这种兴趣最初并不被我自己察觉,而那是一些与艺术史自身的观念有关的问题。后来我逐渐意识到,我在学校学习的,我们称作“艺术史”的,更多是由环境决定的,而非实际存在。它存在因为它发生过,而不是因为在作为一个整体的诸多作品之间那种最模糊、最笼统的关联之外还有什么更多的关联。对形象的运用和创造是人类存在中最基本的成分,例如性,自从它被当作人类存在的核心部分之日起,情形就是如此。所以,如果存在这种创造形象的自然倾向,那就永远会有一种叫做“艺术史”的事物,也就永远会有大量形式、目的和本质各不相同的艺术品,就像婴儿一样。进一步说,就有必要排斥人类大多数创造性的形象表现。我在读大学时,甚至今天还在使用的一本主要著作,Janson的《艺术史》,从来就没有把日本、中国或印度艺术包括在内,尽管它并不叫《欧洲艺术史》。究际上,这本书对大多数我在亚洲和南大西洋旅行时见到过的古典和当代的作品未置一辞。其它的则被贴上“民间艺术”的标签而不予考虑。      如果这些创造性表现的意图、核心、目的和本质如此差升和矛盾,将它们联结并归化为一个类别的唯一方法,要么是环境决定论的,也即,它们是历史的线性累积的凝缩物;要么是形式上的,也即,用这一类别表明那些--特征,而非表明动物学的某种形式,或自十九世纪科学物质主义以来就被运用至今的方式。我曾一度遗漏的是艺术家视觉的精华,是那种逼进人类生活更深层次的关联。我感觉,我曾日加景仰的伟大艺术家们都在表达那种关联,因为技术和风格不过是作为次要的元素存在,它们存在,也只是为了服务于那“伟大的作品”,服务于他们的造诣中的真正力量。      当我开始专注于作品的这个层面,我发现那些最初似乎独立的,闪闪发亮的光,那些自一片平淡乏味的区域爆发的超验灵感,都被熟悉的表面以下某种被无意识感觉到的东西联系在了一起。我开始追寻这些光,其他的却变得不重要了。我开始制作我自己选择的“历史”,一种反历史,这实在是因为我当时追寻的主要质素之一看起来存在于历史时间之外。我觉得那是一种无法描绘的东西,没有先例,没有范式。然后我开始意识到,与宗教的历史并行不悖的另一种历史,为我一直尝试去理解的那些创造性形态提供了非常详尽的描述和规定。我开始沉醉于东方和西方的神秘主义者的作品,以及像鲁米(注:1207--1273,波斯苏菲派诗人,生于今阿富汗,著六卷叙事诗《玛斯那维》)、庄子、十字架上的圣约翰这样的人,而麦斯特·艾克哈特别成为了一个化身,在我看来,他代表了我一度困惑不解,并觉得他们是从人类史实中的物质表达进程中旁逸斜出的那些艺术家作品中的品质和真实的本质。      耶尔格:在你的作品所涉及的欧洲和美国神秘主义之间,有没有明显的区别?      比尔:首先应该审视一下“神秘”这个词,在西方文化中,这个词指不精确。那些生活在一个没有标准,只有极少的术语来判断或描述内部状态的社会当中的人们,那些对某个主体只有很少(如果有的话)知识和经验的人们,会使用这个词。随著历史的发展,它逐渐负荷了基督教教会的政治史,这段历史充斥了对偏离既定标准的事物的阻挠和残暴压制。而且,它还指许多行事奇特的不同的个人,并在后来变成一个无所不包的词语,称呼所有那些干了些与众不同的事的人们。      历史在向前推进,欧洲文化从它原初的异教萨满教本源中偏离得越远,对这个术语的使   用就越广泛,越被人们需要。对萨满教本源的最后一次伟大清洗是宗教裁判所和对女“巫”(萨满教巫僧)的迫害。“神秘”的威力在女人的身体和力量中找到了它最后的栖息地。看一看六十年代的晚期的摇滚乐和反文化运动,我们会很有意思地发现被欧洲文化传统定义为“狄奥尼索斯”倾向的复兴。历史的这一段篇章实际上完全有关对身体的再度发现,有关试图打破摒弃身体的清教伦理(在美国)的企图,有关一种将身体的技术从性本能提升到高层次的冥思,再使之返回言论,从而将其并置在与欧洲理智传统的基石——思维的推理功能同一地位的努力。回到你的问题上来,欧洲传统中最有影响的神秘主义者,很明显,大部分是欧洲人。在美国,人们会想到瓦尔特·惠特曼和萨克斯的圣母安·李。但其他大部人都与社会改良主义者承诺“自由世界”的乌托邦趋向有密不可分的关系。相反,欧洲的神秘主义者主要关心的是个人的视域,尽管他们中许多人是新的社会和政治秩序的改革者和诠释者。      这是因为许多欧洲神秘主义者关注于将一种自基督时代以后就被驱逐的古老教义重新整合到基督教传统当中去。这在传统上被称作via negativa(拉丁文)——经由否定,或者否定的方式。这一教义根源可以追溯到表现在形成中的基督教的诺斯替教当中的东方宗教观念(印度教和佛教),并且尤其显著地体现于五世纪时被称作“准狄奥尼索斯最高法院法官”(Pseudo-Dionysius the Are-opagite)这一晦涩模糊的角色身上。准狄奥尼索斯,很可能是一名叙利亚僧侣,他有关“天阶体系”(他发明的用语:将天使分为九等)的教义后来成为十二世纪以降的新柏拉图主义运动的中心部分,并且成为了一些著名的神秘主义者的灵感源泉。例如,十四世纪一名匿名的英格兰作者将他的古典式著作命名为“未知之云”,而十字架 上的圣约翰则用“灵魂的暗夜”来描绘这一源泉。      “经由否定”的基本教条是上帝的不可知性;上帝是全然独立、完整的另在;人类的理智不可能把握上帝,也不可能用任何方式来描绘;思维一旦面对神圣现实即会成为空白。它滞塞,它进人“未知之云”。当双眼无法看见,只有倍念为继,接近上帝的唯一真实方式只能从内部发生。因此,触及上帝的唯一方式是通过爱。凭著爱,灵魂进入与上帝的联合。描述这一联合的通常是有关心醉神迷的性的隐喻。东方宗教叫它作放蒙。      这里的信心是个体的信念。正因为据称上帝就在个体的内部,这种信念的多个层面与东方观念和实践分享共通之处。“经由否定”代表了东方和西方宗教发现共同立场的方位。但是,在宗教裁判所及以后的威力的震慑之下,“经由否定”最终被今天更为人熟悉的“经由肯定”道路取代。后者是一种认可的方法,它将肯定的、人性的特质,例如善、全知,描绘为一个超验上帝的形象。尽管神圣仍然超越于所有人类理解之外,它仍能通过这些特质与人类建立起一种重要的关联,这种关联的差别是数量而非质量上的,它按大小的等级描述。      在长时间考察东方宗教和伊斯兰神秘主义之后,在剔除了我自己的基督教根源之后,我激动地发现,在我自己的文化历史中缠系著同一条线索,这是我始料未及的。我把它看成一种根本的人类倾向,而不是一次具体的历史运动。它澄清了有关神秘主义体验的宇宙本质的许多问题,创造力和灵感的核心成分,孤寂与聚合相对的问题,个人视城在社会中的角色,以及我自己的艺术实践。我是通过遵循“经由否定”的道路领悟到神秘的意义的一一感觉,我的作品基础存在于未知、怀疑、遗失之中,于问题而非解答之中一一意识到从自己的角度看,我最重要的作品来自于我在创作的同时对这一创作行为的未知之中。这一时刻的力量,与你从悬崖跃向水面一刻感到的力量相似,那一刻,你不会担心表层以下会不会有岩石。      耶尔格:很明显,你的作品中直接覆盖了人类生活的基本层面,例如,生与死。这种直接的,经常是文献式的元素在你的作品中扮演什么角色?      比尔:录像在当下负担了我们的社会中的真实因素的重量。许多人感觉,他们通过摄像机看到的是真实事件的真实记录。这种感知来源于媒介的某些个性,例如它能够显示一个“活生生”的影像,以及被生动地“即时性”的特质。例如,想象一下用绘画和用录像分别显示一位正在分娩的女性的不同效果吧。      很长时间以来,我一直感到当代艺术和哲学忽视了我们存在中的一些基本能量。显而易见的是,由观念的“历程”形成的概念是如何忽略一些像生、死一样基本的事件的;但是,这些却是人类那么多创造性表达的伟大主题。由于我有太多作品有关延伸的“看”,我发现对我们当下语境的原始。直接的记录中具有一些伟大的力量。这些核心的体验是普泛的、深邃的、神秘的。就像数学家桌上未解开的方程式,它们存在于这个社会而不可解,是因为现在运 用的“数学”无法奏效。重要的是,它们就是神秘,就是从这个词最真实的意义上来说的神秘。它们不需要求解,只需要被体验,被栖居。这就是他们知识的来源。我希望对于未来的时代的人类而言,这些影像会丧失它们令人震惊的价值。因为我感到,这种价值以某些方式遮掩了形象的真实核心,今天,这种震惊反应是对工业化社会偏离生活本源的距离的必要测量。这些“强力形象”就像催人苏醒的呼声,而我感觉,在你能够唤醒思想之前,务必在今天先唤醒身体。      尽管我们连续不断地遭遇媒介形象的袭击,我们的感知被扭曲,我仍对形象的内在力量保持强大的信念(我指的影像是来自光,听觉,所有感觉形态的信息)。我们在历史中,在史前创造遢的形象是我们的同伴和向导,将自我与它们自己的生活和存在分离开来。激发古希腊所有哲学猜想的主要问题之一就是,什么是有生命的,什么是无生命的,什么浸透了“精神”。对于现代科学,问题成了什么是思维,什么不是思维。思维领域,尤其是人类思维领域的参量不断缩略,导致一种将我们自己与自然,与我们完整的存在区分和隔离的态度,并将导致一些灾难性的后果。这种态度允诺自然被剥削,被滥用。人类可以灭绝、屠剿甚至折磨动物,却无任何道德后果,甚至不需要参照任何仪式化的准则。      对我而言,过去150年最重大的事件是影家具有了生命,是活动影像的出现。将时间引入视觉艺术与布鲁内莱斯基宣告透视法和三维绘画空间的诞生具有同等重要的地位。图像现在有了第四维空间。影像已经被赋予了生命,它们有自己的行为。它们与我们的思维、想象的时间同步存在,它们出生、生长。变化、消逝。有生命的事物的一项特征即它们会有多个自我,有由多种运动构成的多重身份,它们是矛盾的,能经常转化,存在于当下的即刻,又存在于未来的回想。对于一个在历史的这个阶段工作的艺术家来说,这是他的工作中最让他激动不已的方面。这也意味著最重大的责任。它已经教会我,真正的原材料不是摄影机和监视器,而是时间和体验本身,作品存在的真正位置并不在荧幕或墙壁上,而是在那些看见了它的人们的思想和心灵当中,这些是所有形象的生存之地。
[68楼] guest 2010-12-05 18:18:05
詹姆斯· 科恩画廊(James Cohan Gallery)宣布,美国艺术家Bill Viola比尔·维奥拉获得了2009年加泰罗尼亚(Catalunya)国际奖, 也就是众所周知的西班牙加泰罗尼亚政府的2009国际加泰罗尼亚奖项。这个年度大奖从1989年开始设立的,颁发给那些 通过他们创作的作品,为世界范围内的文化部门、科学或人类价值方面作出贡献的人。

优胜者是所有领域的顶级人物和革新者,这些领域包括艺术,科学,宗教,政治和经济。

美国艺术家Bill Viola比尔·维奥拉获得了2009年的奖项,在此之前还有Karl Popper, Mstislav Rostropòvitx,Jacques Delors,Harold Bloom,Vaclav Havel,Claude Levi Strauss,Amos Oz等人获奖。

奖金由西班牙加泰罗尼亚的政府领导人Mr. José Montilla先生于6月30日在巴塞罗那加泰罗尼亚自治区政府宫殿中颁发给艺术家。奖金是100.000欧元,还有加泰罗尼亚艺术家Antoni Tàpies的雕塑品“The Key and the Letter”。
[69楼] 第一时间 2010-12-24 12:32:59



[70楼] 第一时间 2010-12-24 12:35:57
Bill Viola (b.1951) is internationally recognized as one of today’s leading artists. He has been instrumental in the establishment of video as a vital form of contemporary art, and in so doing has helped to greatly expand its scope in terms of technology, content, and historical reach. For over 35 years he has created videotapes, architectural video installations, sound environments, electronic music performances, flat panel video pieces, and works for television broadcast. Viola’s video installations—total environments that envelop the viewer in image and sound—employ state-of-the-art technologies and are distinguished by their precision and direct simplicity. They are shown in museums and galleries worldwide and are found in many distinguished collections. His single channel videotapes have been widely broadcast and presented cinematically, while his writings have been extensively published, and translated for international readers. Viola uses video to explore the phenomena of sense perception as an avenue to self-knowledge. His works focus on universal human experiences—birth, death, the unfolding of consciousness—and have roots in both Eastern and Western art as well as spiritual traditions, including Zen Buddhism, Islamic Sufism, and Christian mysticism. Using the inner language of subjective thoughts and collective memories, his videos communicate to a wide audience, allowing viewers to experience the work directly, and in their own personal way.
Bill Viola received his BFA in Experimental Studios from Syracuse University in 1973 where he studied visual art with Jack Nelson and electronic music with Franklin Morris. During the 1970s he lived for 18 months in Florence, Italy, as technical director of production for Art/Tapes/22, one of the first video art studios in Europe, and then traveled widely to study and record traditional performing arts in the Solomon Islands, Java, Bali, and Japan. Viola was invited to be artist-in-residence at the WNET Channel 13 Television Laboratory in New York from 1976-1980 where he created a series of works, many of which were premiered on television. In 1977 Viola was invited to show his videotapes at La Trobe University (Melbourne, Australia) by cultural arts director Kira Perov who, a year later, joined him in New York where they married and began a lifelong collaboration working and traveling together.
In 1979 Viola and Perov traveled to the Sahara desert, Tunisia to record mirages. The following year Viola was awarded a U.S./Japan Creative Artist Fellowship and they lived in Japan for a year and a half where they studied Zen Buddhism with Master Daien Tanaka, and Viola became the first artist-in-residence at Sony Corporation’s Atsugi research laboratories. Viola and Perov returned to the U. S. at the end of 1981 and settled in Long Beach, California, initiating projects to create art works based on medical imaging technologies of the human body at a local hospital, animal consciousness at the San Diego Zoo, and fire walking rituals among the Hindu communities in Fiji. In 1987 they traveled for five months throughout the American Southwest photographing Native American rock art sites, and recording nocturnal desert landscapes with a series of specialized video cameras. More recently, at the end of 2005, they journeyed with their two sons to Dharamsala, India to record a prayer blessing with the Dalai Lama.
Music has always been an important part of Viola’s life and work. From 1973-1980 he performed with avant-garde composer David Tudor as a member of his Rainforest ensemble, later called Composers Inside Electronics. Viola has also created videos to accompany music compositions including 20th century composer Edgard Varèse’ Déserts in 1994 with the Ensemble Modern, and, in 2000, a three-song video suite for the rock group Nine Inch Nails’ world tour. In 2004 Viola began collaborating with director Peter Sellars and conductor Esa-Pekka Salonen to create a new production of Richard Wagner’s opera, Tristan und Isolde, which was presented in project form by the Los Angeles Philharmonic in December 2004, and later at the Lincoln Center for the Performing Arts, New York (2007). The complete opera received its world premiere at the Opéra National de Paris, Bastille in April 2005.
Since the early 1970s Viola’s video art works have been seen all over the world. Exhibitions include Bill Viola: Installations and Videotapes, Museum of Modern Art, New York, 1987; Bill Viola: Unseen Images, seven installations toured six venues in Europe, 1992-1994, organized by the Kunsthalle Düsseldorf and Kira Perov. Viola represented the U.S. at the 46th Venice Biennale in 1995 with Buried Secrets, a series of five new installation works. In 1997 the Whitney Museum of American Art organized Bill Viola: A 25-Year Survey that included over 35 installations and videotapes and traveled for two years to six museums in the United States and Europe. In 2002 Viola completed his most ambitious project, Going Forth By Day, a five part projected digital “fresco” cycle, his first work in High-Definition video, commissioned by the Deutsche Guggenheim Berlin and the Guggenheim Museum, New York. Bill Viola: The Passions, a new series inspired by late medieval and early Renaissance art, was exhibited at the J. Paul Getty Museum, Los Angeles in 2003 then traveled to the National Gallery, London, the Fondación “La Caixa” in Madrid and the National Gallery of Australia, Canberra. One of the largest exhibitions of Viola’s installations to date, Bill Viola: Hatsu-Yume (First Dream) (2006-2007), drew over 340,000 visitors to the Mori Art Museum in Tokyo. In 2007 nine installations were shown at the Zahenta National Gallery of Art, Warsaw; and Ocean Without a shore was created for the 15th century Church of San Gallo during the Venice Biennale. In 2008 Bill Viola: Visioni interiori, a survey exhibition organized by Kira Perov, was presented in Rome at the Palazzo delle Esposizioni.
Viola is the recipient of numerous awards and honors, including a John D. and Catherine T. MacArthur Foundation Fellowship in 1989, and the first Medienkunstpreis in 1993, presented jointly by Zentrum für Kunst und Medientechnologie, Karlsruhe, and Siemens Kulturprogramm, in Germany. He holds honorary doctorates from Syracuse University (1995), The School of the Art Institute of Chicago (1997), California Institute of the Arts (2000), and Royal College of Art, London (2004) among others, and was inducted into the American Academy of Arts and Sciences in 2000. In 1998 Viola was invited to be a Scholar at the Getty Research Institute, Los Angeles and in 2009 received the Eugene McDermott Award in the Arts, MIT. In 2006 he was awarded Commander of the Order of Arts and Letters by the French Government. Bill Viola and Kira Perov, his wife and long-time collaborator, live and work in Long Beach, California.

[71楼] guest 2010-12-26 11:18:30
好贴。他的东西非常震撼人心。
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