Pour moi, j'émets le voeux que la photographie, au lieu de tomber dans la domaine d'industrie, du commerce, rentre dans celui de l'art. C'est là sa seul, sa véritable place.
Gustave Le Guy.
这是个黑匣子,开启后会有很多的东西飞出来。这是人们问到DIBBETS为什么摄影展命名为潘多拉的盒子, Dibbets 给出的答案。
摄影是写实的表现手法,也是艺术的表达方式。很多时候会把摄影和绘画这两种不同的方式进行比较,然而这是没有可比性的。不同时代流行的表现方式而已。不仅仅是从记录这一目的来说,哪怕从延伸的角度,画作可以诗意添加想象,在工具的支持下,摄影作品也可以在原作品的基础上进行再创作。
摄影的场景是真实的,整个的表达画面不一定是,会是艺术家根据要表达的主题进行挑选,把合适的部分在色彩上调到一致进行拼接。既然人可以移情,那么图片也可以。
摄影俨然成为现在艺术的主流表达方式。也正是由于摄影作品的鱼龙混杂,让人开始质疑摄影作为艺术表达方式的地位。可是,如若开始质疑,难道不是内容本身比表达方式更该值得去质疑么。真正有价值的艺术创作不是复制或者随处可见, 而是具有独特性,这也便是摄影这种方式值得让更多的人进行探索的原因。
The imagination of the camera is greater than that of every single photographer and that of all the photographers put together; this is the precisely of all the photographer. Likewise, there are parts of the camera's program that are already well explored. It is true that one can still take new images, but they wound be redundant, non-informative images, similar to those who has seen before. As stated elsewhere, redundant photographs are not interest in this study; Photographers in the sense intended here are in pursuit of the possibilities that are not yet explored in the camera's program, in pursuit of informative improbable images that have not been seen before.
Vilem Flusser 1983
艺术的通性不仅在于创作者自由的表达,更在于让观赏者有眼前一亮的情不自禁。比如这幅夜晚雨后的街道，图片中街道不仅仅是砖块的拼接，反倒成了点线面的自由组合，再融入光线和阴影，让着熟悉却陌生的时刻定格突增神秘。
照相机给我们带来了快捷和更深刻的体验，或许说，它是随着这个时代应运而生的。和画笔相比，二者不能互相替代，反倒从各自的角度带来视觉上的惊奇。
The honor of our times was born a few years ago; a machine, which, day in and day out, amazes our minds and frighten our eyes, within the century, this machine will be a brush, palette, craft, experience, dexterity, sureness, hue, varnish, sketch, completion, the very essence of painting...Let one believe that the daguerreotype will be the death of art... When the daguerreotype, this giant child, reaches maturity, when all its strength, all its power are developed, then the genius of art itself will suddenly take tit by the collar and cry: " Come along, you belong to me now, we shall work together"
Antoine Wiertz 1855
记 La Boîte de Pandore 摄影展
Jean Dibbets: Il a fait, à l'aide de la photographie, des anamorphoses de formes simples qu'il avait dessinées sur des planchers, des murs ou tracées dans l'herbe ou dans le sable. Avec l'assemblage de plusieurs photos au sein d'un travail il fait des panoramas que lui-même range dans les lointaines vues adaptées (Dutch Horizons). L'espace et la perception jouent un rôle important dans son travail, tout comme le temps qui s'écoule.
Vilem Flusser: The photographer’s gesture as the search for a viewpoint onto a scene takes place within the possibilities offered by the apparatus. The photographer moves within specific categories of space and time regarding the scene: proximity and distance, bird- and worm’s-eye views, frontal- and side-views, short or long exposures, etc. The Gestalt of space–time surrounding the scene is prefigured for the photographer by the categories of his camera. These categories are an a priori for him. He must ‘decide’ within them: he must press the trigger
