艾尔斯肯与荒木经惟: 左岸与左眼

左眼之恋，荒木经惟

Nobuyoshi Araki “Love on the Left Eye”

Published by Taka Ishii Gallery, 2014

Edition of 300, softcover, 64 pages, 102 illustrations, H 14 x W 21 cm, 0.15 kg

｜左眼之恋｜

▸Following the loss of sight in his right eye due to an obstructed retinal artery, this collection contains 102 images from a series Araki has energetically produced since October 2013.

自二零一三年十月，荒木右眼視力漸失，但仍創作不懈。

▸In the works series, positive film is filled in on the right hand side with black marker pen. The projection of what’s seen in the left eye and what isn’t on the right, results in photographs where the right side represents a total eclipse of vision.

在正式沖印前，他以黑色麥克筆覆上每張底片的右半部，當作品呈現面前，觀者彷彿進入荒木的視界——擁有清晰的左半邊，以及遮掩不清的右側。

▸Titled “Love on the Left Eye”, the book recounts “Love on the Left Bank”, the photo book by Ed van der Elsken published in 1954 which Araki saw at the age of 20. In some form a tribute, Araki attempts to photograph women in the same pose as Elsken.

画册取名“左眼之恋”，受到荷兰摄影家艾德·范·德·艾尔斯肯（Ed van der Elsken）的影响，荒木20岁时看到了那本“左岸之恋”的影集。荒木尝试使用和艾尔斯肯相同的角度和姿势拍摄女性，借此向艾尔斯肯致敬。

▸Facing the fact that overcoming prostate cancer meant losing the sight in his right eye, this book also reflects Araki’s present state as he continues to vigorously photograph. An exhibition of the same name was held at Taka Ishii Gallery (Kiyosumi) in May, 2014.

才剛戰勝病魔卻又面臨視力衰退，荒木認為「死亡是終將來臨的，我當然不願迎接，但事實是沒人可以扭轉它的發生，那麼就一笑置之吧！」荒木對於創作一向充滿活力，透過作品，他演繹了「攝影即人生」的道理。

｜左岸之恋｜

▸艾德·范·德·艾尔斯肯(Ed Van Der Elsken,1925-1990）荷兰摄影师、导演。摄影集《Love on the Left Bank》，最早出版于1956年，讲述了一个虚构的名为Ann的波西米亚女子，住在巴黎时所发生的故事。

Ann的生活颓废而不顾一切，跟巴黎左岸的年轻男女们一样，每天吃半块面包、抽大麻，睡在长椅上，偶尔有好心的朋友给他们提供一个旅馆房间。他们中的一些人写作、绘画或者跳舞。这本影集是最早关注欧洲青年叛逆文化兴起的摄影集之一。

▴艾尔斯肯的一张经典照片

▸This is a facsimile edition of one of the ‘classic’ photography books of the century. Originallypublished in 1954, and long since out of print, it has been avidly sought by photographers and collectors alike. The book focuses on the Left Bank of Paris at the time when the area was recognized asa centre of creative fermentand the home of the artists, writers and aesthetes who would determine the cultural agenda of a generation. With its unconventional, gritty, snapshot-like technique the work was acclaimed asexpanding the boundaries of documentary photography.

▸Vali Myers, the Australian artist, featured in this book as‘Ann’,was born in 1930 in Sydney. A self taught artist, she was alreadya leading dancer in Melbournebefore leaving for Paris in 1949. During the post-war years, living in the streets and cafés ofSt.Germain des Prés,she continued to dance and draw. Later Vali travelled extensively and became internationally known as an artist. She founded the Il Porto Wildlife Oasis, near Positano, Italy and has her own studio-gallery in Melbourne.

｜不曾发生的恋情｜

▸20世纪50年代，塞纳河的左岸圣日耳曼大道，咖啡馆里聚集了作家、艺术家、以及来自于索邦大学和美术学院的学生们。年轻的摄影师埃尔斯肯也被吸引到了这里，巴黎左岸，存在主义思想的发源地。

那是一个虚无的时代，二战刚刚呼啸而过，年轻人还未有所喘息，随即又遭逢冷战和核战争的威胁。他们的青春充满了深切的疑虑和悲观，他们挥霍青春却挥之不去弥漫的虚无情绪，无法言说的青春由黑白摄影的叙事表达出来全是无边的忧伤——《左岸之恋》（Love on the Left Bank）不仅是埃尔斯肯的摄影画册，更是一幕幕“纪实戏剧”。