[{"img":"1606/21/b5b871abbbd23a3ea15ced848aeddc1b.jpg","width":673,"height":507,"content":"","text":"古斯基善于运用鲜明跳跃的色彩来展现各种类型化的内容,以几近偏执狂般的规则及充斥每个角落的超清晰细节来挑战密集恐惧症患者底线。人与物身处的立体空间场所以平面化的无限真实把我们轰炸得头晕目眩。
"},{"img":"1606/21/4752c8dec9d436e08ed5ac85c40fec41.jpg","width":1898,"height":979,"content":"","text":""},{"img":"1606/21/88767c1329813429a09516346ff0c657.jpg","width":3453,"height":1920,"content":"","text":""},{"img":"1606/21/369991f448e93a34a6fbe4a7c0e344b2.jpg","width":617,"height":463,"content":"","text":""},{"img":"1606/21/786c4627014037b3bf64d4c6c829f495.jpg","width":1024,"height":683,"content":"","text":""},{"img":"1606/21/750cd63c4744370b84b4b653f62ce41c.jpg","width":790,"height":506,"content":"","text":""},{"img":"1606/21/a274fb5f8c023c77981ff2cf8794b5f8.jpg","width":1800,"height":810,"content":"","text":""},{"img":"1606/21/242ae2b032f830238f0e19d5fd5f3794.jpg","width":1277,"height":1920,"content":"","text":""},{"img":"1606/21/bd5a09482ed835348f6d0234c37b1735.jpg","width":1600,"height":653,"content":"","text":""},{"img":"1606/21/d334b0fd0dee33be85f1d3ab22cb0bbc.jpg","width":1450,"height":963,"content":"","text":""},{"img":"1606/21/5969b5891be73ee1aa1ab1fa07686d0d.jpg","width":645,"height":465,"content":"","text":"饱满的内容,庞大的场景让古斯基作品趋向极大幅的画面表现形式。他隔着一个近乎抽象化的足够远距离去平视,俯视,仰视着一个个真实的如关键词一样的带有标志性的大环境,以浓缩的一瞬间描述当今社会的价值。而\"距离\"犹如魔法棒般令看官们看到一个微缩袖珍版的世象,从而被启发去重新审视这个我们身处的世界。
在古斯基作品里面,人及物在如大超市,商场,办公楼,教堂,银行,图书馆,居所等大场景里不再是个体,而是大环境里面的一抹颜色。无论零星的一点在原地多么的出类拔萃,视角往后一百倍,我们只看到平庸的现实。或许这便是宏观意义上的“真实”本质。
在当代摄影实践中我们看到很多被杜塞尔多夫学派启发的作品。比较熟悉的如迈克尔·胡夫 |Michael Wolf ( 1954年至今)。他的一系列关于香港的城市写真让我们深深体验到极度精准的德式规范,极简类型化影像语言。"},{"img":"1606/21/010169dff45937db8497e4da6f09a1e1.jpg","width":3000,"height":2253,"content":"","text":""},{"img":"1606/21/6d03eb667a7f3b9785489199daa426cb.jpg","width":900,"height":720,"content":"","text":""},{"img":"1606/21/b2ea9f12149e3cd3af08e38cbec2423a.jpg","width":2000,"height":1333,"content":"","text":""},{"img":"1606/21/b917df9bb7593f89afa7c3cf929acff9.jpg","width":2912,"height":1999,"content":"","text":""},{"img":"1606/21/745d12281ddd3d42ad2c5c865862c023.jpg","width":1280,"height":960,"content":"","text":""},{"img":"1606/21/3bc099da52f5305a9b9a5bc6c8a9f54d.jpg","width":900,"height":635,"content":"","text":""},{"img":"1606/21/b0eef7cf5cce3a168a5c063db7803b7c.jpg","width":1166,"height":950,"content":"","text":""}]
地球人都知道德国会造极精湛的机器,讲秩序与规则, 崇尚理性。这样的刻板印象不知道是不是放之德国而皆准,起码放在德国最负盛名并对当代摄影影响最广泛深远的杜塞尔多夫学院派是准了。
杜塞尔多夫摄影学院所代表的新客观主义观念艺术形式是当代摄影里十分重要的流派之一。其中最名声昭著并不断被临摹而从未被超越的是安德里亚·古斯基 |Andreas Gursky (1955年至今)。
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