黑蓝论坛»论坛 › 合 › 资料 › 视觉 › 【资料】Matthew Barney　马修·巴尼

查看: 4627|回复: 8

【资料】Matthew Barney　马修·巴尼

161 主题	0 好友	2745 积分

论坛游民

不靠谱

Rank: 3 Rank: 3

发消息

电梯直达

1^#

发表于 2007-8-4 13:39:42 |只看该作者 |倒序浏览

<table cellspacing="8" cellpadding="0" width="100%" border="0"><tbody><tr><td class="normalfont-red" scope="col" height="30"><img src="http://media.walkerart.org/2707480.jpg" alt=""/><a href="http://media.walkerart.org/2707480.jpg"></a>艺术家介绍</td></tr><tr><td class="normalfont" valign="top" height="160">1967年生于美国旧金山　1989年     获耶鲁大学学士学位　现居美国纽约马修.巴尼自1990年至今几乎参加了全世界所有重要的国际艺术展，1996年获美国古根海姆博物馆当代艺术大奖。1994年到2002年，巴尼创作了一部五段式艺术电影《悬丝》。他最近的实验电影《DrawingRestraint9》曾于去年在威尼斯电影节上亮相，主演是他的妻子冰岛歌后比约克。06年上海双年展将展出此作品，这是马修·巴尼第二次受邀参加上海双年展。 个展： 2006   西方来客，格莱得斯通画廊，美国纽约 2005   马修·巴尼：涂画抑制，21世纪当代美术馆，日本金泽；巡展至韩国首尔三星美术馆；旧金山现代美术馆（2006） 2003   马修·巴尼在生活艺术博物馆，生活艺术博物馆，冰岛雷克雅未克；博伊斯美术馆，美国爱达荷州 2002   马修·巴尼：悬丝系列，纽约古根海姆博物馆组织；巡展至德国科隆路德维希博物馆和巴黎市立现代美术馆 群展： 2006   阿斯特鲁普?费恩利现代美术馆，挪威奥斯陆            换一双眼，现代美术馆，美国阿斯彭 2005   工作时间/身体时间/生活时间，阿库热伊美术馆，冰岛 2004   触摸与温度：控制论极权时代的艺术，比特变形艺廊，美国纽约 2003   讲故事，威克斯纳艺术中心，美国俄亥俄</td></tr></tbody></table>Biographieb. 1967, San Francisco Matthew Barney was born March 25, 1967, in San Francisco. In 1989, he graduated from Yale University, New Haven. Since then, he has created work that fuses sculptural installations with Performance [more] and video. His singular vision foregrounds the physical rigors of sport and its erotic undercurrents to explore the limits of the body and sexuality. In this, the artist’s work reflects his own past as an athlete, while also being attuned to a new politics of the body evident in the work of many contemporary artists. Barney’s ritualistic actions unfold in hybrid spaces that evoke at once a training camp and medical research laboratory, equipped as they are with wrestling mats and blocking sleds, sternal retractors and speculums, and a range of props often cast in, or coated with, viscous substances such as wax, tapioca, and petroleum jelly. Indeed, his earliest works, created at Yale, were staged at the university’s athletic complex. Within this alternative universe, Barney’s protagonists—including an actor dressed as Oakland Raider Jim Otto, and the artist himself naked or cross-dressed—engage in a metaphoric dance of sexual differentiation. Barney’s exploration of the body draws upon an athletic model of development, in which growth occurs only through restraint: the muscle encounters resistance, becomes engorged and is broken down, and in healing becomes stronger. This triangulated relationship between desire, discipline, and productivity provides the basis for Barney’s meditation on sexual difference. These athletic and sexual references converge in Otto’s jersey number “00,” which becomes a leitmotif for the artist’s ongoing exploration of a polymorphous sexuality. Woven cipherlike throughout Barney’s work, this motif variously appears as if marking elapsed time in his videos, and in altered form as a single oblong, resembling a football field. For the artist, however, the oblong represents “the orifice and its closure—or the body and its self-imposed restraint.” Homonymic with the word “auto,” Otto also suggests autoeroticism, or a closed, self-sufficient system. Barney began work on the Cremaster cycle in 1994. Eschewing chronological order, he first produced Cremaster 4 (1994), followed by Cremaster 1 (1995), Cremaster 5 (1997), Cremaster 2 (1999), and Cremaster 3 (2002). Along with each feature-length Cremaster film, which Barney writes and directs, and in which he often plays one or more roles, the artist has created related sculptures, drawings, and photographs. This epic cycle has as its conceptual departure point the male cremaster muscle, which controls testicular contractions in response to external stimuli. The project is rife with anatomical allusions to the position of the reproductive organs during the embryonic process of sexual differentiation: Cremaster 1 represents the most “ascended” (or undifferentiated) state, Cremaster 5 the most “descended” (or differentiated). The cycle repeatedly returns to those moments during sexual development in which the outcome of the process is still unknown—in Barney’s metaphoric universe, these moments represent a condition of pure potentiality. As the cycle evolved over eight years, Barney looked beyond biology as a way to explore the creation of form, employing narrative models from other realms, such as biography, mythology, and geology. In 1991, at the age of 24, Barney was honored with a solo exhibition at the San Francisco Museum of Modern Art. The Museum Boymans-van Beuningen, Rotterdam, organized a solo exhibition of his work that toured Europe throughout 1995 and 1996. Barney has been included in many international exhibitions, such as Documenta in Kassel in 1992, the 1993 and 1995 Biennial exhibitions at the Whitney Museum of American Art, New York, and Aperto ’93 of the 48th Venice Biennale, for which he was awarded the Europa 2000 Prize. Barney has been awarded numerous other prestigious awards, including the Guggenheim Museum’s Hugo Boss Prize 1996; the Skowhegan Medal for Combined Media in 1999; the James D. Phelan Art Award in Video by the Bay Area Video Coalition in 2000; and the Irish Museum of Modern Art Glen Dimplex Artists Award in 2001. Matthew Barney: The Cremaster Cycle, an exhibition of artwork from the entire cycle organized by the Guggenheim Museum, premiered at the Museum Ludwig, Cologne in June 2002 and subsequently traveled to the Musée d’Art Moderne de la Ville de Paris and the Solomon R. Guggenheim Museum in New York. <a href="http://media.walkerart.org/2707480.jpg"></a>

分享到: QQ空间 腾讯微博 腾讯朋友

分享0 收藏0 顶0 踩0

Blog

使用道具举报

胫骨

161 主题	0 好友	2745 积分

论坛游民

不靠谱

Rank: 3 Rank: 3

发消息

2^#

发表于 2007-8-4 13:39:42 |只看该作者

“悬丝”THE CREMASTER CYCLE “悬丝 1”/ CREMASTER 1“悬丝 1”创作于1995年，是系列中第二个完成的。在这个影片中，马修·巴尼选用了自己老家的一个运动场作为拍摄现场，多少带有对童年时光的回忆。这是一个甜美的具有音乐剧风格的电影。两个古德伊尔(Goodyear)软式飞艇飘浮在场地上空，恰如我们常常看到的用于电视足球现场转播的空中气球。穿着漂亮整齐制服的四个空姐默默地注视着空中飞艇。轻柔的背景音乐听似发动机低沉的嗡嗡声。进入飞艇内部，一个铺着雪白台布的桌子赫然摆放在中央，桌面上放着由凡士林材料做成的抽象的Art Deco十字符号雕塑，四周还有一堆葡萄。两个飞艇中摆放的葡萄各不相同，分别是绿色和紫色。长着一头淡黄色头发的好莱坞影星古德伊尔是片中的主角，两张桌子就是她的家。故事随着主角的出现而展开。当古德伊尔在头顶的桌子上打开一个缺口后，她就不停地将桌子周围的葡萄一个个揪下来，放进她的白色的小巢中。用这些葡萄，古德伊尔绘制了一幅幅舞蹈动作设计图，飞艇下面的一群女孩就是按照她设计的动作翩翩起舞。此时，镜头不断地在古德伊尔的设计和从空中俯视舞蹈之间切换。舞蹈的队形在不停地变换：平行的队列变换成杠铃的形状，一个大型的圆圈经分裂蜕变成按倍增长的小圈，水平规整的图案瞬间变成了难以确定形状的东西。舞蹈的队形变化演义了生命在胚胎中6个星期的发展过程。紧接着，舞蹈的队伍又组出了一个男性生殖器的图形，与空中的飞船彼此呼应。CREMASTER 1 "CREMASTER 1" takes place in a lit, football stadium in Boise, Idaho, and in two Goodyear blimps that hover over it. The action on the football field and the action in the two blimps mirror each other, as the two casts of characters that inhabit each set, enact similar movement and patterns. The blimps each hold four vaguely bored and sullen flight attendants, wearing sleek 1930’s uniforms designed by Isaac Mizrahi. The icy attendants in both blimps sit or stand around a central table that is draped in a white cloth and covered in grapes - one blimp’s grapes are purple, the other green. The centerpiece of the table, and surrounded by the grapes, is a Vaseline-coated sculpture of the female reproductive system. Underneath each table in a small, white space created by the draped tablecloth, is the heroine of "CREMASTER 1," a pale, awkward woman called Goodyear, who is outfitted in a white slip and a pair of high heels. From one of the toes of her shoes protrudes a glass horn. As she begins to move around in the small space, gingerly poking a hole in the tablecloth, and then pulling grapes through, the grapes move through her body and exit from the horn on her shoe, dropping to the floor where they begin to form geometric patterns. Below the blimps and their strange activity, an aerial view of the football field shows a chorus line of beaming and gliding girls in white and orange hoop skirts forming the same patterns as the grapes. The movement on the field and the soundtrack that accompanies it, is reminiscent of a 1930’s Busby Berkeley musical. Like all of the movies in Barney’s series, "CREMASTER 1" uses a familiar film genre -here, the 1930’s musical - to explore his interest in the biology of, and conflicting roles in, male and female sexuality. While most of the "CREMASTER" films examine male desire, this video concerns itself with the transformation of the female body. Ultimately, Goodyear appears on the field smiling and pulling the two blimps on ropes behind her, as she glides in front of the chorus line doing a choreographed wave with their hoop skirts. <img alt="" src="http://www.ua.ac.be/images/ua/container3746/Cremaster3_01.jpg" width="480" border="0"/><img height="341" alt="揅REMASTER 1? title=" hspace="0" src="http://www.pbs.org/art21/slideshow/artists/b/barney-video-003.jpg" width="420" border="0" 揅remaster=""/><img alt="" src="http://www.tate.org.uk/magazine/issue2/images/barney_mainpic.jpg"/><img title="Matthew Barney »Cremaster 1« | Cremaster-Zyklus" height="360" alt="Matthew Barney »Cremaster 1« | Cremaster-Zyklus" src="http://www.medienkunstnetz.de/assets/img/data/2597/bild.jpg" width="264" border="0"/><img alt="" src="http://www.artist-info.com/artist_images/big/3461.jpg" border="0"/><img alt="" src="http://www.yborfilmfestival.com/2004/images/cremaster_cycle_1_image_1.jpg"/>“悬丝 2”/ CREMASTER 2“悬丝 2”创作于1999年，是系列中第三个完成的，片长70多分钟。在这个影片中，马修·巴尼重点描写了一个野蛮的西方人——加里·吉尔摩（Gary Gilmore），他的行为是对社会系统稳定的冲击与分裂。从生物学角度，它吻合了胎儿发展过程中的性形成的开始。影片的表现语言非常抽象。从1977年加里·吉尔摩（Gary Gilmore）被处以死刑到1893年可能是吉尔摩的爷爷的哈里·霍迪尼（Harry Houdini）在世界哥伦比亚博览会上的表演，其间采用了循环的叙述方式，并穿插出现了霍迪尼与吉尔摩的奶奶——女巫Baby Faye的镜头。三个相关的事物构成了影片的框架结构：在叙述吉尔摩（由马修·巴尼扮演）的故事的同时，环境成为故事的见证人，而蜜蜂的生活象征着人逃脱宿命的挣扎。因为荒缪地渴望与加油站服务员他的女朋友尼古拉·贝克尔（Nicole Baker）永远地结合，吉尔摩残酷地把她杀害了。吉尔摩被判以极刑。行刑的方式非常奇特，在一个精心设计的巴罗克风格的动物竞技表演场中，兽栏打开，被绑在一头牛身下的他吉尔摩与牛一起冲入空旷的斗兽场，直至死亡。现实生活动，吉尔摩确有其人其事，但他是由行刑队执行枪决的。在处理吉尔摩与尼古拉的关系时，巴尼采用雕塑和戏剧化的表现方式：两辆生产于1966年的蓝色和白色的Mustangs轿车，在蜂窝的一条通道中连接在一起，连接在一起的前排座位变成了一条通往加油站的管道。就是在这个加油站的浴室中，吉尔摩用枪从尼古拉的背面射中其头部。据说摩门教相信要挽救罪人，必须让他的血流出。吉尔摩不惧怕死亡，他不想对判决做任何上诉，他似乎更渴望转世，进入爷爷霍迪尼的时空，逃脱命运，寻找真正的自由。影片通过一段得克萨斯两步舞象征吉尔摩的转世。世界哥伦比亚博览会笼罩在一片烟雾中，霍迪尼刚刚结束他的魔术表演。此时，吉尔摩的奶奶向他走来，引诱着他。CREMASTER 2“CREMASTER 2" is loosely based on "The Executioner’s Song," by Norman Mailer, which tells the story of Gary Gilmore, a convicted killer put to death in 1977, who since has been famed as Harry Houdini’s grandson. Filled with beautiful shots of glaciers in the Canadian Rockies and the Salt Flats of Utah, the film moves back and forth in time, from the 1893 World Fair in Chicago where Gary Gilmore’s grandmother supposedly met Harry Houdini (played by Norman Mailer) and conceived Gilmore’s father, to the 1970’s. The story unfolds in a series of stunning and surreal scenes that are narratively obscure and visually persuasive. The scene immediately preceding when Gilmore murders the gas station attendant and thus begins his infamous killing spree, has him parked in a shiny Mustang that is seamlessly connected to another Mustang by a tunnel linking the two cars. Seen sitting inside the tunnel, Gilmore (played by Matthew Barney) pulls and pushes at the Vaselined interior that appears in all of the "CREMASTER" films. The tightly-corseted grandmother of Gilmore conducts a seance with her son and his fiance in which Gilmore is conceived to the buzzing of thousands of bees. The hexagon-inspired, beehive shaped room where the seance takes place references the state of Utah and Mormonism (the beehive is one of the chosen symbols for both), Gilmore’s home state and religion, respectively. Also featured is the Mormon Tabernacle Choir, giving Barney’s interpretation of Gilmore’s story the foreordained, tragic feel of a religious figure enacting his scripted fate. That Gilmore was the first person to be executed in the United Sates after the reinstitution of the death penalty also contributes to the complex martyrdom (political and moral) with which both Barney and Mailer surround his death. Using the gothic Western to frame this movie, Barney fills it with references to that film genre: a beautiful mirrored saddle that reflects the landscape of the glaciers in the Rocky Mountains, and the pristine surfaces of the pools of water that flood the Salt Flats, and a pair of solemn Country & Western dancers who two-step in front of the saddle. The reoccurring patterns and formations that the “CREMASTER” movies all reference also appear here. The beehive pattern informs the architecture of the small room where Gilmore is conceived and the dancers two-step (literally mirroring each other’s movements), as well as being inscripted into the salt floor of the Salt Flats by the Canadian Mounties whose choreographed riding leaves their horse’s hoof prints behind in the same pattern. The climactic scene of "CREMASTER 2" shows Gilmore riding in a prison rodeo held in a ring constructed in the Salt Flats, as he and the bull on which he rides, slowly and simultaneously collapse.<img alt="Large view of CREMASTER 2" hspace="0" src="http://siteimages.guggenheim.org/gpc_work_large_58.jpg" border="0" name="pic"/> <img height="550" alt="" src="http://www.pbs.org/art21/slideshow/artists/b/barney-photo-003.jpg" width="425"/>悬丝3 / CREMASTER 3“悬丝 3” 创作于2002年，是整个系列的中心，也是系列中片长最长的，放映时间长达3个小时零9分钟。作为5个组成部分的核心，它起到了一个双面镜的作用，既反射了过去，也预示了未来。作品在纽约拍摄，编织了一个关于建造克莱斯勒大厦的故事。故事在共同参与了大厦的建设工作的建筑师海拉姆·阿比夫（由美国著名雕塑家理查德·塞拉扮演）和恩特德·阿普雷提斯（由马修巴尼扮演）的斗争中展开。作品重新演绎了掌握着宇宙的奥秘的所罗门大教堂的建设者海拉姆·阿比夫的传说故事。故事从克莱斯勒大厦的地基开始，一个女人在坟墓中挖掘，企图寻找逃出的道路。她是“悬丝2” 中没有死的加里·吉尔摩。5名男孩把她的棺材从坟墓中抬出，运到克莱斯勒大厦的门厅，她的身体被放在一辆“克莱斯勒帝国纽约人”轿车的后座上。随后，镜头切换到另一个场面，阿普雷提斯不停地在5辆生产于1967年的“克莱斯勒皇冠帝国”汽车的底盘上抹着水泥，几辆车上都绑着雷管。这些经过水泥涂抹的绑着雷管的汽车将要在大厅中开始的撞车比赛中派上用场。在克莱斯勒大厦的克劳德俱乐部的酒吧间中，阿普雷提斯和酒吧经营人之间展开了一场滑稽表演。所有滑稽可笑的不幸的都是隔壁房子中的一个女人（由爱丽米·姆林斯扮演）造成的。女人一刻不停地用装在她鞋底上的刀片削着土豆，并用这些土豆填满了吧台的底部直到引起大厦的塌方。在Saratoga Springs的跑道上，阿普雷提斯被一个醉汉打掉了所有的牙齿，回到克劳德俱乐部后，他被送去到牙科诊所，在这里阿普雷提斯的衣服被全部脱去，换上一身一级共济会成员的工作服，和共济会竞选围裙。牙科诊所的楼上是建筑师的办公室，建筑师从楼上掉到楼下与冤家对手相遇。他将在撞车比赛中压扁了的“帝国纽约人”的残片像一副假牙一样塞到阿普雷提斯的嘴中。与此同时，阿普雷提斯肠子从体内流出，这是一个象征着从低级的自我蜕变的仪式。阿普雷提斯因自大而受到惩罚，同时也从建筑师的狂傲中得到了补偿，获得了无限的平等。由于对大楼的缓慢的建设速度极为担忧，建筑师回到办公室后用滑轮运上来几块黑色的石板，做起两个柱子，它们象征着海拉姆·阿比夫对所罗门大教堂的设计。与此同时，阿普雷提斯从屋顶逃离了牙科诊所，爬到大厦的顶部。建筑师用他的柱子当梯子也从天花板的洞口爬出屋子，随后，建筑师羽化登仙，变成了自己为大厦设计的五朔节花柱。演到这里，故事的叙述被一段共济会入会仪式所打断，仪式的内容具有对系列其他作品的隐喻。整个仪式全部在纽约古根海姆博物馆的中央大厅中拍摄。阿普雷提斯必须克服困难，从博物馆的旋转楼梯，走向共济会大师的宝座。镜头回到大厦的顶部。在这里，阿普雷提斯杀害了建筑师，自己也葬身于大厦。两个男人因傲慢自大受到了惩罚，留下了一个未完成的建筑。 CREMASTER 3Cremaster 3 (2002) is part zombie thriller, part gangster film. As the final installment completed in the series, the film is a distillation of Barney\'s major themes, filtered through a symbolic matrix involving Freemasonry, Celtic lore, and coded references to the Cremaster cycle itself. Set in New York\'s Chrysler Building, Cremaster 3 also includes detours to the Guggenheim Museum, to the harness track in Saratoga Springs and to Giant\'s Causeway in Northern Ireland. <img height="550" alt="" src="http://images.tribe.net/tribe/upload/photo/0d0/fab/0d0fab12-0376-4471-ab11-69a5cb9826aa" width="369"/><img alt="" src="http://siteimages.guggenheim.org/gpc_work_large_60.jpg" border="0"/><img alt="" src="http://www.pbs.org/art21/slideshow/artists/b/barney-photo-002.jpg" width="480" border="0"/><img height="402" alt="" src="http://www.artnet.com/artwork_images_132879_194120_matthew-barney.jpg" width="567"/><img alt="" src="http://www.artfacts.net/exhibpics/12524.jpg"/><img alt="" src="http://live.julik.nl/images_cust/Picture%203.jpg"/><img alt="" src="http://live.julik.nl/images_cust/cremaster3.jpg"/><img title="Matthew Barney »Cremaster 3« | Cremaster-Zyklus" height="360" alt="Matthew Barney »Cremaster 3« | Cremaster-Zyklus" src="http://www.medienkunstnetz.de/assets/img/data/2598/bild.jpg" width="260" border="0"/>悬丝 4/ CREMASTER 41994年，马修巴尼以“悬丝4”开始了他的“悬丝”系列作品的创作，片长42分钟。该作品紧密地按照整个系列依据的生物模式进行。表现了系统在向目标的进程中不断地抗拒阻力，一往直前。作品在几个重要的地方都出现了曼克斯三条腿的标志，三条完全相同的腿披着盔甲，围着一个共同的轴心旋转。影片拍摄于英国的马恩岛，该岛位于英格兰北部的爱尔兰海上，其名取自于早期居住在这里的凯尔特人传说中的海神——马南南。传说这个岛是被一位爱尔兰巨人芬马克尔投入大海的。影片吸收和采纳了关于小岛的许多民间传说，同时将一个颇具现实感的旅游杯摩托车大赛安排在这里。古时的神话与现代的机器混合在一起，共同讲述着一个拉夫登竞选人的故事。影片由三个主要角色构成。其一拉夫登竞选人（由马修巴尼扮演），他是一个头上长着角的半人半羊的形象。这个形象一半取自本地区特有的绵羊种类——拉夫登绵羊，它长着两对罕见的触角，拉夫登竞选人的头发就像它身上的红色皮毛。这位拉夫登竞选人身穿白色西装，衣领处插着岛上的特有植物，脚上穿着厚底有孔的皮鞋。其二和三分别是两组向相反方向奔驰的赛车，一个象征向上的力量，另一个则代表向下的力量。三个角色的出场都有三个红头发的精灵的陪伴，它们就像一面镜子，映照着三个故事发展。影片的开头与结尾都是在皇后码头上的一所白色房间（装置）拍摄的。在这间白色的房子中，几个精灵正在帮助海神竞选者进行着旅行前的准备工作。他们在他的厚厚的鞋底上钉钉子，向他的口袋中填满大个的珍珠。摩托车比赛开始，两组参赛车对向相反的方向飞驰，参赛的车辆和车手服装上都印着曼克斯三条腿的标志。镜头不断地在竞选人和赛车之间切换。在白色的房子里，竞选人兴奋地跳着踢踏舞，地板被他踏出了一个洞，他从洞口坠入海底，在岛内的一个通道中穿行，犹如在生命体内穿行，他的四周都是粘稠稠的液体，他奋力前行，向终点进发。参赛的摩托车在岛上飞奔，它们翻山越岭，向障碍和极限挑战。在故事进行之中，一些具有象征性的场面与形象不断出现。三个红头发的精灵出现在三个场合：码头上的白色房间，在山路弯道的加油站为赛车加油，在悬崖峭壁上野餐。从车手们口袋中跳出的液浆球象征生命的降生。还有红发精灵们随身带着的象征男性生殖器的印着苏格兰格子的热水瓶。在一个象征生命母体的加油站上，车手帮助赛车向吸吮乳汁一样增添着生命的动力，影片在欢快、热闹的音乐声中结束。CREMASTER 4Cremaster 4 (1994) is set on the Isle of Man, where a motorbike race traverses the landscape, a tap-dancing satyr writhes his way through an underwater canal, and three fairies picnic on a grassy knoll. Part vaudeville, part Victorian comedy of manners, and part road movie, this film portrays sheer drive in its struggle to surpass itself.<img height="450" alt="" src="http://www.guggenheim.org/artscurriculum/images/cremaster_4_1_l.jpg" width="359" border="0"/><img alt="" src="http://www.muzprosvet.ru/graphics/cremaster-4.jpg"/><img alt="" src="http://trendbeheer.com/wp-content/uploads/2006/04/cremaster.jpg"/><img title="Matthew Barney »Cremaster 4« | Valve (Ausschnitt)" height="360" alt="Matthew Barney »Cremaster 4« | Valve (Ausschnitt)" src="http://www.medienkunstnetz.de/assets/img/data/1742/bild.jpg" width="284" border="0"/><img alt="" src="http://www.yborfilmfestival.com/2004/images/cremaster_cycle_4_image_1.jpg"/>悬丝5 / CREMASTER 5“悬丝5”是系列的尾声，创作于1997年。作为系列的总结，该作品演绎了一个发生在19世纪后期，在浪漫的布达佩斯，一段悲剧式的爱情故事。作品在浪漫抒情的歌剧院拍摄。歌剧的主角有谢安国（Chain）的皇后（乌尔苏拉·安德列斯扮演），她的迪瓦（Diva）、魔术师（Magician）和巨人（Giant）(全部由马修·巴尼扮演)。“悬丝 5”以一幅布达佩斯地图拉开序幕，地图上展示了故事发生的地点和路线，并对出场人物一一介绍。魔术师骑着马从一座桥走上过。在歌剧院里，皇后正由两位侍从的陪伴下走下楼梯，落座在皇室包厢。侍从把7只毛领鸽放在她的周围。在吉勒特（Gellert）温泉浴室中，无数的珍珠漂浮在水面上，水中隐藏着福德尔（Fudo）水鬼。镜头再次拉回到歌剧院，大幕徐徐拉开，乐队和指挥一切就绪，一场歌剧即将开始。皇后展开歌喉开始演唱，她的迪瓦此时也出现在她的面前。迪瓦用一条长长的丝带勾勒出舞台的轮廓。在迪瓦表演的时候，皇后的思想完全沉浸在对她的挚爱魔术师的回忆中。她想象着魔术师站在桥上，正在准备跳入冰冷的河水中。他剥光身上的衣服，戴着塑料手铐和脚镣，然后戴上一副模型手套，将很重的圆球一个个放在脚趾之间。站在桥边，魔术师想到了哈里·霍迪尼著名的桥梁跳，霍迪尼在1874年生于布达佩斯。魔术师正在寻求超越，但是皇后对此并不理解，认为他是要结束自己的生命。皇后的注意力再次回到剧场，侍从提醒她注意座位上的洞，透过这个洞，她看到了Gellert温泉浴室。她身边的鸽子纷纷从洞口掉入浴室，拖着长长的闪闪发光的丝带坠落池中。此时，皇后的巨人正在连接两个浴池的水道中，飘在水面上的珍珠没到了他的胯部，簇拥在他周围的水怪用彩带编织成花环，并给他的阴囊戴上了这个花环。在温泉中，他的睾提肌因放松而下垂。皇后的思绪又回到了魔术师的身边，想象中魔术师跳河的那一幕把她吓得昏厥过去。故事进入高潮：迪瓦摔倒在舞台上，意外地结束了生命；魔术师跳入水底，躺在用花堆成的床上，他身边的百合花随着水波而荡漾，两个水怪托着他不断降落的身体，并把一个黑色的珍珠放在他的嘴中；皇后唱着悲伤的咏叹调，要与她的爱人共赴黄泉，一股液体从她的口中流出，滴在她的衣服上，也滴在了座位上。通过座位上的洞口，液体滴入浴池，并在坠落的途中分成两股，同时滴在水面上。两个水滴在水面上形成一圈又圈越来越大的涟漪，将整个水面覆盖。到此，悬丝系列也形成了一个完整的循环。CREMASTER 5Set in Budapest, Cremaster 5 is performed as an opera complete with Jacobin pigeons, a lovelorn queen, and her tragic hero. The narrative flows from the Hungarian State Opera house to the Gellért baths, which is inhabited by water sprites frolicking in a pool of pearls. As the cycle\'s concluding chapter, the film traces the story of final release, a physical transcendence that is misunderstood and mourned as loss.<img alt="" src="http://www.pbs.org/art21/slideshow/artists/b/barney-photo-005.jpg" width="480" border="0"/><img alt="" src="http://siteimages.guggenheim.org/gpc_work_large_59.jpg" border="0"/><img alt="" src="http://www.hkw.de/media/bilder/projekte/beauty/barney1_72dpi_CONTENTSPALTE.jpg" border="0"/><img alt="" src="http://www.pbs.org/art21/slideshow/artists/b/barney-photo-001.jpg" width="480" border="0"/><img alt="" src="http://www.artandjobmagazine.com/rubriche/328_2.jpg"/><img alt="" src="http://www.c3.hu/events/97/cremaster/images/c5.jpg"/><img alt="" src="http://image.blog-24.com/244794.jpg"/>

[此贴子已经被作者于2006-11-14 4:43:15编辑过]

Blog

使用道具举报

胫骨

161 主题	0 好友	2745 积分

论坛游民

不靠谱

Rank: 3 Rank: 3

发消息

3^#

发表于 2007-8-4 13:39:42 |只看该作者

DRAWING RESTRAINT　９抑制创作　９　马修·巴尼2005年新片，由他的妻子，冰岛女歌手比约克和他本出演。参加2005年威尼斯电影节。2006年上海双年展期间此片将第一次在中国放映。这是一部在长崎海湾一艘日本捕鲸船上拍摄的长达135分钟的非主流电影，核心精神是对自我强迫的抵抗和创意之间的关系的思考，形式则是轮船甲板上一尊名为“土地”的巨型凡士林雕塑的塑造和变化过程。在船上的还有两个恰巧来到这里并举行了一场日本式传统婚礼的“客人”，由导演巴尼和女歌星比约克扮演，两人用旁白带出导演的创作主旨。随后他们出席了一次茶道仪式，主人为他们介绍了轮船的历史，这是舱外电闪雷鸣，液态的凡士林流了进来，“土地”化开了。“客人”被困在了密室之中，他们艰难的呼吸，随后拔出小刀，砍下了对方的脚和大腿。两人剩下的躯体中露出尚处于早期发育状态的鲸尾，新生和变化又开始了。<img height="550" src="http://static.flickr.com/45/115879036_4b6791ba51_o.jpg" width="550" alt=""/><img src="http://www.sfist.com/attachments/sfist_rita/DR9__photo01-thumb.jpg" alt=""/><img src="http://www.michael-r-nelson.com/design_blog/images/drawing_restraint.jpg" alt=""/>

Blog

使用道具举报