維塔斯?盧克斯日記摘要Abstract from Vitas Luckus diary

甜蜜心情Sweet mood

 甜蜜的心情是一種對于在市場上銷售的油布明信片的市儈美學(xué)的諷刺風(fēng)格。Sweet mood is an ironic stylization of the philistine aethetics of oilcloth postcards sold at the market.

我們應(yīng)該反對人們總是希望照片里的自己看起來美麗而且被神秘的薄霧籠罩嗎？中間調(diào)能夠營造親切感。我們已經(jīng)習(xí)慣于在建房時構(gòu)造豪華的門面，隱藏留在背后的磚石。實(shí)驗(yàn)攝影也是一種有著巨大潛力的藝術(shù)。通過將一個黑白照片轉(zhuǎn)換為彩色照片，或通過使用中途曝光的手法來突出圖像輪廓，我們可以賦予一個作品的以新的內(nèi)涵。攝影師對自己的能力必須非常清楚，并知道在攝影行業(yè)中過度的功利心或虛榮心只能阻礙他的工作成果。我想很多生活中的問題，甚至戰(zhàn)爭，都來自于最好這個概念的無邊欲望。Should we deplore the fact that people want to see themselves in a photograph looking beautiful and enveloped in an enigmatic mist? Half-tones create intimacy. We have grown used to building houses with lavish facades, leaving the stonework of the bricks hidden behind them. Laboratory photography is also an art with colossal potential. By turning a black-and-white photograph into a color one, or by highlighting the contours of an image with the help of solarisation, we can give a work a new meaning. The photographer must have a very clear idea of his possibilities, and remember that trying to stand out only stops him from doing his job properly. I think many of the problems in life, even wars, come from the boundless desire to be the best.

維塔斯?盧克斯日記摘要Abstract from Vitas Luckus diary

 啞劇Pantomime

  從一個中世紀(jì)的縮影，一幅丟勒的解剖圖，或著是一張活細(xì)胞的科學(xué)照片中，我們都看到了人類。但是技能和知識是看不見的。技術(shù)是工藝，而專業(yè)文化是一個人在一定年齡生活和思考的能力。在“啞劇”中我一直在尋找可以被拍照的形式，而不是可以繪畫的形式。我的生活是一場啞劇。這個啞劇里面沒有演員，沒有導(dǎo)演，沒有布景設(shè)計師和攝影師。我們都是平等的，每個人都以自己的方式演繹了他的一部分。在這些照片中沒有真正的人。他們甚至含有博世的愿景，有著像防毒面具一樣的殘忍的面具。這些是概念和范疇。我們必須在所有領(lǐng)域測試自己。例如，如果大幅面光學(xué)裝置終被發(fā)明，我們還必須發(fā)明使用它們的方法。它扭曲了很多更嚴(yán)格的種類。在游戲中，一切都是合適的。In a medieval miniature, an anatomical drawing by Dürer, or a scientific photograph of a living cell we see the Human being. Skill and knowledge are invisible. Technology is craft, and professional culture is the ability to live and think in one‘s age. In ?Mimes“ I was looking for form that could be photographed rather than drawn. I was living in pantomime. There were no actors, no director, set designer or photographer. We were equal, and everyone played his part in his own way. There are no real people in these photographs. They even contain Bosch‘s visions, inhuman masks that somewhat resemble gas masks. These are concepts and categories. One must test oneself in all domains. For instance, if large-format optics is invented, one also must invent a way of using them. It distorts a lot in a stricter genre. In a game, everything is appropriate.

維塔斯?盧克斯日記摘要Abstract from Vitas Luckus diary

即興啞劇Improvising pantomime

 [...]但在當(dāng)時，我更關(guān)心的事情是搞清楚什么是絕對的。是否有可能從海邊拖走所有的沙子？在我們當(dāng)中潛伏著的抽象...這是什么？就像一個無法測量，無限深的星系，莫扎特神圣的音樂表現(xiàn)，它比最真實(shí)的現(xiàn)實(shí)更重要。[...] But at the time, I was much more concerned about working out what the absolute was. Is it possible to haul away all the sand from the seaside? And the abstraction that is lurking within us... What is it? Like a galaxy that has no measure, infinitely deep, a manifestation of a divine Mozart, it is more important than the most real reality.

維塔斯?盧克斯日記摘要Abstract from Vitas Luckus diary

 肖像特寫Close-up portrait

 不顧一切的色調(diào)的可能性，攝影的力量在于它“身份證照片”一樣的品質(zhì)。在一個簡單的照片中，我們的眼睛，鼻子和耳朵都是有象征性的和動人的。人們不假思索地把對方的照片作為紀(jì)念品，并當(dāng)場解決所有的取景和構(gòu)圖的問題。他們不會被照片中人的頭頂在整個照片中缺失而感到煩擾：每個人都知道這個人是什么樣子的。這個似乎像文盲一樣的照片構(gòu)成是自然形成的，理解它的觀眾無處不在，它在某種層面上克服了歷史和國家標(biāo)準(zhǔn)的觀念。Regardless of all the tonal possibilities, the power of photography lies in its ?ID photo“ quality. In a simple photograph, our eyes, nose and ears are symbolic and eloquent. People unthinkingly take photographs of each other as mementoes, and solve all the framing and composition problems on the spot. They are not bothered by the fact that the top of the head of the person portrayed is missing from the picture: everyone knows what it looks like. This seemingly illiterate composition is natural, and it finds an understanding viewer everywhere, overcoming the historical and national standards of perception.

維塔斯?盧克斯日記摘要Abstract from Vitas Luckus diary

白色背景On a white background 

業(yè)余攝影能夠很容易的融入進(jìn)生活中去，它本身就是一個平凡的行為。對我來說，用隨機(jī)的人造偏光板來拍攝和獲得驚人的機(jī)會看到埃及金字塔在建造中的照片是一樣的有趣。業(yè)余攝影是永恒的。這表明了即使在這個電子時代中人們的愛恨情仇和過去相比也是一樣的。攝影藝術(shù)是成千上萬人的智慧結(jié)晶。而專業(yè)人士的任務(wù)是創(chuàng)作一種對于人們拍照取材的選擇的概括。Amateur photography enters life immediately, and it is itself a mundane act. For me, a random polaroid shot is just as interesting as the increadible opportunity to see the construction of egyptian pyramid in a photograph. Amateur photography is eternal. It shows that in electronic age people love and feel pain and hatred just as they did in the past. The art of photography has taken hold of the minds of millions. The professional‘s task is to produce a generalisation of what people take pictures of.

維塔斯?盧克斯日記摘要Abstract from Vitas Luckus diary