[{"img":"1604/06/4fe4da8b2179396a9c5a270270d4ebb8.jpg","width":720,"height":720,"content":"","text":""},{"img":"1604/06/024ba1c615443430bfd89f5cfc947f74.jpg","width":650,"height":650,"content":"","text":""},{"img":"1604/06/47ce3558922a3e0e8ec1ec1051757eeb.jpg","width":1280,"height":1280,"content":"","text":""},{"img":"1604/06/fd09fe7abf9130d7bfa33ac98b310863.jpg","width":1440,"height":900,"content":"","text":""},{"img":"1604/06/2d12cc8a41f83de5b8606659764fd4fe.jpg","width":1100,"height":1107,"content":"","text":""},{"img":"1604/06/49af945943ff3d829d7a501a32b400fb.jpg","width":1100,"height":1100,"content":"","text":""},{"img":"1604/06/d8458218135734168700e70dda561ecb.jpg","width":1024,"height":1024,"content":"","text":""},{"img":"1604/06/7389604943ce3940af58ae4851726992.jpg","width":650,"height":650,"content":"","text":""},{"img":"1604/06/dc50fd7f32b73164bd60b27585996d7f.jpg","width":1500,"height":1500,"content":"","text":""},{"img":"1604/06/569b372ec5943910bfba52decab03d7b.jpg","width":600,"height":600,"content":"","text":""},{"img":"1604/06/c5c9c63d16fa3c48a2afd27436d07793.jpg","width":670,"height":670,"content":"","text":""},{"img":"1604/06/27dbce2be2a3315cb76cec77fed69066.jpg","width":690,"height":690,"content":"","text":""},{"img":"1604/06/143fd8534e79378097217158074d9f86.jpg","width":649,"height":500,"content":"","text":""},{"img":"1604/06/460a645ee8153aefbc9a7395fcabb6e0.jpg","width":600,"height":478,"content":"","text":"乍看题目《诺莱坞》与美国好莱坞遥遥相望的非洲诺莱坞?是的,皮尔特以纪实的手法邀请诺莱坞电影里的演员穿着戏服到客观真实环境去拍摄这一系列作品。那么说这里面的人物,服装,环境都是\"事实\"吧;但他们却从来没以这样的方式真正出现过在电影里。这些穿了戏服的人当然也不可能存在于真实世界里。
这个大家以为真的非洲“事实”到头来仅仅是我们不知实情的人们想象中的“事实”。那什么是真的?
于是这一切就变得有趣起来了。
"}]
传统纪实摄影在当代艺术面前仿佛一头困兽,寻找新的着眼点来记载“客观真实”从而探索,质疑,乃至不能确定“客观真实”成了纪实摄影的一个出口。
南非摄影师皮尔特·雨果|Pieter Hugo ( 1976年至今 )的作品玩的就是这么一个概念: 这是百分百的纪实摄影,一切都是客观真实存在的写照; 可惜这个真实存在是伪造的。你看到图像后在不知情的情况下习惯地运用自身间接获得的经验资讯(比如媒体)而“想当然”的对目睹的一切信以为真;可惜这个你以为的真实只不过是臆想。
诺莱坞系列:
评论 2 :
Lance
V-insane