Friday, July 31, 2009
Friday, July 24, 2009
Tuesday, July 21, 2009
elinor carucci
"the camera is, in a sense, both a way to get close, and to break free. It is a testimony to independence as well as a new way to relate to the world.”
- elinor carucci
Carucci’s photographs are in the permanent collections of The Museum of Modern Art, New York, the International Center of Photography, the Brooklyn Museum of Art, and the Museum of Fine Arts, Houston, among others. Selfridges, the famous department store, will be showing commissioned photographs by Carucci in London and Manchester for their month-long spectacle BODY CRAZE, a project that sets out to expose our fascination with the human body in all its rich and rare diversity.
"Sometimes, photographing came before the logical understanding and my consciousness regarding life around me. Sometimes, it confused my world of pictures with the real world. On other occasions, the camera "saw" what was happening in front of it before I did. Like someone else standing aside, the photos said: Pay attention, there's something here which you did not grasp by yourself - ?wake up!
- elinor carucci
Carucci’s photographs are in the permanent collections of The Museum of Modern Art, New York, the International Center of Photography, the Brooklyn Museum of Art, and the Museum of Fine Arts, Houston, among others. Selfridges, the famous department store, will be showing commissioned photographs by Carucci in London and Manchester for their month-long spectacle BODY CRAZE, a project that sets out to expose our fascination with the human body in all its rich and rare diversity.
"Sometimes, photographing came before the logical understanding and my consciousness regarding life around me. Sometimes, it confused my world of pictures with the real world. On other occasions, the camera "saw" what was happening in front of it before I did. Like someone else standing aside, the photos said: Pay attention, there's something here which you did not grasp by yourself - ?wake up!
Surpassingly, through the small details, the photographs began to extend beyond my family frontiers. In the "small" near me I could see the "big" the "far", and go back to observing my intimate surroundings. Differently. Taking pictures of them, through them.
My mother was the first person I ever photographed and I still take pictures of her obsessively. My mother was and is my first connection to the world, the relationship we have is a very special and ambivalent one. I used to think that the struggles and reactions from my childhood would eventually go away and my mother's power over me would dissipate, but I realize, as I get older, that it is basic and stronger than me. Only in the last few years, I began to see my mother, not only as a strong person, but also more as a human being with anxieties, weaknesses, and the natural fear of aging. It scares me. Mom has to be total security, the 'only' security. Power, beauty and femininity. Perfect. Still today, I feel that her power is unlimited and she can do anything for me, she is invincible. But when she prepared me for the world, she showed me the world through her eyes and taught me that there are things that she cannot do for me. My mother put her lipstick on my lips and hoped that it would protect me.
I once thought that to take pictures of my mom would help me overcome the fear of time passing, but the photography only shows me the cruelty of time and even the pictures of faces without wrinkles do not comfort me."
Tuesday, July 14, 2009
paint
PFL studio wall fragment 2003-2005:
it recalls alot memories in PFL studio, 3 years in a haunted-like house up in the hill
i spent many lonely nights, busy nights there
i like the quiet, stand alone house, and the endless stairs
i like the breakfest after a sleepless working night
it recalls alot memories in PFL studio, 3 years in a haunted-like house up in the hill
i spent many lonely nights, busy nights there
i like the quiet, stand alone house, and the endless stairs
i like the breakfest after a sleepless working night
Sunday, July 12, 2009
scott matthew
穿梭在陰暗幽谷之間我聽見 scott matthew
longer feel at home
I cant arrive upon your street
and tell you how I've cried myself to sleep.....
相信看過性愛巴士這部電影的人，應該對這個男聲不陌生，電影原聲帶中Scott Matthew就出現了五首之多。整體來說是張卡司很強的原聲帶，還有Yo La Tengo, Azure Ray等等。但讓我印象深刻的還是Scott Matthew那首In the end，簡單的吉他旋律緩緩飄出，低沈如老唱片的嗓音吟唱著。
推薦ㄧ首也是適合在深夜時段聆聽的療癒系歌曲，但個人認為旋律和歌詞真是相當哀傷，馬上可以榮登2008最哀傷歌曲前十強那樣。那是漫步在陰暗幽谷的旋律，陽光突然消失了，登山客城市漫遊者加班工作者突然間看不見遠方，暫時性失明般地漂浮。我們聽見他的聲音，無法得知從哪個方向傳來。
I no longer can rely
on a friend who once kept me alive
and you won't see me take a stand
'cause I'm not special but it helped to know that some one thinks I amand god its weird
I no longer feel at homeI cant arrive upon your street
and tell you how I've cried myself to sleep
and now I'm forced to be alone
and left to climb the walls hide in the folds
another bad sad song
and god its weird
god its strange
to be the only one
to talk to god its weird
and god its strange
to be the only one
to dance with god its weird
god its strange
to be the only one
to be the only one
Saturday, July 11, 2009
性愛巴士
拍電影有時候像參加障礙賽跑，關卡越多，難度越高，最後過關的成就感也就越飽滿，許多的商業電影很清楚這套道理，所以自我設定的關卡障礙就務求驚人。 約翰．卡麥隆．密契爾（John Cameron Mitchel）的新片《性愛巴士》挑戰的就是電影的真實感和演員的抗壓力，他在電影最後把影片獻給集體創作的全片演員是應該的，因為沒有演員的心甘情願，這部電影就拍不出他要的味道了。
約翰．卡麥隆．密契爾挑戰的第一個禁忌是：電影中的性愛。
以前，只有Hard Core的春宮電影強調真槍實彈的演出，因為性愛是電影最大的賣點，以真實的影像碰撞滿足觀眾的窺視心理，是唯一的訴求。但是，主流電影多數不能、不想、也不敢玩真實遊戲，只能遊走在似有若無的「想像」邊緣，畢竟，畫面上如果只剩器官細胞，很多人會作嘔的。
但是，人都是八卦的，因此才會有「到底做了沒有？」的八卦流言，《情人》中的梁家輝與珍．瑪琪；《野蘭花》的米基．洛克（Mickey Rourke）與Carre Otis；《大開眼戒》的湯姆．克魯斯和妮可．基嫚…都提供了不少「邊緣」素材，讓觀眾睜大眼睛去論証這些大明星到底做了沒？
為什麼？固然很多人都說電影是假的，電影中死了那麼多人，不都是假死的嗎？但是假戲真做，偏偏就是電影人最愛「以真亂假」的特色之一，有的明星就是拍完一部電影後就墜入了情網（例如《史密斯任務》的布萊德彼特和安潔莉娜．裘莉，以及瓊瑤電影時期的林青霞和秦漢與秦祥林的三角戀…都是如此），再加上做愛遠比捐軀喪命容易得多了，引發的後遺症根本不成比例，而且也容易執行得多了…當然，最重要的是，他們都是名人，性愛是閨房私密，他們卻願意公開獻演，以求真實，自然引人好奇，媒體宣傳也樂此不疲地討論是真或假。
但是，年輕人其實已經不耐煩這種炒做和欣賞模式了，約翰．卡麥隆．密契爾其實是大島渚《感官世界》的信徒，根本不想玩點到為止的假性愛，也不相信觀眾忙著看器官，就來不及感應電影的主題。
從招募演員的第一天開始，他就要求一切都要玩真的，他不是要拍Ａ片，只是電影主題談的是性愛，而且他厭倦了花拳繡腿的假惺惺，因此，舉凡電影中奇觀的、變態的、虐待的、狂野的、同性的、異性的，閨房中的，大庭廣眾間的性愛，都要來真的，演員不但要暴露器官，還要與對手演員有真正的性行為。
放不開，習慣忸怩作態的就不要來吧！衝破了性愛障礙後，密契爾真正要探測的卻是肉體與心靈的距離到底有多遠？
色情是人性，藝術和色情的分界線，其實就隱藏在肉身畫面底下的慾望與掙扎，密契爾在《性愛巴士》中，直率表示人需要性，但更需要愛，性與愛若能水乳交溶，就能臻致天人合一的高潮，否則只是慾望的填充，換來的卻可能是更多的空虛與。
密契爾的戲劇論述其實是簡單而又明白的：高潮可能是假的，做愛後的失落感傷卻是真的，性愛讓人親近，卻未必能讓人溝通，從肉體到心靈，這條路很長。
電影中，每天忙著輔導別人心理幽結的性愛治療師蘇菲，卻救不了自己，因為她一直無法與丈夫順利溝通，也不知高潮為何物；她輔導的詹姆斯有位同志戀人，卻會趁他不在家的時候，靠奇觀的瑜珈方式手淫紓壓，他會向詹姆斯告白，但是詹姆斯卻只關心：「你那時有沒有想到我？」一則又一則的故事，就像密契爾在導演告白中所說的：「如果有人試著將陽具放進自己的口中來自慰，這其實隱喻了他想要徹底獨處，而不想和任何人有所連結。」做愛後，動物感傷，其實真的不是只是一部電影的片名而已。
所以電影的劇情才會轉向「性愛巴士」的出現，所以才會靠著集體見証與治療，以更多的性解放與嘗試，透過見証別人的歡愉與幸福，解放自己的成見與偏見，密契爾解構了一則人間的私密神話，卻也試圖以戲謔的手法建構起另一則治療神話，豐富了電影的多元娛樂趣味，卻也模糊了電影意圖碰觸的神聖主題。
例如一位偷窺的攝影師既見証了「瑜珈自體口交」的神話，卻也成了同志守護神，不許第三者的介入；例如男性精液的噴灑可以和抽像派表現主義畫家傑克森．波拉克（Jackson Pollock）的的噴墨名畫輝映成趣；例如慾求不滿且有SM傾向的妓女，名字就叫做珍妮佛．安妮斯頓（布萊德．彼特的前妻）；例如蘇菲在下體放了跳蛋，而且把傳動的遙控器交給先生，卻被隨手就放進褲後袋，有時壓有時按，最後還落到不知情的第三者手中當做電視搖控器猛按……渴望與荒謬、怪誕與驚異就這樣交錯進行，這輛性愛巴士的司機，輪流踩著油門剎車離合器，帶領著觀眾在跌跌撞撞的情境下走上了顛顛簸簸的性愛山路。
藍祖蔚◎影評《性愛巴士》
開眼電影網《ｅ週報》 vol.100
約翰．卡麥隆．密契爾挑戰的第一個禁忌是：電影中的性愛。
以前，只有Hard Core的春宮電影強調真槍實彈的演出，因為性愛是電影最大的賣點，以真實的影像碰撞滿足觀眾的窺視心理，是唯一的訴求。但是，主流電影多數不能、不想、也不敢玩真實遊戲，只能遊走在似有若無的「想像」邊緣，畢竟，畫面上如果只剩器官細胞，很多人會作嘔的。
但是，人都是八卦的，因此才會有「到底做了沒有？」的八卦流言，《情人》中的梁家輝與珍．瑪琪；《野蘭花》的米基．洛克（Mickey Rourke）與Carre Otis；《大開眼戒》的湯姆．克魯斯和妮可．基嫚…都提供了不少「邊緣」素材，讓觀眾睜大眼睛去論証這些大明星到底做了沒？
為什麼？固然很多人都說電影是假的，電影中死了那麼多人，不都是假死的嗎？但是假戲真做，偏偏就是電影人最愛「以真亂假」的特色之一，有的明星就是拍完一部電影後就墜入了情網（例如《史密斯任務》的布萊德彼特和安潔莉娜．裘莉，以及瓊瑤電影時期的林青霞和秦漢與秦祥林的三角戀…都是如此），再加上做愛遠比捐軀喪命容易得多了，引發的後遺症根本不成比例，而且也容易執行得多了…當然，最重要的是，他們都是名人，性愛是閨房私密，他們卻願意公開獻演，以求真實，自然引人好奇，媒體宣傳也樂此不疲地討論是真或假。
但是，年輕人其實已經不耐煩這種炒做和欣賞模式了，約翰．卡麥隆．密契爾其實是大島渚《感官世界》的信徒，根本不想玩點到為止的假性愛，也不相信觀眾忙著看器官，就來不及感應電影的主題。
從招募演員的第一天開始，他就要求一切都要玩真的，他不是要拍Ａ片，只是電影主題談的是性愛，而且他厭倦了花拳繡腿的假惺惺，因此，舉凡電影中奇觀的、變態的、虐待的、狂野的、同性的、異性的，閨房中的，大庭廣眾間的性愛，都要來真的，演員不但要暴露器官，還要與對手演員有真正的性行為。
放不開，習慣忸怩作態的就不要來吧！衝破了性愛障礙後，密契爾真正要探測的卻是肉體與心靈的距離到底有多遠？
色情是人性，藝術和色情的分界線，其實就隱藏在肉身畫面底下的慾望與掙扎，密契爾在《性愛巴士》中，直率表示人需要性，但更需要愛，性與愛若能水乳交溶，就能臻致天人合一的高潮，否則只是慾望的填充，換來的卻可能是更多的空虛與。
密契爾的戲劇論述其實是簡單而又明白的：高潮可能是假的，做愛後的失落感傷卻是真的，性愛讓人親近，卻未必能讓人溝通，從肉體到心靈，這條路很長。
電影中，每天忙著輔導別人心理幽結的性愛治療師蘇菲，卻救不了自己，因為她一直無法與丈夫順利溝通，也不知高潮為何物；她輔導的詹姆斯有位同志戀人，卻會趁他不在家的時候，靠奇觀的瑜珈方式手淫紓壓，他會向詹姆斯告白，但是詹姆斯卻只關心：「你那時有沒有想到我？」一則又一則的故事，就像密契爾在導演告白中所說的：「如果有人試著將陽具放進自己的口中來自慰，這其實隱喻了他想要徹底獨處，而不想和任何人有所連結。」做愛後，動物感傷，其實真的不是只是一部電影的片名而已。
所以電影的劇情才會轉向「性愛巴士」的出現，所以才會靠著集體見証與治療，以更多的性解放與嘗試，透過見証別人的歡愉與幸福，解放自己的成見與偏見，密契爾解構了一則人間的私密神話，卻也試圖以戲謔的手法建構起另一則治療神話，豐富了電影的多元娛樂趣味，卻也模糊了電影意圖碰觸的神聖主題。
例如一位偷窺的攝影師既見証了「瑜珈自體口交」的神話，卻也成了同志守護神，不許第三者的介入；例如男性精液的噴灑可以和抽像派表現主義畫家傑克森．波拉克（Jackson Pollock）的的噴墨名畫輝映成趣；例如慾求不滿且有SM傾向的妓女，名字就叫做珍妮佛．安妮斯頓（布萊德．彼特的前妻）；例如蘇菲在下體放了跳蛋，而且把傳動的遙控器交給先生，卻被隨手就放進褲後袋，有時壓有時按，最後還落到不知情的第三者手中當做電視搖控器猛按……渴望與荒謬、怪誕與驚異就這樣交錯進行，這輛性愛巴士的司機，輪流踩著油門剎車離合器，帶領著觀眾在跌跌撞撞的情境下走上了顛顛簸簸的性愛山路。
藍祖蔚◎影評《性愛巴士》
開眼電影網《ｅ週報》 vol.100
Thursday, July 9, 2009
one day
weeping willow with your tears running down
why do you always weep and frown
is it because he lift you one day
is it because he could not stay
in your branches he could swing
do you long for the happiness that day would bring
he found shelter in your shades
you thought his laughter would never fade
weeping willow, stop your tears
for there is something to calm your fears
you think death has ripped you forever apart
but i know he'll always be in your heart
- my girl
why do you always weep and frown
is it because he lift you one day
is it because he could not stay
in your branches he could swing
do you long for the happiness that day would bring
he found shelter in your shades
you thought his laughter would never fade
weeping willow, stop your tears
for there is something to calm your fears
you think death has ripped you forever apart
but i know he'll always be in your heart
- my girl
Tuesday, July 7, 2009
beauty
i always wana take picture of intersexuals. as i see them as beautiful combination of male and female. how come the society looks down on them, just like homosexual, transgender, cross-dresser (i shouldnt put they as a "group", but the fact is, they're always linked together). they're always be labeled as abnormal, criminal, dirty sick psycho.
it's just the genetic XX and XY in a large pool now, but what if the XXY /XYY or others became one of the big pools? what would the world be if it happen one day as the XXY /XYY or others in the largest pool in the world?
it's just the genetic XX and XY in a large pool now, but what if the XXY /XYY or others became one of the big pools? what would the world be if it happen one day as the XXY /XYY or others in the largest pool in the world?
