今天老赛说他买了本Weston，大开本的，说真了不起啊，那些大张的，才越看越觉得不得了。我说是啊，Weston真的非常了不起。然后忍不住提起Kertesz，他非常非常非常了不起。
老塞说，对，这是个巨牛，然后我们几乎同时说，他让人看不懂。
最近他老挂在我脑子里。曼雷那次摄影展，毫无疑问我最喜爱布诺瓦，这老头是无比善良美好可爱，你一眼看到那些照片，就好像完全认识他一样。然而事实是，使你常常记挂的，远不是简单直接的喜欢，反而是，那个一直让你无比困惑的。站在照片前感到的难以捉摸，他本身所表达的困惑，至今无比清晰，包括照片的细节。
Kertesz的伟大在于，在那些巨著里，他几乎是完全不同的两个人。
一个，是传统的严谨完美，毫无瑕疵的线条造型，极致美感，叹为观止。其实这些照片以前已经赞叹过，只是并不明确地知道都是他。
比如：
2010.08.05: 今天老赛因为买了Lee Friedlander，聊起来，又提起Kertesz，所以发现原先没填英文很不便。
I am confused by Kertesz when view that Man Ray exhibition. It is the thing that keep hanging in your mind which you don't totally understand. Kertesz is great, he seems like totally different person in his different works.
On one hand, he's with the perfect strict line style . The pictures with extremely grace with perfect shape, perfect shaddow.
然而另一个，非常先锋，充满张力，令人困惑。固然优美是了不起的，然而，那天在展馆，我挪不开步子的，恰是后者。我看不明白，但是，本能地知道，Kertesz之伟大，恰恰是，他并不那么在乎娴静与优美，充满了突破的生命力，他没有尽头。
那天的情况基本就是这样，我看到自己无比困惑的投影于Kertesz的distortion #91－－无比先锋的人体幻影和同样茫然困惑的Kertesz之间。
But on the other hand, he's abstract, pioneer style, with hidden power beneath the shapes. Yes, elegant beauty is good, but that day which attacted me most, is this photo. I don't understand it, but I instinctly know it's a great photo. He's extremely great when he is not the previous classic master, when he did not care the perfect streamlines. That day, I saw myself confused before Kertesz's distortion #91, just between the flowery nude and confused vague complexion of Kertesz himself on the right corner.
这情形是我那次看展览唯一想留下的纪念，倒霉的是，不允许拍照，而且我很不走运，虽然边上不断有人举个大单反，对着楼梯和叉子明目张胆地翻拍学习，一点事都没有，我倒被警告了两回，束手束脚。让我很郁闷，那些家伙有得翻拍静物，怎么不来好好思考这张，这张前面基本没人停下来。但问题是，如果前一类是武功境界修炼到了第五层，这张毫无疑问到了第八层了啊。
而且奇怪的是，在网上搜这张#91,却并不是全图，只是局部。
On internet, I only get this partial verison of #91. This is not correct. It is not this flowery nude make this photo great, but the relation between the mirror image and the photograher, the lost atmosphere between them. If original version is level 9 great, now it is level 6 only.
这又完全不同了，纵然是如花的先锋派人体，它又重新退回了最多第六层。
对原图，我想了很久。在他面前困惑的时候，凑上鼻子看，Kertesz他自己，这个摄影师，也是多么困惑啊。同时充满敬畏，因为这中间的黑暗部分，摄影师影像处的位置，而且他同时也有着镜面扭曲之后的两张脸，这些微秒的关系和距离感，都是多么了不起啊。
后来我终于想明白了点，在第二个Kertesz里面，那个讲究几何对称，曲线平滑，黄金分割，感觉精致敏锐的Kertesz其实一直都在。哪怕是在这样感觉强烈得象要撑破相纸的开拓性作品里，他处处都收得很紧，没有一丝失控的张狂，这姑娘的发丝虽扭曲却纹丝不乱，重复错乱的人体象花朵一样规整对称，前后左右都首尾呼应，没有一点乱了章法，即使是那个右侧的摄影师和相机，他显得遥远渺小，衬着这姑娘显得简单，然而他一点也没忘记，给了他两张重叠茫然的脸。
有天晚上我想通了这些，觉得Kertesz简直就是天人，景仰得不行。同时觉得自己终于想明白了点，也很那有点啥啥。
I checked details when I stood in front of the photo. Kertesz has double faces in the right coner. He's blur, and full of awe, for the darkness in the middle, for the impossiblity between the mirror image and humble himself. He's also distorted. That's it, the distance, the subtleness.
And finally I make it all straight. In this second avant-garde Kertesz, the first him is always there. Even in this flowery nude distortion, still every detail is strict, symmetric, perfect. Nothing is out of control. The girl's hair is smoothly combed, not a single hair stray away. Her distortion is a classic flower shape, everything is echoed. Even Kertesz and his camera, so small, in distance and simple, plain, but he didn't forget give himself a doubled face.
When I thought all of this at midnight, I am full of admiration to Kertetzs, in dark silence.
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前四张有希区柯克的味道
翻拍之中有你
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| 评论人：linz 评论日期：2007-4-13 20:04 |
 |
你这么说，确实很希区柯克
很诡异～～ |
| 评论人：乱看 评论日期：2007-4-17 15:42 |
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