迈克尔·波瑞门茨纪录片:眼中刀 Michaël Borremans: A Knife in the Eye
Michaël Borremans,画家,导演。1963出生于比利时的Geraardsbergenn,现工作生活于Ghent,90年代以来他逐渐受到国际上的关注。
在他的展览中,经常是画与电影一起展出,有评论说他的作品情景中的行为以及个别人或群体的构成似乎是在表现一种被困抑郁症或是一种未明示的疾苦,有点像是“荒诞戏剧”。Borremans认为他的电影也是“画”。"What I do in film, it's painting, really. I present it like painting. You don't have to watch it from beginning to end. You can walk by it if you want. What I don't want to do is have people go into a dark room, and you have to watch it and it's very boring. I also want to make it beautiful. I'm not afraid to use beauty."
他的作品受戈雅,委拉斯开支,马奈影响较深。可以很明显的看出他的造型能力和传统功底。他认为他的作品,人物肖像等并不指向个人,而是典型,通用,匿名的形象。"It's not important who they are or what they're doing exactly. They're more universal, symbolic metaphors. I paint various kinds of people, but in each case they're important not as portraits of particular people but as general 'human beings'."
他的画面呈现出一种冷静、宁静的感觉。其中大多数作品描绘的内容是关于类似于一个制造仿真人形模具的工厂的种种,整个氛围理智而冰冷。我自己认为他的作品介于超现实与现实之间,刚好是这种感觉让我着迷。我想起村上的一本书名“世界尽头与冷酷仙境”,也许更为接近。
Borremans还有相当一部分优秀的纸上作品,从他早期看来,许多作品反映了比较超现实的世界观。其中很多作品似乎只停留在一个设计草图的阶段,都成了他后来作品的缩尺模型。
导演方面,他提到他希望成为库布里克,并且很喜欢大卫林奇。" I look at David Lynch. We have some similarities—like the way he tries to show something we cannot solve because it’s against our nature. Also, as a filmmaker he’s a great painter. His latest one is great [Inland Empire,2007]. It’s so raw, shot on video, and the film really needed that. His intuition is perfect."
看见的几个Borremans访谈中,都提到了同是比利时的艺术家Luc Tuymans。我也总是会把他们两个联系,大概是因为他们都是当代最出色的比利时画家,而且感觉都是那么冷静的在作画。对我自己而言,Luc Tuymans的画更难读懂一些,至少我是看了画册差不多一年后才很喜欢。他们两人的作品,我认为都是能在历史中经得起考验的,属于耐看型。现在慢慢的,更加喜欢冷静,理智的画了。" I’m a big fan of Luc Tuymans. Of course what we do is quite different. He’s an important painter and a very good one. His latest work got criticized, but I don’t understand why—it’s really impressive. He’s so confident when he paints. You notice his marks. He doesn’t think about it—he just paints. "
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纪录片:眼中刀 Michaël Borremans: A Knife in the Eye
文/ Yvonette.z(豆瓣)
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