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经典在线读【不定时添加】 柏拉图《理想国》 http://www.tianyabook.com/zhexue/lixiangguo/index.html

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格哈德·里希特 » 引语  

2012-02-26 10:00:12|  分类: |  标签: |举报 |字号 订阅

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构成是次要的因素,它在我所选的相片中的功用最多不过是侧面的,我的意思是,一张相片吸引人的地方不在于出奇的构成,而在于相片传达了什么信息内容。但从另一个角度看来,构成也有它自身的偶发的准确性。
Notes, 1964
我喜欢没有风格的所有东西:字典、相片、大自然、我自己,还有我的画。(因为风格是暴力的,而我不是。)
Notes, 1964-65
我不喜欢制造模糊,模糊不是最重要的,也不是标示我画作的标签。
Notes, 1964-65
我让画变得模糊的目的是要让画里所有的东西变得一样的重要,同时也一样的不重要,让它们看起来不太艺术气或技艺精湛,而变得比较技术性、平滑且完美。我让画变得模糊,如此可以让所有组成部分都能更合适地搭配,可能我也把过多不重要的信息一起模糊删除了。
Notes, 1964-65
你相片里的模糊代表内容的短暂性吗?或是强调内容? 或者,相机震动仅仅是这种特定的大众媒介在非专家手里常见的结果?
这种刻意的模糊和我方才提及的无力有关,我对现实所能做的任何陈述都不会比我自身和现实之间关系所允许的来得清楚,这和不精确、不确定、暂时性、不完整性、或者其他类似的东西有很大的关系,但这些并无法解释我的模糊相片,最多只能说明我为什么画这些相片罢了。
Interview with Rolf Sch?n, 1972
你早期的油画和素描速写作品中的轮廓经常都是被抹过的,那是不是要传达一种准确陈述的困难性?
是的,也是如此,同时也是企图排除个人的印记或痕迹。我想让我的画变得和相片一样无名、无身份。但同时也可能是对不可求的完美的一种渴求,不过这就意味着失去了当下性和直接性。
Interview with Dorothea Dietrich, 1985
你怎么会萌生让这些相片彻底模糊的念头?
我当时是学生,所以一般都倚重既有形式来创作,但这些作品并不理想。后来我从相片中发现了画里缺少的东西,也就是相片可以提出各式各样的陈述,可以有丰富的实质,那就是我想带到画里的东西,所以我就开始这么做。
Interview with Christiane Vielhaber, 1986
你根据什么来选择作品的形式?
根据我自己的感觉,换句话说就是随性地选择。如果我有很长一段时间没有采用某种形式,那我会从小幅的纸上作品开始。
Interview with Anna Tilroe, 1987
意外是一个主题也是一个方法:一种让客观的东西自然产生的方法,一个创造出能直喻人们生存策略的主题:
(1) 意外是一种源泉活水的方法,不仅可以处理随机发生的处境、条件、性质和活动,同时也(仅仅)作为一种动态的过程而存在。
(2) 意外在观念层面看来: 反对让社会方案和后继的宏大计划产生的各种规划、意见和世界观。所以一直被我视为是我自己的缺失的(亦即,我始终未能为某些东西‘产生一幅画’这一点)根本不是一种无力或无能,而是企图逼近更现代化的真理的一种很本能的努力,这是一个我们其实已经实践于生活之中的真理(生活与言说内容无关,而是与‘说‘这件事有关;与画作无关,而与做画有关)。
Notes, 1989
你的油画总是展示了完美的技法…
当年的画家必须从很年轻时就开始学习技法,现在则不然,当今的画家根本不需要掌握技法。画画变得很容易,人人都可以画!这种情况通常不太好,才刚刚学会了技法就将画作呈现到大众眼前。不过话虽如此,技法是明白易懂的东西,它始终都不是症结所在。只是我对一种‘画画的文化’一直都感情异常深厚,对我而言比较重要的是企图,尽可能用最好的方式来表现我想要的东西的那种欲望,也因此技法对我而言很有用。对我而言,完美和图像一样重要。
Conversation with Henri-Fran?ois Debailleux, 1993
我画画时如果扭曲或破坏了一个基本图案,那不是有计划或有意识的举动,而是另有原因的。比方说我发现我画的基本图案有点丑,或有点让人难以忍受,然后我会依照自己的感觉试图让它变得比较悦目,那就意味着一系列的画了再改,改了再画,或者破坏的举动,无论要花多少时间都无所谓,一直到我觉得已经有了改进为止。 我不会要求自己解释为什么要这么做。
Interview with Astrid Kaspar, 2000

抹糊让画变得更完整。未经抹糊的画里有很多错误的细节,所以整幅画都是错误的。抹糊可以让整幅画变得更无坚不摧,更超写实,更难以理解,就这么简单。

Composition is a side issue. Its role in my selection of photographs is a negative one at best. By which I mean that the fascination of a photograph is not in its eccentric composition but in what it has to say: its information content. And, on the other hand, composition always also has its own fortuitous rightness.
Notes, 1964
I like everything that has no style: dictionaries, photographs, nature, myself and my paintings. (Because style is violent, and I am not violent.)
Notes, 1964-65
I don't create blurs. Blurring is not the most important thing; nor is it an identity tag for my pictures.
Notes, 1964-65
I blur things to make everything equally important and equally unimportant. I blur things so that they do not look artistic or craftsmanlike but technological, smooth and perfect. I blur things to make all the parts a closer fit. Perhaps I also blur out the excess of unimportant information.
Notes, 1964-65
In your pictures, does the blurring stand for the transitory nature of the content, or does it emphasize the content itself? Or is the effect of camera shake just typical of this particular mass medium in lay hands?
This superficial blurring has something to do with the incapacity I have just mentioned. I can make no statement about reality clearer than my own relationship to reality; and this has a great deal to do with imprecision, uncertainty, transience, incompleteness, or whatever. But this doesn't explain the pictures. At best it explains what led to their being painted.
Interview with Rolf Sch?n, 1972
In your early paintings and drawings you often smudged the contours. Was that an expression of the difficulty of making a precise statement?
Yes, that too. That was also an attempt at getting rid of the personal touch. I wanted to make it as anonymous as a photo. But it was perhaps also the wish for perfection, the unapproachable, which then means loss of immediacy. Something is missing then, though; that is why I gave that up.
Interview with Dorothea Dietrich, 1985
How did you come up with the idea to paint these blurred photos?
I was a student, and as such you generally rely on prior models of how to make art, but these were not satisfying. Then I discovered in photos what had been missing in paintings; namely that they make a terrific variety of statements and have great substance. That is what I wanted to convey to paintings and apply to it.
Interview with Christiane Vielhaber, 1986
On what basis do you choose your format?
I choose depending on the way I feel; randomly, in other words. When I haven't done anything for a long time, I always start small, on paper.
Interview with Anna Tilroe, 1987
Chance as a theme and as method. A method of allowing something objective to come into being; a theme for creating a simile (picture) of our survival strategy:
(1) The living method, which not only processes conditions, qualities and events as they chance to happen, but exists solely as that non-static 'process', and in no other way.
(2) Ideological: denial of the planning, the opinion and the world-view whereby social projects, and subsequently 'big pictures', are created. So what I have often seen as a deficiency on my part – the fact that I've never been in a position to 'form a picture' of something – is not incapacity at all but an instinctive effort to get at a more modern truth: one that we are already living out in our lives (life is not what is said but the saying of it, not the picture but the picturing).
Notes, 1989
Your canvases always display perfect technique…
Unlike the period when one had to learn technique and train from the youngest age, today no one masters technique any more at all. Painting has become so easy – anyone can do it! – that it's often very bad. In this context, as soon as someone knows technique, it jumps out at the viewer. That said, for me technique is something obvious: it's never a problem. I've just remained extremely attached to a culture of painting. What's much more important to me is the attempt, the desire to show what I want, in the best way possible. That's why technique is useful for me. For me, perfection is as important as the image itself.
Conversation with Henri-Fran?ois Debailleux, 1993
If, while I'm painting, I distort or destroy a motif, it is not a planned or conscious act, but rather it has a different justification: I see the motif, the way I painted it, is somehow ugly or unbearable. Then I try to follow my feelings and make it attractive. And that means a process of painting, changing or destroying – for however long it takes – until I think it has improved. And I don't demand an explanation from myself as to why this is so.
Interview with Astrid Kaspar, 2000
The smudging makes the paintings a bit more complete. When they're not blurred, so many details seem wrong, and the whole thing is wrong too. Then smudging can help make the painting invincible, surreal, more enigmatic – that's how easy it is.

 

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