Play the Wind Alex Prager’s surreal ride through LA 扮演阿历克斯·普拉格穿越洛杉矶的超现实之旅

2019-09-11 18:03
Big West, 2019, by Alex Prager, archival pigment print. Courtesy of Alex Prager Studio and Lehmann Maupin, New York, Hong Kong, and Seoul
Alex Prager’s newest film, Play the Wind, showing now through 26 October at Lehmann Maupin’s 22nd Street gallery in New York, opens with a quote from Ray Bradbury about the dangers of nostalgia. ‘You will never understand time, will you? ... Why do you save those ticket stubs and theater programs? They’ll only hurt you later.’

亚历克斯·普拉格(AlexPrager)最新的一部电影“风”(Play The风能)于10月26日在纽约莱曼·莫潘(Lehmann Maupin)的第22街画廊上映,开场时引用了雷·布拉德伯里(“你永远不会明白时间的,是吗?”你为什么要保存那些票根和戏剧节目?他们只会在以后伤害你。“
And then the film really opens, or so we think, with Los Angeles, as seen through a car, driven by a man (played by Dimitri Chamblas, dean of the Sharon Disney Lund School of Dance), which is the way everyone knows to see the city but which is somehow – as becomes increasingly clear – different through Prager’s lens. The driver rolls through parking lots, past an accident, into a group of people running from an unseen horror. Women see him.

然后,电影真的打开了,或者我们认为,在LosAngeles,通过汽车,由一个人驱动(由SharonDisneyLundSchoolofDance院长DimitriChamblas播放),这就是每个人都知道看到这个城市的方式,但这也是一个越来越清晰的地方,通过普拉格的镜头。司机通过停车场,越过事故,进入一群从看不见的恐怖中跑出来的人。女人看见他了。
This film is about Los Angeles but also about the ideal of California itself: the golden state, the legend of Calafia, the place where dreams are made and shattered, where the everyday is special and vice versa. Three minutes in, we see the actress Riley Keough standing on a corner and then, immediately, locking eyes with the driver. She’s wearing a red dress; they make eye contact.

这部电影是关于洛杉矶的,但也是关于加州本身的理想:金州,卡拉菲亚的传奇,梦想被创造和粉碎的地方,那里的每一天都是特别的,反之亦然。三分钟后,我们看到女演员莱利·科夫(Riley Keough)站在拐角处,然后立即与司机对视。她穿着一件红色的连衣裙,他们进行眼神交流。
Play the Wind Film Still #2, 2019, by Alex Prager, archival pigment print. Courtesy of Alex Prager Studio and Lehmann Maupin, New York, Hong Kong, and Seoul

播放风电影仍然#2,2019年,由亚历克斯普拉格,档案颜料打印。由Alex Prager Studio和Lehmann Maupin提供,纽约、香港和首尔
And then, an extraordinary sequence, on the verge of uncannily and physically too difficult to watch: Keough falls and falls and falls and falls through space and then, we think, time. She bursts through boxes and her clothes disappear. The feeling – and it’s a phenomenological feeling – is one of nightmarish vertigo. She falls, white sky turning to blue turning to clouds turning to the most verdant landscape, and she lands, in a green suit she’s picked up in the air along the way.

然后,一个非同寻常的序列,在不可思议的和身体上难以观察的边缘:科夫跌落在太空中,然后,我们认为,时间。她破门而入,衣服不见了。这种感觉-这是一种现象学的感觉-是一种噩梦般的眩晕。她跌倒了,白色的天空变成了蓝色,变成了云朵,变成了最翠绿的风景,她落地,穿着一套绿色的西服,一路走在空中。
But this is just an account of what happens in the film, and what really happens is that the viewer is constantly invited to know better, to see more clearly, to pay closer attention and to think. Watching the film in the gallery is essential. The film audience watching Keough step in front of a screen reminds the gallery audience of what they’re doing, which is watching an artist.

但这只是对电影中发生的事情的描述,而真正发生的是,观众不断地被邀请更好地了解,更清楚地看到,更密切的关注和思考。在画廊看电影是必不可少的。在银幕前观看Keough一步的电影观众提醒画廊观众他们在做什么,也就是在看一位艺术家。
The rest of the show comprises large-format photographs, stills from the film. It’s hard not to think of shades of Cindy Sherman in the visceral brightness of it all, or maverick director David Lynch. But it’s also hard not to think of Prager as someone forging brand-new territory amid well-trodden ground. Her film is a little sharper, a little brighter, a little more elusive, a little more terrifying (okay, a lot more terrifying). It’s more of the now – in its intimations of offscreen violence, in the happenstance of tragedy. The film is of today, purely, in that it articulates and capitalises on the fact that our world is ending, and our world is beautiful. It will only hurt you later. §

展览的其余部分包括大格式的照片和电影中的静态照片。很难不想到辛迪·谢尔曼(Cindy Sherman)的影子-在这一切的内在光辉中,还是在导演大卫·林奇(David Lynch)身上。但是,我们也很难不把普拉格想象成在踏踏实实的土地上打造全新领域的人。她的电影更锐利,更明亮,更难以捉摸,更恐怖(好吧,更可怕)。更多的是现在-在屏幕外暴力的暗示中,在悲剧的偶发中。这部电影是今天的,纯粹是因为它表达和大写的事实,我们的世界正在结束,我们的世界是美丽的。以后只会伤害你。§

                            
黄页,2019年,亚历克斯普拉格,档案颜料打印。由Alex Prager Studio和Lehmann Maupin提供,纽约,香港,和首尔黄页,2019年,由AlexPrager,档案颜料印刷。由Alex Prager Studio和Lehmann Maupin提供,纽约、香港和首尔
在纽约莱曼·莫潘观看“亚历克斯·普拉格:吹奏风”的安装视图。这位艺术家和莱曼·莫潘(LehmannMaupin)、纽约、香港和首尔。摄影:马修·赫尔曼在纽约莱曼·莫潘观看“亚历克斯·普拉格:发挥风”的安装视图。这位艺术家和莱曼·莫潘(LehmannMaupin)、纽约、香港和首尔。摄影:马修·赫尔曼

                    

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