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.

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.

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.

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





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