墙报

 找回密码
 立即注册
资讯
墙报 首页 展讯 展览回顾 查看内容

《德国疤痕》实验电影展(2014/10/25 在3画廊)


展览时间:2014/10/25-2014/12/7
开幕时间:2014/10/25 16:00
展览地点:在3画廊(北京市朝阳区崔各庄乡南皋路129号北京市塑料三厂文化园)
策展人:棉布
导演:Burkhard Von Harder(布克哈德·冯·哈德尔)


---


展览简介:


《德国疤痕》内容简介

柏林墙,一道曾在1961年至1989年间分裂世界的铁幕,如今是一片自然保护区。它穿越德国境内,从黑海延展到芬兰,总长达7000多公里。从这个意义上讲,16小时的电影《德国疤痕》还可以更长;它穿越德国1378km分界线,仅占总长的1/6,这意味着影片还可以多拍80个小时。但《德国疤痕》只关注德国部分,其痛苦的法西斯过往。导演布克哈德•冯•哈德尔没有给阿道夫•希特勒哪怕5分钟的时间——那是丢脸和耻辱。在德国,柏林墙的断裂让家庭口头传承的历史被亵渎,这是影片所能够给予观众的:一种沉思,一种教养,一种不安与沮丧,一种吸引力。

拍摄从秋天开始,在春天结束,从美的高度抓住每一个季节。并不严格的数学原则,为电影设立框架,最初计划拍三年,最终完成四年。与此同时,另一个隐藏的概念逐渐成型,想象的线条逐渐发展成为一个圆,螺旋上升。颜色的变化,就是去饱和度,将彩色转换成黑白,利用材料去探索事物的美丽,增加解释的层次,转换的节奏缓慢而稳定。
 
影片除了画面,音乐是一个重要支柱。它源于西藏颂钵,融入一系列来自东方灵性的传统音乐,由西方人用东方的乐器演奏。通过音乐,一种精神元素,超越了所有的一切。音乐在影片中展现出来的建构,共生关系,是有机的,天然的,彼此加强。16小时无间断,令人难以置信,但无以伦比,匹配着16小时无间断的画面在飞翔中推进。重要的是关于治愈,音乐充满丰富的情感和能量——你永远不会知道某一段音乐有多长,它什么时候会切换到下一段背景,它的内含和目的是什么。

常识上,这不是一部电影,是其他的一些东西。它与德国有关,与德国的历史有关,超越个人所相信的东西。影片提供的梦境,供观众观看并经历着这种体验,被其捕获、吸引、吞噬。最终的电影艺术表达,是一条意识上还未完结的河流。人们可以离开,可以走向无尽——正如生命本身及其道路。滋养着,安抚着……它总是在你漫步离开之前,在那里等你,不管你是否看见它。这可能是所有事物的真谛,但在这里确切的表现为一种国家精神。

因此,这部电影(如果你想这么称呼)是一种完全不同的东西:它不是关于消耗的,打消人们对传统叙事的期待——它给予的是一段旅程,一个同这段旅程前行的个人性作品。人们要时刻准备好,影片是关于拒绝(没有叙事),关于阻力(没有期待),关于枯燥(面对空旷和虚无);带你沿着柏林墙分界线,持续向前。它的净化过程,将被视为一台洗衣机:面对精神的不安与救赎,仅仅给出这道路的一瞥……

每个人都是整个人类

Burkhard Von Harder《德国疤痕》展览前言

——诗人棉布 在3画廊艺术总监
2014年10月

这基本上是一个传说。无论是Burkhard Von Harder用尽了7年时间、拍了一部仅有德意志大地风光和美妙音乐的16个小时的电影《德国疤痕》,还是,我们在3画廊如何遇见、亲近、了解并决定在2014年的深秋时节,展览并播放这位对我们而言依然不尽的陌生、神奇的伟大的艺术家Von Harder的作品。我们甚至不能确定,这是中国在3画廊的荣幸还是整个时代的好运气?!
 
这是一部私人摄影机。它让我们看到并确定安德烈.巴赞(André Bazin法国战后现代电影理论的一代宗师,电影的亚里士多德)的《电影手册》的真正理论成就:电影是艺术,导演用它来表达自己对这个世界的看法。《德国疤痕》,它如此清晰的观念,沿着东西德柏林墙,低空飞行在德意志大地的上空,从捷克边境的德国森林深处,到北部石勒苏益格-荷尔斯泰因州的蓝色天空,经过春夏秋冬到达Von Harder的故乡Sylt岛,用疼感的疤痕隐喻,把冷战时期这一宏大的、抽象历史背景【铁幕时代 (1961-1989)】,都收纳进个人的凝望和沉思、浪漫的诺瓦利斯之路、神话般的的德国森林,和生态学的乐观主义之中。
 
这是一个体量巨大的心灵转化装置。那些漫长的单镜头,不遗余力的探索着德意志大地,伴随着影片的另一个重要的主体:音乐,是由Von Harder已故的、异父异母的兄弟克劳斯.维斯配乐并演奏,那一系列来自东方灵性的庄严、自省的音乐,这些镜头的缓缓前行,将大地和时间转化为心灵图景:精神、巨大的不安气氛,以及单纯到极致的爱。
 
这是一连串隐喻的空间。故乡的神话学忧愁(这是一个疤痕啊,我们早已失乐园了);安全生活的空想乌托邦(人类可以吗?二战,冷战,之后的中东战争,朝鲜战争,海湾战争等等,不尽的危险);人,诗意栖居的本质(对啊,冷战结束,美丽的大自然全回来了);德意志的历史和个人碎片的美学凝视:我们深爱影片中“切断所有的东西,世俗的一切……没有叙事,对抗,拒绝,仅仅给出道路的一瞥……精神的不安以及救赎(蓝色的-不受打扰的精神-总是触手可及)”。所以,这是一部诗电影,Burkhard Von Harder是出没在一连串隐喻空间里的诗人。
 
对于艺术家个体而言,这是他自身所携带的一切:精神、生命、不可预知的道路,自我的安慰,等等,一切——面对德国的过去,已然成为某种挥之不去的萦绕,艺术家Von Harder原本像一只敏感易受伤的小兽,很想前行,却无路可寻。在一个顿悟的时刻,茫然的命运之中,脑海里的直升飞机帮他还原了整体。是的,这部电影必定是在上天安排下出现的,他像一只飞鸟和德意志大地谈了一场恋爱,之后又消失在诗意的作品背后。
 
面对这部史诗般的电影,如果过于沉默,或许会造成误解;如果说些什么,或许会把他沉默如德意志大地的爱带入歧途。让我们看电影吧,并借用借用德国女诗人赫塔•缪勒(Herta Müller)的诗句/“每个人都是整个人类”——献给Burkhard Von Harder,以及每一个已经准备好前来见证的朋友们。
 
借着直升机的翅膀,
他俯瞰了7年,
他重构了大地的灵魂,
“但愿爱像割过的草地一样会重新生长出来……”

——Burkhard Von Harder :“NARBE DEUTSCHLAND” / “SCAR GERMANY”

Everyone is the Entire Humankind

Exhibition Preface

Basically, this is a legend, no matter when it has used up seven years’ time of Burkhard Von Harder to shoot this unparalleled 16-hour film “Scar Germany” that involves the beautiful land sceneries of Germany as well as the wonderful music, or when it allows us to meet, to get close to, to understand and finally decide to exhibit and project this film by this great artist, Burkhard Von Harder, who is endlessly unfamiliar to us yet very mystical, in the late autumn of 2014. We are even unsure about whether this is the honor of Being 3 Gallery or a good fortune for the entire era?
This is a private video camera. It allows us to see and ascertain the real theoretical achievement from André Bazin——a great master of the French post-war modern film theory, Aristotle in the filmdom and from his “Notebooks on Cinema”: film is an art, by which directors express their opinions of this world; the concepts of the film are so clear, along the walls between the East and West Germany, flying at low altitude over the German earth, from the beginning deep down in the deep German forest at the Czech border up to the blue sky of Schleswig-Holstein in the North, and passing through four seasons arriving Von Harder’s hometown, the Sylt Island. By utilizing scars involving a sense of pain as the metaphor, he incorporates the grand and abstract historical background (the Iron Curtain era from 1961 to 1989, during the cold war) into his personal stare and contemplation, into the romantic Novalis road, the mythic German forests and the optimism of ecology.
 
This is a mental converting device in great volume. Those lengthy single-scenes spare no efforts to explore the earth of Deutschland, accompanied by another main part of the film: the music, a series of eastern spiritual soundtracks being solemn and retrospective, which is written and played by his late stepbrother, Klaus Wiese. With the slow movement of the scenes, it (the film) has converted the land and time into a mind map: a spiritual, huge, restless atmosphere and an extremely simple love.
This is a series of metaphorical space. The mythological sorrow from one’s hometown——indeed this is a scar and we have long been expelled from the Lost Paradise; The fantasy-utopia of safe living——are we human beings able to achieve this? (World War II, the Cold War, the Middle East afterwards, the Korean War, the Gulf War and so forth, the endless dangers) ; The fundamental nature of poetic inhabitation——yes, the beautiful nature has all come back after the Cold War; it is about the history of Deutschland and the aesthetic gaze into one’s personal fragments——we deeply love the words from him when referring to this film “cutting through everything, the profane… no narrative, resistance, refusal, giving a glimpse of the path… the disturbance of the mind and the salvation of the mind (the blue - the undisturbed mind - that is always in reach)”.Therefore, this is a poetic film and Burkhard Von Harder is a poet who constantly appeared in a space consisting of a series of metaphors.

As an individual artist, this is all he carries about: spirit, life, unpredictable path, self-comfort and so forth. Everything facing the past of Germany has already become a sort of haunting obsession and originally, artist Von Harder was like a sensitive little beast who gets hurt very easily, managing to move forward but finding no ways to exit. However, at a very sudden moment of the aimless destiny, it is the helicopter in his mind that has helped him restore the whole thing. Indeed, this film was doomed to be presented under the arrangement of God, and he is like a flying bird who once has fallen in love with the earth of Germany, and then disappeared behind the poetic work of him.

Faced with this epic film, it might be misleading if we were too silent; but if we say something, the love from him that is as silent as the Deutschland will probably be led astray. Therefore, let us just simply watch the film and here I dedicate the verses borrowing from a German female poet Herta Müller ——“Everyone is the entire humankind” to Burhard Von Harder as well as to everyone who is ready to come to witness this occasion. 
By wings of the helicopter,
For seven years he has been looking down, 
He reconstructed the soul of the earth, 
“I wanted love to grow back, like the grass when it’s mown down…”

Mianbu, poet and art director of Being 3 Gallery 
October 2014

相关阅读

最新评论

小黑屋|手机版|Archiver|墙报 ( 京ICP备10019105号-8 )

GMT+8, 2017-12-16 00:24 , Processed in 0.020542 second(s), 17 queries .

Powered by Discuz! X3

© 2001-2013 Comsenz Inc.

返回顶部