Pat O’Neill 帕特·奥尼奥

Pat O’Neill 帕特·奥尼奥

展览现场.jpg

轻身而出 
Easy Out
三屏幕投影装置 3 Channel Video Installation
16 毫米电影转数字16 mm Transferred to Video
9' 
1971
由 Cherry and Martin 画廊支持 Courtesy of Cherry and Martin
作品《轻身而出》中对于布尔乔亚情景的幽默式颠覆,以及对强迫式图像的指涉, 都表达了向另一先锋艺术经典作品、布努埃尔和达利的《一条安达鲁狗》(1928) 的致敬。比如在奥尼奥作品中,某个单调的郊区十字路口被巨蚁侵袭,巨蚁的身影重重叠加在画面之上。除此之外,他也抛出了诸如“与此同时” “几天之后”之类有荒诞而超现实色彩的字幕——这是阻挡线性叙事的护符,也是中产色彩景观的传播媒介。 
或许奥尼奥作品中断裂序列的叠加手法,更深层次地表现了作品的超现实性,这 一过程也伴随着一种虚构的 “随机接龙” 感——这是室内游戏的一种延伸,在游戏中,一连串的艺术家共同依次进行一张人像的创作,但他们都不知道前一个人 所画的内容是什么。达利和布努埃尔在撰写《一条安达鲁狗》的脚本时,也曾依赖于某种类似的“精神自动”:“当合作者认为某个画面或者想法是源自于记忆或某种文化规律,或仅仅是有意识地与先前的某个想法有关时,他们二人便迅速摈弃它。” 
“《轻身而出》中的图像流跟奥尼奥大多数作品中一样,让人感觉如同一系列的微 影像被嫁接到了某个纤薄的主题性架构上,这有点像某个动态的、单人完成的随机接龙。《下沉气流》充满着不讨人喜欢的度假镜头, 这也极大地来源于先前影片中充斥的画面,并标志着与非都市环境的空间悖论感和非对称性所发生的新的 碰撞。此处和他处一样,人迹黯去之后,惟余湿润和贫瘠的风景。伸出车窗拍摄的频繁的动态镜头,正是奥尼奥屏幕作品之瞬时性的完美象征。” 
《下沉气流》驾轻就熟地发挥了观光片和家庭录影所具有的非虚构类符号,将文 本间的关系推进到一种广袤的、看起来充满敌对性的竞技场。据称他的影片在运 用深奥的影视技术方面别具一格;尽管如此,把他的作品降格为“粗制滥造”的、 无拘无束而超然的纯主观作品也是不可能的。任何的电影性元素在奥尼奥的眼中 都不算新鲜。他闪躲着形式主义还原论的圈套,但也并不安于置身于后现代讽刺 性集成的标题之下,他的作品盘桓于“与世隔绝的冷漠”和“针锋相对的论战”的两 极之间。 
Easy Out pays homage to yet another avant-garde classic, Buñuel and Dalí’s Un Chien andalou (1928), by way of humorous subversions of bourgeois settings and allusions to obsessional images, such as O’Neill’s superimposition of giant ants overrunning a humdrum suburban intersection. For good measure, he tosses in some nonsensical Surrealist subtitles: “Meanwhile”, “Several days later”–talisman displayed to ward off linear narrative, the vehicle of middle-class spectacle. Perhaps a deeper bond to Surrealist aims is manifest in O’Neill’s accretion of disjunct sequences, a process with parallels to the fabled “Exquisite Corpse”. Extending the intellectual parlor game, in which a figure drawing is produced by successive artists without knowledge of what was previously drawn, Dalí and Buñuel relied on “psychic automatism” for the scripting of Un Chien andalou: “When an image or idea appeared the collaborators discarded it immediately if it was derived from remembrance, or from their cultural pattern or if, simply, it had a conscious association with an earlier idea.” The image flow in Easy Out, as in most of O’ Neill’s work, suggests a series of mini-movies grafted onto a tenuous thematic skeleton, a sort of animated, one-man Exquisite Corpse. Down Wind, freighted as it is with unprepossessing vacation footage, is largely devoid of the crowds that populate earlier films, signaling a renewed engagement with the spatial paradoxes and asymmetries of non-urban settings. Here as elsewhere, aqueous and barren landscapes are what remain when the thrum of human presence subsides. Frequent traveling shots, taken from car windows, are a perfect emblem of O’Neill’s transient screen doings. Deftly tapping into nonfiction codes evocative of the travelogue and home movie, Down Wind nudges intertextual affiliations toward far–flung, ostensibly antagonist, arenas. It is said that his films are unique in their idiosyncrataic application of recondite movie technology; nonetheless, it is impossible to relegate them to a “rustic” sphere of unbridled, detached subjectivity. Nothing cinematic is foreign to O’Neill. Eluding the snares of formalist reduction yet not satisfactorily housed under a postmodern rubric of ironic pastiche, his output circumvents polarities of hermetic indifference and transparent polemic. 
摘自保罗·阿瑟,《永恒的过境: 帕特· 奥尼奥的电影》,载帕特·奥尼奥 ,《守望者山上的风景》, 史蒂 芬尼·埃默森编。德国史泰德出版社,2004。 
excerpt from Arthur, Paul. “Permanent Transit: The Films of Pat O’Neill,” in Pat ON’eill: Views From the Lookout Mountain, ed. Stephanie Emerson. Germany: Steidl, 2004. 

帕特·奥尼奥自上世纪 60 年代起就活跃于洛杉矶的文化界。作为当地前卫电影圈的发起人之一,加州艺术学院内德高望重的教授,以及光学效果方面的先行者,奥尼奥最为人乐道的是他自 60 年代初开始创作的短片。 这些作品充分掌握了光学印片技术的精髓,开创了生动写实的画面与富层次感的综合艺术。 

Pat O’Neill has been deeply involved in Los Angeles culture since the late 1960s. A founding father of the city’s avant-garde film scene, an influential professor at CalArts and an optical effects pioneer, he is best known for his short works from the early 1960’s onwards which are highly graphic, layered and re exive assemblages based on a mastery of optical printing techniques. 
 

Angela Washko 安吉拉·瓦施蔻

Angela Washko 安吉拉·瓦施蔻

徐文恺 Aaajiao

徐文恺 Aaajiao