图像的伤害

图像的伤害

图像的伤害

时间:2010-01-27 11:00:00 来源:

评论 >图像的伤害

汪民安 

罗发辉的人体和植物十分地饱满,十分地圆润,无论是肌肉还是花瓣,都在挣脱出自身的束缚,在往体外顽强地伸展而出。单纯从这一点看,他们似乎充满了营养、生机、弹性和力量,但是,有点奇怪的是,这些身体器官和花瓣,在尽量地施展自身潜能之机,却被一种冷峻的暗哑的灰白色所覆盖,这种灰白色弥漫着僵化的气息。它似乎要将健康和圆润的身体机能、创造力和欲望封闭起来。这样,一方面,生机之力活灵活现,另一方面,一种扑灭这种生机之力的反动力也毫不示弱,它似乎要压制住这种生机。这是身体(人体和植物体)内在的矛盾?我们看到:身体不是被肿胀的刺激性的颜色所挑逗,而是被静寂主义的充满着死亡气息的颜色所包裹。我们可以问,一个呆滞的身体为什么如此之饱满?反过来我们也可以问,一个如此之饱满的身体为什么具有一种冷血般的颜色?显然,身体自身就被这两种对立的力所撕裂,这是身体内在的冲突,是身体的饱满体量和冷峻色彩的内在冲突,是身体在纯粹形式上的冲突。我们在这里看到了埋藏在身体(人体和植物体)之中的基本悖论。
但是,接下来,我们看到,在这个充满悖论的身体上又出现了第二个悖论。这些花,这些人体,这些完整的身体上又出现了一个红色的意象,这个意象既是对血的表达,也是对伤害(伤疤、伤痕和伤残)的表达。在此,这个意象的红色,同整体性的灰白色相对照,它让自己收缩在一个狭小的区域中,但正是在这个狭小的局部中(有时候仅仅在一个点上),红色自身的激情可以被充分而集中地聚集和燃烧,从而可以在瞬间对画面那个整体的压倒性的灰白色恐怖进行爆破,它在色彩上撕开了冷峻画面的一个裂口,让一种异质性强行插入到这个灰白色的背景中。红,在此解除了灰白色的绝对垄断,从而使画面再一次出现了内在的激进对峙。同时,在另外一个意义上,这个意象所表达的伤疤则是针对着这个饱满身体的健康的,这个饱满的身体如此之饱满,如此之健康,似乎它在渴望着伤疤,渴望着破碎的豁口,渴望着健康的损毁:似乎只有伤害和残缺才是它命运的必然归宿。这样,这个红的意象就让饱满而健康的身体出现了另外一层异质性,有一种针对着饱满、圆润和健康身体的刺点(一种罗兰·巴特意义上的刺点)。正是这个刺点,将身体的整体性,将饱满性再次去自然化了。身体在健康和伤害之间玩弄起了相互诋毁的游戏。就此,这个画面上添加的意象,这个红的意象,一下子将两个对抗游戏引入其中:红色和灰白色的对抗,健康和伤害的对抗。如果我们考虑到血的丰富隐喻――血既是生命力的表征,也是伤害和屠戮的表征――那么,这里的对抗性就更为丰富了:血一方面是对机能进行压制的灰白色身体的一个强化性补充,它是生机的象征物;同时,它又是这个身体机能的一个耗费性溢出,它是生机的损毁。血既丰富和强化了身体的机能,又表达了身体机能的溃败。身体――从能量的整体性上――又一次陷入了混乱的状态。
这些红的意象(无论它们置身在身体和画面的哪一个部位,也无论它们有多大的面积),构成了整个画面的刺点,它刺破了画面流畅的总体性。我们看到,有些画面上的刺点是多层次的:在花的系列中,洞本身得以夸张强化,深不见底的黑洞对整个画面是一个刺点(黑在刺伤着白),而环绕着黑洞的红,又是黑洞的刺点(红在刺伤着黑),也就是说,这个红,是一个刺点的刺点;它在递进地双重地刺伤着整个画面。同样,在母子系列中,孩子是母亲的刺点(他们之间只有一种不对称的位置和面积关系,而完全清除了任何的母子关联神话),孩子同母亲如此地不协调,以至于它看不出来是母亲的所有物,相反,从图像上来看,它是母亲的刺点,同样,红则是孩子的刺点。红通过刺伤孩子再来刺伤母亲。这样,我们依然看到了画面的一系列分裂:大小分裂,红白的分裂,空的洞穴和饱满的圆润的分裂,伤疤和健康的分裂,衰败和生机的分裂,这是身体的外在分裂(它对应于内在的精神分裂),在某种意义上,这也是身体的单纯视觉分裂――在此,人体从来没有出现过精神的迹象,人通常是沉睡的,紧闭双眼的,是湮没的,是以单纯的身体(没有衣服,没有任何的外在装饰)出现的。与其将这些分裂看做是精神的分裂(人体和植物,往往容易将人引入到对精神的探讨中),不如将它们看成是纯粹的图像学分裂,一个将人体和植物作为载体的图像学分裂。
在这个意义上,红色是对伤痕的表达,但它绝非表达单纯的肉体伤痕,而更主要的是表达视觉伤痕。伤痕,没有表达精神的痛苦,而是表达了图像本身的痛苦,确实,这些人体和植物,并没有被红色所痛苦地伤害,准确地说,这些人体和植物体是被红色所划破,红色划破了他(它)的平衡,划破了他(它)的平静,划破了他(它)的“自然”,也划破了有关人体和植物体的绘画神话。整个人体,他紧闭双眼,或者说,他像是雕塑,是死的雕塑,他收敛起了自己的感觉机器。我们从他的表情看,他毫无痛苦,毫无情感,毫无知觉。红的意象,是溃乱吗?是的,这是溃乱,但这不单纯是脸部和口腔的溃乱,这完全不是精神的溃乱,这是整个画面的溃乱,是图像本身的溃乱――只有图像(而非精神和肉体)的溃乱,才决不会排斥植物所特有的芬芳。


  The Injury of Pictures
Wang Min’an
Luo Fahui’s bodies and plants are extremely supple and voluptuous.Be they muscles or petals,they are all casting off their innate fetters and tenaciously reaching out.When looking purely from this angle, they seem full of nutrition, vitality, flexibility and power, but there’s something amiss in that as these body parts and flower petals are striving to show off their potential, they are muffled by a rigid, cold grayness. It seems to want to close off zhe supple, healthy body’s abilities, creativity and desire. On one hand, the life force is vividly present, but on zhe other hand, the extinguishing power that counters it is not giving up, and seems to want to keep the vitality down. Is this zhe internal conflict of zhe bodies (both human and plant)? We see that the bodies are not provoked by swelling stimulating colors, but are wrapped in tranquil colors with hints of death. We could ask, how could such idle bodies appear so vigorous? On the other hand, we could also ask, why do such vigorous bodies have such cold-blooded colors? It would seem that the bodies themselves have been split by these conflicting forces. This is the internal conflict of the body, the conflict between the body’s vigorous power and the cold colors. It is a pure conflict of form. Here we see the basic paradox that lies within the body (human or plant).
But, further on, we see that in these paradoxical bodies lies a second paradox. These flowers and these bodies have a hint of red, and this red is an expression towards blood as it is an expression towards injury (scars and disabilities). Here, this red is just like a contrast with the overall gray; it letsitself be contained in a tinyregion, but it is in just these kinds of small spaces (sometimes as small as a single point) that the energy of the red can really shine and burn in a concentrated way and break the oppressiveness of the overall gray. It has opened a rift in the cold color layout of the image, forcing a contrasting object into this gray background. Here, red has broken gray’s absolute monopoly, and brought a situation of radical internal opposition to the picture. At the same time , the wounds expressed by these apparitions are aimed at the health of these voluptuous bodies. These bodies are so voluptuous and so healthy that they beg for a wound, a cut, a destruction of their health-it is as if only wounds and disabilities can help them find their proper place. In this way, the red has made the supple, healthy bodies different in another way. There’s a sort of punctum directed at voluptuous, supple and healthy bodies (in the sense of Roland Barthes punctums).It is just this kind of punctum that further naturalizes the body’s unity and voluptuousness. A game of mutual defamation has begun between health and injury. It is this added apparition, the red apparition, that brings the two oppositional games onto the board:the opposition of red and gray, and the opposition ofhealth and injury. If we think about the rich implications of blood-blood as a symbol for vitality and as a symbol for injury-then the opposition becomes even richer: on one hand, the blood is forcing a supplementation of the functions that are being suppressed by zhe gray, so it is a symbol for vitality; at the same time, it is an overflowing consumption of vitality, so it is also the ruin of vitality. Blood richens and strengthens the functions of the body, but it also expresses the destruction of the body’s functions. The body, from the overall picture of ability, has once again fallen into a state of chaos.

These red apparitions (no matter where they are situated in the picture or how big they are)make up punctums of the entire picture; they have broken the wholeness of the image flow. We can see that some of these punctums are multi-laered:in the flower series, the hole is gaining emphasis and strength, and the black, bottomless hole itself is a punctum (black penetrates white); the red that surrounds the black is a punctum of the black(red penetrates black). In other words, the red is a punctumof a punctum; it is progressively, doubly penetrating the entire picture. Similarly in the mother and child series, the child is the punctum of the mother(all they have is a relationship of non-symmetrical positioning and size, the entire mother-child relationship has been removed).The child is so out of sync with its mother that it can’t see it’s all that the mother has. On the other hand, from the image, the child is the punctum of the mother while red is the punctum of the child. The red punctures the mother by puncturing the child. From this we can see a series of splits in the image:a split between large and small, between red and white, between empty wholes and voluptuous fullness, between injury and health, and between decay and life. These are the external splits of the body(as opposed to internal, psychological splits).In some way, this is also the body’s purely visual split-here, the body has never shown signs of consciousness. The people here are usually asleep, with their eyes tightly closed. They appear as buried, pure bodies(without any clothing or other decoration). For this reason, it is better to see this split as purely in image, rather than as a psychological split (people and plants can easily draw people into psychological explorations). It is a visual split that uses people and plans as carriers.

In this sense, red is an expression of injury, but it never purely expressed injury of the flesh, rather it has more importantly expressed a visual injury. This injury has not expressed the hardship of psychological and plants have not been hurt by hardship. To put it correctly, these bodies and plants have been cut by the red. The red has cut their peace, their tranquility, their “naturalness”and the painting legends of bodies and plants. The whole body is closing its eyes tightly, or you could say that it is like a sculpture, a dead sculpture.It has withdrawn all of its sensory machinery. From its expression we see that it is without the slightest hardship, the slightest emotion or the slightest knowledge. Is the red a dispersal? It is, but not a simple dispersal of the face and the mouth. It is not a psychological dispersal at all, but a dispersal of the entire painting, of the image itself. Only with a dispersal of the image (rather than psychological or corporeal), can the fragrance of the flower be allowed.   

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